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Título Provisório UNIVERSIDADE ESTADUAL DE CAMPINAS Instituto de Artes LUIZ CARLOS ANDREGHETTO GESTOS PICTÓRICO-ENSAÍSTICOS: A CÂMERA-PINCEL DE DEREK JARMAN CAMPINAS 2018 LUIZ CARLOS ANDREGHETTO GESTOS PICTÓRICO-ENSAÍSTICOS: A CÂMERA-PINCEL DE DEREK JARMAN Tese apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Multimeios. ORIENTADOR: PROF. DR. FRANCISCO ELINALDO TEIXEIRA. ESTE TRABALHO CORRESPONDE À VERSÃO FINAL DA TESE DEFENDIDA PELO ALUNO LUIZ CARLOS ANDREGHETTO, E ORIENTADA PELO PROF. DR. FRANCISCO ELINALDO TEIXEIRA. CAMPINAS 2018 BANCA EXAMINADORA DA DEFESA DE DOUTORADO LUIZ CARLOS ANDREGHETTO ORIENTADOR: PROF. DR. FRANCISCO ELINALDO TEIXEIRA MEMBROS: 1. PROF. DR. FRANCISCO ELINALDO TEIXEIRA 2. PROF. DR. MAURICIUS MARTINS FARINA 3. PROF. DR. GILBERTO ALEXANDRE SOBRINHO 4. PROF(A). DR(A). CECÍLIA ANTAKLY DE MELLO 5. PROF. DR. CRISTIAN DA SILVA BORGES Programa de Pós-Graduação em Multimeios do Instituto de Artes da Universidade Estadual de Campinas. A ata de defesa com as respectivas assinaturas dos membros da Comissão Examinadora encontra-se no SIGA/Sistema de Fluxo de Dissertação/Tese e na Secretaria do Programa da Unidade. DATA DA DEFESA: 29.08.2018 Aos meus pais, pelo constante apoio. AGRADECIMENTOS Em primeiro lugar, agradeço ao meu orientador, prof. Francisco Elinaldo Teixeira, pela inestimável oportunidade de aprendizagem, pela tranquilidade na condução desse longo processo e pela confiança na minha capacidade de realizá- lo. Aos professores, Gilberto Alexandre Sobrinho e Pedro Maciel Guimãraes, pela participação na banca de qualificação, contribuindo com valiosos comentários que ampliaram minha percepção em relação ao objeto central dessa pesquisa. Aos professores Mauricius Martins Farina e Marta Strambi, por terem plantado a sementinha dessa pesquisa, iniciada, guardando as devidas proporções, à partir do curso de extensão em Artes Visuais, Intermeios e Educação, no Instituto de Artes dessa instituição. À todos os meus amigos que, direta ou indiretamente, contribuíram com essa pesquisa, seja de maneira acadêmica ou apenas emocional, em especial Paula Cabral e Fernando de Tacca, por todos os momentos de suporte que me fizeram olhar para algumas certezas quando as dúvidas pareciam me dominar. Ao produtor James Mackay pela atenção com que se dedicou a responder algumas perguntas sobre o Jarman e pela disponibilização de alguns filmes dele que, até então, eu não tinha acesso. Ao meu irmão Adriano Andreghetto pela ajuda nas traduções em língua inglesa. Enfim, agradeço a todos que estiveram presentes nesta jornada e que contribuíram de forma profícua, mesmo que alguns não tenham se dado conta disso, fazendo com que esse processo tenha sido um lugar de encontros, trocas e afetos, acima de tudo. RESUMO Com um estilo visual singular - ao qual misturava passado e presente; teatro, pintura, poesia, artes performáticas e abstrações visuais; sexo e política – o pintor-cineasta Derek Jarman (1942-1994), realizou um cinema de características poéticas-experimentais, com fortes marcas autorais, todo calcado na polêmica e na provocação ao establishment existente na época (Inglaterra, anos de 1980, então governo da primeira ministra Margaret Thatcher). Percebe-se em Jarman, um contínuo deslocamento do pictórico para o audiovisual e vice-versa. Jarman opera nessas idas e vindas entre esses dois campos, produzindo uma intertextualidade ímpar entre eles. Seu processo criativo se estabelece à partir de uma multiplicidade de gestualidades ao redor dessa relação entre cinema e pintura, uma relação que parte da pintura e vai ao encontro do audiovisual (o Super 8) e retorna à pintura quando essa produção fílmica adentra-se em obras mais experimentais. Suas obras eram frequentemente (re)organizadas, (re)ordenadas e (re)ssignificadas, transformando-se em peças fundamentais para a construção de uma imagética apoiada na autorreflexão e na subjetividade ou, como foi tratado a partir dos anos de 1980, um “cinema do eu” e/ou um “cinema em primeira pessoa”. Nessa “apreensão de si mesmo” Jarman se insere nesse domínio do ensaísmo através de uma subjetividade pensante, empregando diferentes materiais e recursos (found footage, home movies, intervenções do próprio autor), com um discurso fragmentado, incompleto, pessoal e dinâmico. Palavras-Chave: Derek Jarman, Experimental, Cinema britânico, Filme-ensaio, Found-footage. ABSTRACT With a unique style – to which it was mixed past and future; theater, painting, performance arts and visual abstraction; sex and politics – the painter- filmmaker Derek Jarman (1942-1994) performed a feature cinema with poetic- experimental characteristics with strong authorial marks, all based on controversy and the provocation of the British establishment of that age (England, 1980’s, then the government of Prime Minister Margaret Thatcher). One can see in Jarman, a continuous displacement of the pictorial to the audiovisual and vice versa. Jarman operates in these comings and goings between these two fields, producing an odd intertextuality between them. His creative process is based on a multiplicity of gestures around this relationship between cinema and painting, a relationship that starts with the painting and goes to the audiovisual (Super 8) and returns to the painting when this filmic production enters into more experimental works. His works were often (re) organized, (re) ordered and (re) signified, becoming fundamental pieces for the construction of an imagery based on self-reflection and subjectivity or, as treated from the 1980s, a "self cinema" and / or a "cinema in the first person". In this "self-apprehension" Jarman enters this domain of essayism through a thinking subjectivity, employing different materials and resources (found footage, home movies, the author's own interventions), with a fragmented, incomplete, personal and dynamic discourse. Key word: Derek Jarman, Experimental, British Cinema, Film-essay, Found- footage. LISTA DE ILUSTRAÇÕES Figura 1: Ford Madox Brown, “The Last of England”, 1885. Tinta a óleo em painel de madeira. 82,5 × 74,9 cm. Figura 2: Stills do filme “The Last of England”, 1987, direção Derek Jarman. Figura 3: David Hockney, “The Last of England?”, 1961. Óleo sobre tela com montagem em ouro. 50.5 x 50.5 cm. Figura 4: David Hockney, “Illustrations for Fourteen Poems from C. P. Cavafy”, 1966. Gravura e aquatinta em papel. 34,5 x 22,3 cm. Figura 5: Derek Jarman, “Irresistible Grace”, 1982. Óleo sobre tela. 137 x 183 cm. Figura 6: À esquerda – capa de uma edição da revista Physique Pictorial, por volta de 1966. À direita – Derek Jarman, “Untitled (The Archer)”, 1983. Óleo sobre tela. 35,5 x 46,25 cm. Figura 7: William Blake, “Newton”, 1795-1805. Aquarela e tinta. 46 x 60 cm. Figura 8: David Hockney - em sentido horário – 1. “Portrait of an artist (Pool with two figures)”, 1972. Acrílico sobre tela. 214 x 305 cm. 2. “A large diver (Paper Pool 27)”, 1978. Polpa de papel colorido e prensado. 198.4 x 458.5 cm. 3. “A Bigger Splash”, 1967. Acrílico sobre tela. 242,5 x 243,9 cm. 4. “Peter getting out of Nick’s Pool”, 1966. Acrílico sobre tela. 152 x 152 cm. 5. “Portrait of Nick Wilder”, 1966. Acrílico sobre tela. 182.9 x 182.9 cm. Figura 9: Stills do filme “Sebastiane”, 1976, direção Derek Jarman. Figura 10: À esquerda - Guido Reni, “Saint Sebastian”, 1617-1619. Óleo sobre tela. 170 x 133 cm. À direita: Guido Reni, “Saint Sebastian”, 1616. Óleo sobre tela. 129 x 98 cm. Figura 11: À esquerda – Yukio Mishima como São Sebastião (autorretrato). À direita – Still do filme “Sebastiane”, 1976, direção Derek Jarman. Figura 12: Robert Rauschenberg, “Bed”, 1955. Óleo e pincel no travesseiro, colcha e lençol em suporte de madeira. 191,1 x 80 cm. Figura 13: Derek Jarman, “Bed”. Sem dados. Figura 14: Derek Jarman, “Black & Gold Paintings”. Primeira fileira – “Work Ethic”, 1986, sem dados. “INRI”, 1988, óleo e mídia mista sobre tela, 31,7 x 27 cm. “Prospect”, 1990, óleo e mídia mista sobre tela, 48,4 x 30,8 cm. Segunda fileira – “Untitled”, sem dados. “Untitled”, sem dados. “Untitled (Wired Glass)”, 1990, óleo e mídia mista sobre tela, 48,4 x 41 cm. Terceira fileira – “Untitled (Legs)”, 1987, óleo e mídia mista sobre tela, 51,2 x 41 cm. “Untitled”, sem dados. “Pinxit”, 1987, óleo e mídia mista sobre tela, 31 x 26 cm. Figura 15: Derek Jarman, “Black & Gold Paintings”. Primeira fileira – “Untitled”, sem dados. “This instant”, 1987, óleo e mídia mista sobre tela. “T.B. or not T. B. that is the question”, 1990, óleo e mídia mista sobre tela, 46 x 40,75 cm. Segunda fileira – “This precious stone”, 1986, óleo e mídia mista sobre tela. “Those Thoughts”, 1988, mídia mista, 50,2 x 50,2 cm. “The Mistake”, 1987, mídia mista, 25,4 x 30,5 cm. Terceira fileira – “Untitled”, sem dados. Figura 16: Robert Rauschenberg, “Black Paintings”, 1951-53. Primeira fileira – “Untitled (glossy black four-panel painting)”, 1951, óleo e jornal sobre tela, 221 x 434,3 cm. Segunda fileira – “Untitled (glossy black painting)”, 1951, óleo e papel sobre tela, 181,6 x 134 cm. “Untitled (black painting with portal form)”, 1952-53, óleo e jornal sobre tela, 129,9 x 137,8 cm. “Untitled (small vertical black painting)”, 1951, óleo e jornal sobre tela, 61,3 x 45,6 cm. Terceira fileira – “Untitled (matte black painting with Asheville citizen)”, 1952, óleo e jornal em duas telas esticadas e unidas separadamente, 183,5 x 72,4 cm. “Untitled (black painting on paper)”, 1952, tinta, esmalte e guache sobre papel vegetal e jornal no cartão, 68,3 x 53,7 cm. “Untitled (black painting on paper)”, 1952, tinta em ouro, cobre e esmalte e jornal em papel, 55,2 x 42,5 cm. Figura 17: Robert Rauschenberg, “Gold Paintings”, 1953/1955-56/1965). Primeira fileira – “Untitled (Gold painting)”, 1965, folha de ouro em tecido, colagem de papel em masonite com percevejo em madeira e moldura de vidro, 35,6 x 30,5 cm. “Untitled (Gold painting)”, 1965, folha de ouro em tecido, jornal e cola sobre tela, em moldura de madeira e vidro.
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