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Universidade Estadual De Campinas Instituto De Artes UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Renata Antonini Mantovanele Memória e monumentalidade: A arte temporária de Christo Javacheff Memory and monumentality: The temporary art of Christo Javacheff CAMPINAS 2017 Renata Antonini Mantovanele Memória e monumentalidade: A arte temporária de Christo Javacheff Memory and monumentality: The temporary art of Christo Javacheff Dissertação apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Mestra em Artes Visuais. Dissertation presented to the Institute of Arts of the State University of Campinas as part of the requirements required to obtain a Master's Degree in Visual Arts. ORIENTADORA: Profª. Drª. Sylvia Helena Furegatti ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DA DISSERTAÇÃO DEFENDIDA PELA ALUNA RENATA ANTONINI MANTOVANELE, E ORIENTADO PELA PROFª. DRª. SYLVIA HELENA FUREGATTI. Campinas 2017 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Mantovanele, Renata, 1983- M319m ManMemória e monumentalidade : a arte temporária de Christo Javacheff / Renata Antonini Mantovanele. – Campinas, SP : [s.n.], 2017. ManOrientador: Sylvia Helena Furegatti. ManDissertação (mestrado) – Universidade Estadual de Campinas, Instituto de Artes. Man1. Javacheff, Christo, 1935-. 2. Monumentos. 3. Memória na arte. 4. Arte pública. 5. Natureza na arte. 6. Arte e sociedade. 7. Arte moderna - Séc. XX. I. Furegatti, Sylvia Helena,1968-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital Título em outro idioma: Memory and monumentality : the temporary art of Christo Javacheff Palavras-chave em inglês: Javacheff, Christo, 1935- Monuments Memory in art Public art Nature in art Art and society Art, Modern - 20th century Área de concentração: Artes Visuais Titulação: Mestra em Artes Visuais Banca examinadora: Sylvia Helena Furegatti [Orientador] Edson do Prado Pfutzenreuter Daniella Rubbo Data de defesa: 24-02-2017 Programa de Pós-Graduação: Artes Visuais Powered by TCPDF (www.tcpdf.org) Dedicatória Aos meus pais, Anésio e Mara Hermínia, que sempre me proporcionaram o privilégio de nunca parar de estudar. À minha tia Neusa, que desde muito cedo me presenteou com inúmeros livros e me incentivou a seguir adiante com a vida acadêmica. Agradecimentos Agradeço à minha orientadora Sylvia Helena Furegatti, com quem aprendi muito, por todo o trabalho durante este processo. Aos professores do Instituto de Artes, que muito me ensinaram desde meu primeiro semestre de graduação. Em especial ao professor Marco do Valle, sempre atencioso, que tive a honra de ter ao lado durante todo este processo, nem sempre fácil. À minha família, sem ela jamais teria chegado até aqui. Ao Filipe, que me apoiou incondicionalmente durante todo este processo. Aos meus sogros, Maria Clara e Zé Catarino, que sempre torceram por mim. À Thábata, pela leitura perspicaz. Aos meus queridos amigos, que compreenderam minhas ausências. À Deus, pela vida. RESUMO Esta pesquisa tem como objetivo analisar as relações entre a monumentalidade, memória e temporalidade, a partir do trabalho de Christo Javacheff (1935). Considerando-se a Arte Pública e a Land Art, oriundas da Arte Contemporânea do período final dos anos de 1960, nota-se a relação entre monumentalidade e temporalidade como condições de coexistência com o espaço público, site specificity adotado por artistas como Christo Javacheff, Robert Smithson e Richard Serra, dentre outros. Para alcançar o objetivo proposto, foram selecionados três projetos artísticos de Javacheff: Wrapped Reichstag (1971-1995), Running Fence (1972- 1976) e The Gates (1979-2005). Dentre as questões fundamentais para realização destas ações estão as condições de temporalidade atreladas à monumentalidade e a memória cultural e histórica, presente no espaço de atuação do artista; além das dificuldades enfrentadas por ele para obter as autorizações para executar os projetos. Palavras-chave: Monumentalidade, temporalidade, memória, Land Art, Arte Pública, Christo Javacheff. ABSTRACT The main objective of this research is the analysis the relations between monumentality, memory and temporality, based on the work of Christo Javacheff (1935). From Public Art and Land Art, from the Contemporary Art of the final period of the 1960s, The relationship between monumentality and temporality as conditions of coexistence with the public space, site specificity adopted by artists such as Christo Javacheff, Robert Smithson and Richard Serra, among others. To reach the proposed goal, three artistic projects of Javacheff were selected: Wrapped Reichstag (1971-1995), Running Fence (1972-1976) and The Gates (1979-2005). Among the fundamental questions to carry out these actions are the conditions of temporality linked to monumentality and the cultural and historical memory, present in the space of the artist's performance; As well as the difficulties in obtaining the authorizations to execute the projects. Key words: Monumentality, temporality, memory, Land Art, Public Art, Christo Javacheff. ÍNDICE DAS IMAGENS Capa Capítulo 1 Figura 1: Roda de Bicileta, Marcel Duchamp, 1912. Figura 2: Mapa dos EUA com destaque para a autoestrada Route 101. Figura 3: Vista aérea parcial de Running Fence, 1972. Figura 4: Trabalhadores durante a insatalação de Running Fence, 1972. Figura 5: Mapa de localização de Double Negative. Figura 6: Vista parcial de Double Negative. Figura 7: Robert Smithson, Spiral Jetty, 1970. Figura 8: Sinalização indicando a localização da escultura Spiral Jetty. Figura 9: Sem título, Dan Flavin, 1968. Figura 10: Walter De Maria, The BroKen Kilometer, 1979. Figura 11: Monumento em homenagem à Vittorio Emanuele, Piazza del Duomo, Milão. Figura 12: José Resende, “O Passante”, Rio de Janeiro, 1995. Figura 13: Vista parcial de Running Fence, 1972. Figura 14: Christo Javacheff observa Running Fence, 1972. Figura 15: Running Fence, Desenho de Christo Javacheff, 1976. Figura 16: Running Fence, desenho e colagem, 1973. Capítulo 2 Figura 17: Wrapped Monument to Vittorio Emanuele, Piazza del Duomo, Milão, 1970. Figura 18: Wrapped Monument to Leonardo da Vinci, Piazza della Scala, Milano, Italy, 1970. Figura 19: Palácio do Reichstag, Berlim, Alemanha. Figura 20: Projeto para Wrapped Reichstag, 1972. Figura 21: Projeto para The Pont Neuf Wrapped, 1984. Figura 22: The Pont Neuf Wrapped, Paris, 1975-85. Figura 23: Projeto para Wrapped Reichstag, Maquete, 1981. Figura 24: Wrapped Reichstag, Berlin, 1971-95. Figura 25: Wrapped Reichstag, Berlin, 1971-95. Figura 26: Wrapped Reichstag, Berlin, 1971-95. Figura 27: Surrounded Islands, Miami, Florida, 1980-83. Figura 28: Surrounded Islands, Miami, Florida, 1980-83. Figuras 29, 30 e 31: Valley Curtain, Rifle, Colorado, 1970-72. Figura 32: Estátua de Laocoonte e Seus Filhos. Museu do Vaticano, Roma. Figura 33: Wrapped Reichstag, visto durante a noite, Berlin, 1971-95. Capítulo 3 Figura 34: Christo dirigindo trabalho na Wrapped Coast, 1969. Figura 35: Lado da costa, Little Bay, Sydney, Austrália, 1968-69. Figura 36: The Gates (Projeto para o Central Park NYC) Christo, 2003. Figura 37: The Gates (Projeto para o Central Park NYC) Christo, 2003. Figura 38: Christo, The Gates, Central Park, New York City, 1979-2005. Figura 39: Christo, Valley Curtain, Rifle, Colorado, 1970-72. Figura 40: Michelangelo, Pieta, 1498 - 1500. Figura 41: The Gates, 2005. Figura 42: Néle Azevedo, Monumento Mínimo, Inglaterra 2016. Figura 43: Néle Azevedo, Monumento Mínimo, Paço das Artes, São Paulo, 2016. Figura 44: The Gates, Central Park, New York City, 1979-2005. Figura 45: The Gates, Central Park, New York City, 1979-2005. Conclusão Figura 46: Gustave Courbet, O ateliê do artista, 1855. Figura 47: Christo em seu estúdio trabalhando em um desenho preparatório para The Gates, Nova York, 2004. Sumário Introdução …......................................................................................................... p. 11 Capítulo 1 – Running Fence, Sonoma e Marin Counties 1972 – 1976 O Projeto, Arte Contemporânea e a importância da Land Art nos projetos de Christo Javacheff, Site specificity e flexibilidade para o lugar da arte, Os Projetos: arte e espetáculo............................................................................... p.22 Capítulo 2 – Wrapeed Reichstag, Berlim, 1971 – 1995 O Projeto, Memória, Monumentos …...................................................................................................... p.56 Capítulo 3 – The Gates, Central Park, Nova York, 1979 – 2005 O Projeto, Christo e a questão do tempo: Condições de temporalidade e efemeridade Arte Pública e Não Lugares: breves configurações em meio ao cenário urbano contemporâneo, Christo Javacheff: financiamento e coautoria na execução de projetos artísticos ….......................... p.90 Conclusão – A desmaterialização do objeto artístico: entre o objeto, o evento e o espaço público …............................... p.114 Referências Bibliográficas …........................................................................... p. 122 Crédito das Imagens …....................................................................................... p. 130 11 Introdução O búlgaro Christo Javacheff é conhecido por suas ações artísticas em grande escala, que geram interferências temporárias na paisagem, seja ela urbana ou natural, renovando assim a percepção do espectador, presente no
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