DOCSLIB.ORG

O Ideário De Contentor E O Espectro Da Performance. Vídeo, Fotografia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
O Ideário De Contentor E O Espectro Da Performance. Vídeo, Fotografia João Miguel Onofre Presunto João Miguel Onofre João Miguel Onofre Presunto na obra de João Onofre O ideário de contentor e o espectro da performance. Vídeo, fotografia, desenho, objectos e instalação Vídeo, fotografia, desenho, objectos e instalação objectos e instalação desenho, fotografia, Vídeo, O ideário de contentor e o espectro da performance. da performance. O ideário de contentor e o espectro na obra de João Onofre Tese de Doutoramento em Arte Contemporânea apresentada ao Colégio das Artes da Universidade de Coimbra Março 2018 João Miguel Onofre Presunto O ideário de contentor e o espectro da performance. Vídeo, fotografia, desenho, objectos e instalação na obra de João Onofre Tese de Doutoramento em Arte Contemporânea apresentada ao Colégio das Artes da Universidade de Coimbra Março 2018 Índice Resumo V Abstract VII Preâmbulo 1 — 15 Desenho 16 — 83 Fotografia 84 — 117 Vídeo 118 — 269 Objectos e Instalação 270 — 345 Posfácio 346 — 349 Índice remissivo 351 Referências 353 — 355 Curriculum vitae 356 — 365 Bibliografia passiva 366 — 375 Resumo Apresentada no Colégio das Artes da Universidade de Coimbra, ao abrigo do regime especial (Art.º 31.º, alínea 2-b, do Decreto-Lei n.º 230/2009, de 14 de Setembro), a presente tese reúne o meu corpo de trabalho dos úl- timos vinte anos, propondo a sua leitura a partir de dois eixos conceptuais: o ideário de contentor e a perfor- mance como espectro. A tese está dividida em quatro capítulos, cada um deles correspondendo a um medium: 1. Desenho, 2. Fotografia, 3. Vídeo, 4. Objectos e Instalação. Estes capítulos são precedidos por um Preâmbulo, simulta- neamente enunciado das obras a apresentar e apre- sentação dos conceitos fundamentais que as informam: acção, aleatoriedade, apropriação, auto-reflexividade, delegação, duração, event score, fracasso, guião conceptual, linguagem, performance, repetição e tautologia. O objectivo é problematizar as obras — em cada medium apresentadas por ordem cronológica de modo a ga- rantir uma neutralidade não-hierárquica — no quadro produtivo em que se inscreve cada uma delas, ao mesmo tempo revelando o(s) processo(s) criativo(s) que põem em contacto os diferentes media, nesse contacto re- sidindo o seu fundo conceptual e operativo. Assente numa estrutura rizomática de referências autorais e de conceitos remissivos apresentados nas suas margens laterais, o documento exponencia as possibilidades de leitura das obras, quer individualmente, quer no âm- V bito do medium em que elas se inserem, quer ainda no contexto geral do corpo de trabalho. É no com- promisso desses três níveis de aproximação que cabe ao leitor estabelecer os contágios que indicam pistas de leitura, sabendo que — e essa é a função maior do Posfácio — os eixos conceptuais que as orientam se prolongam nas obras que excedem o período temporal aqui analisado. Palavras-chave: apropriação, contentor, guião concep- tual, performance, vídeo. Abstract Presented to the Colégio das Artes da Universidade de Coimbra under the special regime (Article 31, 2-b, of Decree-Law 230/2009 of September 14th), this thesis gathers my work from the last twenty years around a conceptual framework based on two core notions: o ideário do contentor e a performance como espectro. This thesis is divided into four chapters, each one corresponding to a medium: 1. Drawing, 2. Photography, 3. Video, 4. Objects and Installation. These chapters are preceded by a Preamble which simultaneously introduces the artworks and the key concepts to understand them: action, indeterminacy, appropriation, self-reflexivity, delegation, duration, event score, failure, conceptual script, language, performance, repetition and tautology. The aim is to confront the artworks — presented in chronological order in order to assure a non- hierarchal neutrality — within the creative frame that inscribes each one, and furthermore to reveal the creative process(es) linking the different media, there residing its operative and conceptual basis. Built on a rhizomatic structure of authors and concepts, displayed at the border of the pages, this document expands the possibilities of comprehension of the artworks not only individually, but in the context of their medium and in the general context of the work. Negotiating between these three levels of VII understanding, the reader must establish the links that function as reading cues, while being aware that the conceptual axis which guide them go beyond the time span of this study. Keywords: appropriation, container, conceptual script, performance, video. Preâmbulo As tradições artísticas tendem a resistir ao sur- gimento de novos media – e às tecnologias que lhes estão associadas – usando como argumento a passividade do registo que eles garantem, por sua vez atribuída a uma neutralidade incapaz de modificar ou expandir a realidade. Como se constata, este argumento veio a revelar-se infundado quer para a fotografia, quer para o cinema, quer, por extensão, para o vídeo, ele próprio ontologicamente híbrido. Mas, sobre- tudo esse argumento torna-se insustentável se cada medium prescindir da nitidez do seu ob- jectivo e da sua materialidade para operar na zona de periferia que, nos termos de Rancière, dele fazem uma superfície de conversão: O medium não é um fim ou um material em si próprio. É uma superfície de conversão: uma superfície de comparação entre as várias formas de fazer diferentes artes, um espaço ideal de articulação entre estas formas de fazer e as for- mas de visibilidade e inteligibilidade que deter- minam a maneira como elas podem ser vistas e pensadas. (Rancière, 2007, pp. 75-76) A possibilidade de trabalhar a recodificação de signos culturais através de determinado me- dium pressupõe, como veremos, não só a com- PB 1 preensão e a exploração da sua especificidade material, como a necessidade de expandir os seus limites. Considero então que, no domínio das artes visuais, o vídeo se define como um medium documental expandido e que, passado meio século desde o seu aparecimento, esse é um ponto-chave para definir e compreender o uso da imagem em movimento por artistas visuais como Vito Acconci, Chris Burden, Bruce Nauman, entre outros, enquanto pioneiros da performance: O Portapack pareceu ter sido inventado especifica- * Cf. mente para os artistas. No momento em que o for- Untitled (we will Leap into the never be boring) street (boombox malismo seguia o seu curso; no momento em que se (1997), p. 154 travelling) (2004), tornava politicamente embaraçoso produzir objectos, p. 218 Untitled (1998), e ridículo não fazer nada; no momento em que p. 158 Untitled (masked muitos artistas faziam performance, mas não tinham tap dancer) (2005), Untitled (1999), p. 222 onde fazê-la, ou sentiam necessidade de registar o p. 166 seu trabalho; no momento em que começava a ser Untitled (I See a Nothing will go Darkness) (2007), disparatado colocar sempre a mesma questão berkleyana, wrong (2000), p. 230 p. 178 «se fizeres uma escultura no deserto onde ninguém Untitled (leveling a pode ver, será que ela existe?»; no momento em Seeing things a spirit level in free clearer (2000), fall feat. Dorit que se tornava claro que a televisão transmitia mais p. 182 Chrysler’s BBGV informação para mais pessoas do que grandes paredes; dub) (2009), p. 234 Imus in girum no momento em que compreendíamos que para de- et nunquam igne Untitled (original finir o espaço era necessário abranger o tempo; no consumemur orchestrated ersatz (2000), p. 186 light version) momento em que muitas ideias estabelecidas noutras (2010-2011), p. 242 disciplinas começavam a ser questionadas e novos Casting (2000), p. 190 Untitled (N’en Finit modelos eram propostos — só nesse momento Plus) (2010-2011), Instrumental p. 246 apareceu o Portapack. (Rush, 2007, p. 13) version (2001), p. 194 Untitled (мій голос) (2010-2011), p. 250 Entendo o meu corpo de trabalho inserido neste Pas d’action (2002), legado, sabendo que uma das suas matrizes é a p. 198 GHOST (2009-2012), p. 254 performance orientada* — ou de tarefa orien- Believe (levitation in the studio) Untitled (2012), tada — para a câmara, isto é, a performance (2002), p. 202 p. 258 mediada pelo aparato do vídeo com as suas Untitled (vulture in Tacet (2014), p. 262 the studio) (2002), especificidades enquanto medium. Assim, con- p. 206 VOX (2015), p. 266 sidero a performance um elemento estrutural Catriona Shaw sings Baldessari do vídeo no campo das artes visuais, conside- Sings LeWitt re- edit Like a Virgin ração que o meu corpo de trabalho reflecte. extended version Com o surgimento dos media de gravação (2003), p. 210 Making of (2004), e transmissão — ou media reprodutivos —, p. 214 a prática de artistas como Nauman, Acconci ou Lawrence Weiner, abre caminho a um novo modo performativo em que a performance única, ao vivo, mediada pela câmara, se torna «estruturalmente sujeita à inscrição, iteração e repetição» (Kotz, 2007, p. 212). Interessa, pois, explorar a dimensão documental da per- formance, a fim de tornar mais perceptível o entendimento do vídeo como medium documental 2 expandido. Neste sentido, Philip Auslander es- tabelece uma distinção entre os dois modos da performance — documental e teatralizado — que, apesar de poderem ser, ambos produzidos para a câmara, são ideologicamente distintos. A prática performativa de, por exemplo, Burden ou Nauman, nas décadas de 1960 e 1970, pertence à primeira categoria (performance documen- tal), uma vez que, de um evento que ocorre, a documentação constitui simultaneamente um registo através do qual o evento pode ser re- * Cf. Running dry series Catriona Shaw construído, e uma prova da sua ocorrência. (2005-2007), p. 32 sings Baldessari Sings LeWitt re- Desse modo, a documentação está ontologi- Degradation series edit Like a Virgin (2007), p. 46 extended version camente ligada ao (mundo) real, de tal forma (2003), p. 210 que se pode substituir a ele. Na segunda ca- Untitled (furor poeticus) (2007), Making of (2004), tegoria — performance teatralizada — a per- p. 56 p. 214 formance não constitui um evento autónomo Your closed hand Leap into the street makes the size of (boombox travelling) antes do seu registo, ou seja, existe somente your heart and (2004), p.
Load more

Recommended publications
  • Discover Lisbon with Our Guide!
    The 7th Conference of European Survey Research Association welcomes you to the fashionable city of Lisbon! Lisbon, the most westerly capital in mainland Europe, is one of the few cities in the world to offer a unique natural landscape. It’s for sure one of the most impressively located, with a series of hills facing the Tejo estuary, one of the sunniest and probably one of the least expensive cities to discover. Being a city built on hills, from the various belvederes, installed in the highest points, can enjoy breathtaking views. We highlight the castle of S. Jorge, where we reach the cacilheiros in their crossing to the south bank, the 25th April bridge, Rossio, Carmo convent, Bairro Alto, Eduardo VII park, among other points of the city. Alongside the old city, with a very rich heritage, Lisbon is also a modern city that has been renewed in new cultural and leisure proposals. In this document you can find out more about the places you cannot miss in this city – excursions, restaurants and bars, among others. Index What to see & Where to walk............................................................................................... 4 Tram 28E route – the best way to know Lisbon ......................................................4 Prazeres cemetery ..........................................................................................................6 Santo Condestável Church ..............................................................................................6 Basílica da Estrela and garden .......................................................................................6
    [Show full text]
  • I Ana Rafaela Ferraz Ferreira Body Disposal in Portugal: Current
    Ana Rafaela Ferraz Ferreira Body disposal in Portugal: Current practices and potential adoption of alkaline hydrolysis and natural burial as sustainable alternatives Dissertação de Candidatura ao grau de Mestre em Medicina Legal submetida ao Instituto de Ciências Biomédicas Abel Salazar da Universidade do Porto. Orientador: Prof. Doutor Francisco Queiroz Categoria: Coordenador Adjunto do Grupo de Investigação “Heritage, Culture and Tourism” Afiliação: CEPESE – Centro de Estudos da População, Economia e Sociedade da Universidade do Porto i This page intentionally left blank. ii “We are eternal! But we will not last!” in Welcome To Night Vale iii This page intentionally left blank. iv ACKNOWLEDGMENTS My sincerest thank you to my supervisor, Francisco Queiroz, who went above and beyond to answer my questions (and to ask new ones). This work would have been poorer and uglier and a lot less composed if you hadn’t been here to help me direct it. Thank you. My humblest thank you to my mother, father, and sister, for their unending support and resilience in enduring an entire year of Death-Related Fun Facts (and perhaps a month of grumpiness as the deadline grew closer and greater and fiercer in the horizon). We’ve pulled through. Thank you. My clumsiest thank you to my people (aka friends), for that same aforementioned resilience, but also for the constant willingness to bear ideological arms and share my anger at the little things gone wrong. I don’t know what I would have done without the 24/7 online support group that is our friendship. Thank you. Last, but not least, my endless thank you to Professor Fernando Pedro Figueiredo and Professor Maria José Pinto da Costa, for their attention to detail during the incredible learning moment that was my thesis examination.
    [Show full text]
  • ATINER's Conference Paper Proceedings Series ARC2017
    ATINER CONFERENCE PRESENTATION SERIES No: ARC2017-0106 ATINER’s Conference Paper Proceedings Series ARC2017-0106 Athens, 28 September 2018 Scenographic Interventions in Portuguese Romantic Architecture Luís Manuel Lourenço Sêrro Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10683 Athens, Greece ATINER’s conference paper proceedings series are circulated to promote dialogue among academic scholars. All papers of this series have been blind reviewed and accepted for presentation at one of ATINER’s annual conferences according to its acceptance policies (http://www.atiner.gr/acceptance). © All rights reserved by authors. 1 ATINER CONFERENCE PRESENTATION SERIES No: ARC2017-0106 ATINER’s Conference Paper Proceedings Series ARC2017-0106 Athens, 28 September 2018 ISSN: 2529-167X Luís Manuel Lourenço Sêrro, Associate Professor, Lusíada University, Portugal. Scenographic Interventions in Portuguese Romantic Architecture ABSTRACT When Kant established the noumenon1 as the limit of knowledge in his Critique of Judgment, he set off a reaction among the most distinguished philosophers of the infinite: Fischte, Schilling, and Hegel. This consciousness of the infinite and its analysis through the feeling of the sublime was the basis of all European Romanticism, as well as of the artistic currents that flowed from it. Although the theme of the sublime has been studied since Longinus, it was Hegel who extended the concept through the analysis of space and time in his The Philosophy of Nature, because nature as de-termination2 of the idea necessarily falls in space and time.3 Consequently, the artistic achievement of that era could only be a figurative representation of the sublime and the integration of all arts in a whole with the purpose of awakening the feeling of Gesamtkunstwerk.
    [Show full text]
  • Dark Tourism in the Land of Sunshine: A
    INSTITUTO SUPERIOR DE CONTABILIDADE E ADMINISTRAÇÃO DO PORTO POLITÉCNICO DO PORTO MASTER’S DEGREE M INTERCULTURAL STUDIES FOR BUSINESS n Dark Tourism in the land of and Sunshine: An intercultural business model for the routes of death and disaster in Portugal Ana Cristina Resende Rodrigues 06/2020 Dark Tourism in the land of Sunshine: A business model for the routes of death . 2020 / ntercultural Ana Rodrigues i disaster in Portugal 06 INSTITUTO SUPERIOR DE CONTABILIDADE E ADMINISTRAÇÃO DO PORTO POLITÉCNICO DO PORTO MASTER’S DEGREE M INTERCULTURAL STUDIES FOR BUSINESS n Dark Tourism in the land of and Sunshine: An intercultural business model for the routes of death and disaster in Portugal Ana Cristina Resende Rodrigues routes of death Master Dissertation present to Instituto Superior de Contabilidade e Administração do Porto to obtain the Master's Degree in Intercultural Studies for Business, under the supervision of Professor Clara Maria Laranjeira Sarmento e Santos. Dark Tourism in the land of Sunshine: A 2020 / Ana Rodrigues. intercultural business model for the disaster in Portugal 06 ii Dedication I would like to dedicate this dissertation to my grandfather Manuel Martins Resende, who passed away on December 18, 2017. One of the most important persons in my life, who has always supported me along the way. I will carry you in my heart, until I find you again. iii Acknowledgements This Master's dissertation was supported by some very important people without whom it would not have become true and to whom I will always be grateful. As such, I wish to express my gratitude to all those who, in some way, allowed this dissertation to take place.
    [Show full text]
  • Lisbon, What the Tourist Should See
    Fernando Pessoa Lisbon, what the tourist should see ... illustrated and geolocalized http://lisbon.pessoa.free.fr 1 of 48 What the Tourist Should See Over seven hills, which are as many points of observation whence the most magnificent panoramas may be enjoyed, the vast irregular and many-coloured mass of houses that constitute Lisbon is scattered. For the traveller who comes in from the sea, Lisbon, even from afar, rises like a fair vision in a dream, clear-cut against a bright blue sky which the sun gladdens with its gold. And the domes, the monuments, the old castles jut up above the mass of houses, like far-off heralds of this delightful seat, of this blessed region. The tourist's wonder begins when the ship approaches the bar, and, after passing the Bugio lighthouse 2 - that little guardian-tower at the mouth of the river built three centuries ago on the plan of Friar João Turriano -, the castled Tower of Belém 3 appears, a magnificent specimen of sixteenth century military architecture, in the romantic-gothic-moorish style (v. here ). As the ship moves forward, the river grows more narrow, soon to widen again, forming one of the largest natural harbours in the world with ample anchorage for the greatest of fleets. Then, on the left, the masses of houses cluster brightly over the hills. That is Lisbon . Landing is easy and quick enough ; it is effected at a point of the bank where means of transport abound. A carriage, a motor-car, or even a common electric trail, will carry the stranger in a few minutes right to the centre of the city.
    [Show full text]
  • 201222154934.Pdf
    1 A HISTORY of MANUEL DE ARRIAGA MANUEL José DE ARRIAGA Brum da Silveira — lawyer, teacher, poet, congressman —, became part of history as one of the most notorious Portuguese politicians of the 19th - 20th century transition and from the monarchy to the republic, assuming the purest profile of a republican who was honest, selfless and completely devoted to the public cause. He was the first President of the Portuguese Republic. According to the available documental information, Manuel de Arriaga was born in Horta on July 8th 1840. However, some defend that he might have been born in the Arriagas manor, on Pico Island, where his family used to spend the summer months and was later baptized and registered in Horta, his parents’ legal residence at the time. Born into a wealthy family with traditions in politics and military life — his father was the family primogeniture, his grandfather on his father’s side was a general who had distinguished in the Peninsular War, and a great-uncle had been a congressman to the Constituent Courts from 1821-22 —, Manuel de Arriaga had his elementary schooling in his hometown and, in 1861, moved to Coimbra to attend Law School. In University, where he was an honor student, he soon proved to be a speaker of note and actively intervened in student strug- gles, being a subscriber of University of Coimbra Students’ Manifesto to the Country’s Illustrated Opinion, written and published by Antero de Quental. His adhesion to philosophical positivism and the defense of democratic republican ideals got him rejected by his family having been disowned by his father, who banned him from coming home.
    [Show full text]
  • Dossier De Presse
    Place de la Maison Carrée. 30031 Nîmes cedex 1. Téléphone : 04 66 76 35 70. Fax : 04 66 76 35 85 E-mail : [email protected] DOSSIER DE PRESSE Musée d’art contemporain de Nîmes OÙ ? Scènes du Sud : Espagne, Italie, Portugal Carré d'Art - Musée d'art contemporain de Nîmes Exposition du 23 mai au 23 septembre 2007 Commissaire de l’exposition : Françoise Cohen Sommaire Avant-Propos Présentation de l'exposition Catalogue de l'exposition Biographies sélectives des artistes exposés Liste des œuvres exposées Documents iconographiques Informations pratiques Exposition à venir Cette exposition est soutenue par Contact presse : Delphine Verrières - Carré d'Art Tél : 04 66 76 35 77 - Fax : 04 66 76 35 85 - E-mail : [email protected] Direction de la Communication de la Ville de Nîmes - Communication des musées Jean-Luc Nito - Tél : 04 66 76 71 77 - E-mail : [email protected] Carré d'Art est une vigie de référence sur la façade méditerranéenne de l'Europe. Depuis quelques lustres, que ce soit en " préfiguration " du Musée d'Art Contemporain ou au cœur du lieu dessiné par Norman Foster, la création apparue depuis les années 60 s'expose. A tous les sens du mot. Si notre " ère " commence avec la seconde partie du XXème siècle, elle se poursuit avec les artistes nés avec la collection. Ils en sont/seront le prolongement naturel, qu'ils s'y enracinent ou pas. Carré d'Art nous offre la chance de cette nouvelle génération dont l'une des caractéristiques majeures réside dans la mondialisation des idées, des inspirations, de leur médiatisation instantanée.
    [Show full text]
  • IN the Kingdom of the Baroque Everyone CAN Take a SWING the SOUND of the NEW GENERATION
    MY OWN LISBON MAFra Palace and monastery IN the Kingdom OF the BaroQue A golFing Paradise EVeryone can taKE A swing InterView – BuraKA Som Sistema The sound OF the new generation ART THEATRE DANCE MUSIC NIGHT ART THEATRE DANCE MUSIC NIGHT INDEX 4 Lisboa inFluences the sounds OF the new generation The different cultures that cross 12 each other in the Lisboa streets influence the rhythms of the A Journey MY OWN LISBON new generations of musicians. through The magazine-guide for visitors to Lisbon Buraka Som Sistema exists, the streets Nº 4 barely, because the group was OF Lisboa raised in the Portuguese capital, OWNED BY but its development is taking Turismo de Lisboa Praça Martim Moniz is the place across the globe. Rua do Arsenal, 15 8 starting point for a unique 1100-038 Lisboa journey through the streets T: +351 210 312 700; F: +351 210 312 899 of Lisboa by means of one E-mail: [email protected] MAFra www.visitlisboa.com of the capital’s symbols: the Palace and mythical tram 28. Monastery DIRECTOR Paula Oliveira A little less than fifty kilometres EDITOR from Lisboa, the imposing building that houses the Mafra Palace and Monastery, the most important monument of the Portuguese Baroque era, rises Edifício Lisboa Oriente Av. Infante D. Henrique, 333H, Esc. 49 majestically. 1800-282 Lisboa T: +351 21 850 81 10; F: +351 21 853 04 26 Email: [email protected] PRINTING Sogapal 100.000 copies portuguese, spanish, english, french, german, italian Registration nº 231744/05 20 Pombaline Baixa 1 November 1755, All Saints’ Day, a religious holiday.
    [Show full text]
  • Page 01 Jan 10.Indd
    www.thepeninsulaqatar.com BUSINESS | 17 SPORT | 21 Global sukuk Thomas defies issuance likely to Matsuyama for hit $65bn this year Champions title Tuesday 10 January 2017 | 12 Rabia II 1438 Volume 21 | Number 7037 | 2 Riyals Emir receives message from Jordan King Deputy Emir Screening chairs second meeting of project to QU Board of Trustees curb diseases QNA eputy Emir H H Sheikh Abdullah Fazeena Saleem Dbin Hamad Al The Peninsula Thani, the Chairman of the Known as ‘Smart’ the Board of Trustees of Qatar he Primary Health preventive medicine University (QU), presided Care Corporation and screening service over the second meeting (PHCC) has launched aims at preventing of the Board of Trustees a pilot screening and managing risks for the academic year project to curb the 2016/2017, which was held of chronic health Thigh prevalence of several life- at the Emiri Diwan style and other diseases in the conditions such as yesterday. country. hypertension, diabetes, The meeting discussed Known as ‘Smart’ the pre- cancer and other topics on the agenda, ventive medicine and screening common diseases including a report on the service aims at preventing and through screening and projects and decisions managing risks of chronic implemented by the QU early detection. health conditions such as since the first meeting. hypertension, diabetes, cancer The Board agreed on and other common diseases factors and invites these high- appointing Dr Hassan Eissa through screening and early risk patients to the clinic for Al Fadalah, as Associate detection, says Dr Samya Al voluntary screening, said Dr Dean for Academic Affairs, Emir H H Sheikh Tamim bin Hamad Al Thani has received a written message from King Abdulla, Executive Director for Samya.
    [Show full text]
  • Public Art Journal Cadernos De Arte Pública
    CAP Cadernos de Arte Pública Public Art Journal Sculpture: Studies/ Escultura: Estudos Vol. 2 / Nº 1 Urbancreativity.org Title: Cadernos de Arte Pública CAP - Public Art Journal Editor: Pedro Soares Neves Co-editor: Sergio Vicente FBAUL/ CIEBA Lisbon, December 2020 ISSN (Print): 2184-6197 ISSN (Online): 2184-8157 Licensed under a Creative Commons Attribution- NonCommercial 4.0 International License. You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. You may not use the material for commercial purposes. Table of contents Sculpture: Studies/ Escultura: Estudos 4 Editorial, Sergio Vicente FBAUL/ CIEBA Articles Performative Materials and Activist Commemoration 6 Mechtild Widrich - School of the Art Institute of Chicago, USA Esoteric vandalism and dialogical graffiti as ruses for symbolic appropriations of public space 14 Cynthia Montier, Artist & Independent Researcher, Strasbourg, France The Portuguese Neo-Baroque Sculpture: state of the art, between Traditional and Modern 24 A Escultura Neobarroca Portuguesa: um estado da arte, entre o Tradicional e o Moderno Ana Lourenço Pinto, FBAUL, Lisboa, Portugal Trabalho artístico e espaço urbano: Separação como estratégia de resistência no colectivo OT301 36 Catarina Pires, IHA, FCSH, Universidade NOVA de Lisboa, Portugal A cultura popular na pavimentação artística da Praça do Império na Exposição do Mundo Português, de 1940 47 Popular culture in the artistic pavement of Praça do Império at the 1940 Portuguese World Exhibition Ernesto Matos 62 CiberÀtrações: Do sensualismo radical ao animismo, devir bicho Gastão Frota 73 A terra nos trabalhos artísticos latino-americanos e ibéricos da década de 1970.
    [Show full text]
  • Politica De Vecinătate, Vector De Bază
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositório Comum GeoJournal of Tourism and Geosites, Year VI, no. 2, vol. 12, November 2013, pp. 203-213 13Year ???, no. ?, ??? 20??, p. ???-??? ISSN 2065-1198, ISSN-L 2065-0817 Article no. 121011-138 Article no. ??????-??? LISBON EXPERIENCE. MOBILITY, QUALITY OF LIFE AND TOURIST IMAGE: A SURVEY Luca ZARRILLI* University “G. D’Annunzio” of Chieti-Pescara, Department of Economics, Viale Pindaro 42, 65127, Pescara, Italy, e-mail: [email protected] Miguel BRITO Escola Superior de Hotelaria e Turismo do Estoril (Portugal), [email protected] Abstract: Tourists recently awarded Lisbon as the best city break destination in Europe. This article analyses the various types of tourist experience in the city of Lisbon. The research method is the questionnaire, aimed at investigating the choices of tourists in the area of mobility, their perception of the quality of life and their level of appreciation of neighbourhoods, landmarks and infrastructures. There is an obvious link between the quality of life and the quality of the tourist experience but it is difficult to measure it. Through this questionnaire, we hope to have made a small contribution to the understanding of the perceptive sphere of the individual and his choices in terms of behaviour, which are an essential element of any strategy for tourism marketing. Key words: Lisbon, questionnaire, mobility, quality of life, perception * * * * * * GENERAL FRAMEWORK The region of Lisbon has always played an important role as a tourist destination in Portugal. Tourism in the city of Lisbon, in particular, is now of paramount importance for Portuguese and international cultural tourism, with global revenues amounting to 562 million euros in 2011 (Turismo de Portugal, 2012).
    [Show full text]
  • Lisboa, Passagem De Poetas E Escritores Estrangeiros / Destination
    LISBOA, PASSAGEM DE POETAS E ESCRITORES ESTRANGEIROS \ \~!t!J&JUJ]@flf} ~@@!}jg . /JlJ{J[E ©JfiV ~[E[Eflf} /JlJ{J!i1@{j))@[J{J /JlJ{J[E ~ @[f5 ~flf}@ 0fJ!J~~ Elias Torres Feijó I' Indice 0 Index Carta- Depoimento de visitantes apaixonados Testament from infatuated visiters 11 Apresentação do Roteirista Introduction to the narrator 17 Itinerário A RouteA 33 Itinerário B Route B 42 Bibliografia Bibliography 57 Itinerário Route ~ Basílica da Estrela ~ Castelo de São Jorge ~ Elevador da Glóri" ~ Estufa Fri" ~ Jardim Botânico ~ Jardim da Estrela ~ Jardim S. Pedro de Alcântara ~ Marquês de Pombal ~ Martim Moni~ ~ Praça do Comércio ~ Príncipe Real ~ São Vicente -------------- o desenho do Festival dos Oceanos 2000 The Festival af the Oceans 2000 aims to loca te pretende colocar Lisboa no plano universalista e Lisboa on the intemational and multicultural plane multi cultural que tem sustentado a Cultura that has always characterised Portuguese Culture: Portuguesa: Lisboa, porta para o mundo, elo entre Lisboa, the gateway to the world, the link between as múltiplas regiões e entre todos os continentes, regians and continents, the bridge reaching out ponte lançada aos povos a quem une um rio que to different peoples and uniting them into a flowing a todos acolhe, sem olhar a condição ou a títulos. river that welcomes ali, regardless of c!ass ar rank. Na rota destes propósitos não poderiam deixar de voltar a estar presentes os Roteiros de Lisboa This is a theme which could not faU to be addressed e entre os seus vários temas este percurso a que by the Guides to Lisboa, and in particular by the chamámos Lisboa, Passagem de Poetas e Escritores itinerary we have decided to call "Destination Estrangeiros.
    [Show full text]