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A Ressignificação Do Espaço Em Curadorias De Lucy Lippard

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A Ressignificação Do Espaço Em Curadorias De Lucy Lippard UNIVERSIDADE DO ESTADO DE MINAS GERAIS Programa de Pós-Graduação em Artes Maria Gabriela de Carvalho Ribeiro Alves EXPOSIÇÃO EM CAMPO EXPANDIDO: a ressignificação do espaço em curadorias de Lucy Lippard Belo Horizonte 2018 Maria Gabriela de Carvalho Ribeiro Alves EXPOSIÇÃO EM CAMPO EXPANDIDO: a ressignificação do espaço em curadorias de Lucy Lippard Dissertação apresentada ao Programa de Pós- Graduação em Artes da Universidade do Estado de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. Orientadora: Dra. Celina Figueiredo Lage Área de concentração: Artes Visuais e Música Belo Horizonte 2018 Maria Gabriela de Carvalho Ribeiro Alves EXPOSIÇÃO EM CAMPO EXPANDIDO: a ressignificação do espaço em curadorias de Lucy Lippard Dissertação apresentada ao Programa de Pós- Graduação em Artes da Universidade do Estado de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. Área de concentração: Artes Visuais e Música __________________________________________________ Profa. Dra. Celina Figueiredo Lage – UEMG – Orientadora __________________________________________________ Prof. Dr. Eduardo Antônio de Jesus – UFMG __________________________________________________ Prof. Dr. Pablo Alexandre Gobira de Souza Ricardo – UEMG Belo Horizonte, 31 de agosto de 2018. À minha mãe, raiz e terra que me alimenta. AGRADECIMENTOS Agradeço a todos aqueles que de alguma forma caminharam ao meu lado, acenderam faróis em dias escuros, ensinaram-me a reconhecer os lugares por onde passei em mim e fora. Sou grata pelo incrível fluxo da vida que me trouxe até aqui. Agradeço ao ventre que me gerou, alimento absoluto de minha alma. Às mulheres de minha casa, levo comigo a gratidão eterna por me tornarem mulher, forte e consciente de mim. Obrigada por acreditarem em meus passos, mesmo quando eu não sabia para onde estava andando. Há muito de Angela, Tereza e Angélica aqui. Ao Luiz, parceiro de vida que dividiu comigo os últimos sete anos, agradeço os inestimáveis conselhos, leituras e conversas noite adentro sobre as pesquisas que se tornaram nossas. Obrigada pela força, foco e fé de todos os dias! Agradeço às amigas Lídia Mendes e Mailine Bahia, que me encorajaram a acreditar nos meus planos, lançar-me no escuro e buscar este mestrado. As longas conversas nas mesas de escritório do Sesc Palladium foram fundamentais para que eu construísse este projeto. Aos amigos Esther Azevedo, Fernando Ferreira, Júlia Félix, Nancy Mora e Nila Neves, agradeço o carinho com que compartilharam suas percepções não somente sobre as temáticas desta pesquisa, mas sobre a vida. Agradeço as imensuráveis contribuições da professora Dra. Celina Lage, que se dedicou generosamente ao desenho de cada parte desta dissertação. Seu olhar sensível e experiente foi essencial para as direções tomadas nessa trajetória. Agradeço ao professor Dr. Amir Cadôr a leitura sensível e valiosa ainda no desenvolvimento desta pesquisa. Ao professor Dr. Pablo Gobira, agradeço as significativas contribuições no processo desta pesquisa e por integrar a análise final deste projeto. Manifesto também minha gratidão ao professor Dr. Eduardo de Jesus, que mesmo antes do início desta pesquisa já me estimulava a pensar a curadoria e os espaços de exposição por meio de seu trabalho. Ao Programa de Pós-Graduação em Artes da UEMG, seus professores, alunos e funcionários, agradeço por acolherem meu trabalho e viabilizarem a materialização deste desejo. Sou grata pela bolsa de pesquisa CAPES que me foi concedida, recurso e amparo essenciais para a conclusão desta trajetória. Obrigada! Rindo enquanto ajeita o chapéu de lã, ele reduz meu sonho à tragédia da realidade pela explicação de que os lugares viajam conosco aonde quer que se vá. Que para ir é preciso voltar. Que a todo lugar que se vai é preciso passar pelo lugar de onde um dia se saiu. O início não é outro do que o lugar ao qual se retorna para seguir adiante. (TIBURI, 2012, p. 49). RESUMO Nesta pesquisa, examina-se e discute-se a atuação de Lucy R. Lippard em projetos, exposições e coletivos que apontam para uma ressignificação do espaço expositivo e suas consequências sobre a prática curatorial. Para isso, são exploradas principalmente as exposições de caráter conceitual e político que tensionaram os limites do sistema das artes vigente: Suitcases, Number Shows, 26 Contemporary Women, Six Years (...), Heresies Collective, PAD/D e a Printed Matter. Tomando como referência as ideias de “campo ampliado”, de Rosalind Krauss, e de “desmaterialização”, de Lucy Lippard, nesta pesquisa, investiga-se a curadoria de exposições e projetos que se desenvolvem em espaços alternativos às tradições modernas da galeria de arte. Seja nos espaços autônomos, na desmaterialização das exposições, na portabilidade das publicações impressas, na relação entre a arte e o espaço, ou nos espaços de representatividade, é possível constatar que as curadorias de Lucy R. Lippard contribuíram para a expansão da prática curatorial tal como concebemos na atualidade. Assim como outros curadores referenciais para história das exposições, Lippard abriu caminhos para compreendermos hoje a curadoria expandida, para além da organização de exposições em espaços formais, criando novos lugares para as exposições de artes visuais. Palavras-Chave: Curadoria de arte; Lucy R. Lippard; Feminismo; Arte conceitual; Livro de artista. ABSTRACT This research examines and discusses the work of Lucy R. Lippard in projects, exhibitions and collectives that points to a re-signification of the exhibition space and its consequences on curatorial practice. For this, the exhibitions of conceptual and political character that have tensioned the limits of the current art system are explored: Suitcases, Number Shows, 26 Contemporary Women, Six Years (...), Heresies Collective, PAD/D and the Printed Matter. Taking as a reference the ideas of extended field of Rosalind Krauss and the dematerialization of Lucy Lippard, the research investigates the curatorial aspects of expositions and projects that were developed in alternative spaces to the modern tradition of the art gallery. Whether through autonomous spaces, the dematerialization of exhibitions, the portability of printed publications, the relationship between art and space, or in the spaces of representation, it is possible to see that Lucy R. Lippard's curatorial process contributed to the expansion of the curatorial practice as we conceive today. Like other reference curators for the history of the exhibitions, Lippard opened the way for today's expanded curatorship, as well as the organization of exhibitions in formal spaces, creating new venues for visual arts exhibitions. Keywords: Curatorship; Lucy R. Lippard; Feminism; Conceptual art; Curatorial activism. LISTA DE IMAGENS Figura 1 – Ritratto del museo di Ferrante Imperato, gravura em metal, 1599. ............. 12 Figura 2 – Le Salon Carré au Musée du Louvre, Castiglione, óleo sobre tela, 1861. .... 13 Figura 3 – 1.200 Sacos de Carvão, Marcel Duchamp, 1938, Nova Iorque. ................... 15 Figura 4 – Merzbau, Kurt Schwitters, 1923-1937, Alemanha........................................ 16 Figura 5 – Obra Emergir na exposição O céu ainda é azul, você sabe. ......................... 25 Figura 6 – Instruções e diagrama para a montagem de escultura de Richard Serra ....... 30 Figura 7 – Vista da exposição Eccentric Abstraction na Galeria Fischbach, 1966 ........ 34 Figura 8 – La boîte em valise, Duchamp, mala e reproduções impressas, 1935-1941. .. 36 Figura 9 – Carta de Lippard enviada aos artistas para a exposição 557.087, de 1969. .. 38 Figura 10 – Catálogo de fichas soltas 4.492.040, por Lucy Lippard. ............................. 42 Figura 11 – Ato com os cartazes And babies em frente à Guernica de Picasso, 1969. .. 54 Figura 12 – Cut Piece, Performance de Yoko Ono, 1964 .............................................. 57 Figura 13 – Anotações de Lippard com os possíveis nomes das artistas de c.7.500 ...... 60 Figura 14 – Vista da exposição c.7500, 1973 ................................................................. 61 Figura 15 – Heresies Collective, ilustração publicada em maio de 1977 ....................... 63 Figura 16 – Fachada do primeiro endereço da Printed Matter ....................................... 65 Figura 17 – Capa do segundo número de First Issue, publicado em maio de 1981 ....... 69 Figura 18 – Conteúdo do segundo número da revista First Issue, maio de 1981 .......... 70 Figura 19 – Wish Piece, Yoko Ono, instrução, 1996 ..................................................... 87 Figura 20 – Wish Piece, Rasmussen, Stine e Reyman, 2002.......................................... 87 Figura 21 – PF ................................................................................................................ 89 SUMÁRIO 1 INTRODUÇÃO ......................................................................................................... 10 1.1 As exposições de arte e os espaços expositivos ..................................................... 10 1.2 Objetivos, objetos e metodologia ........................................................................... 20 2 ESPAÇOS PORTÁTEIS ........................................................................................... 25 2.1 A portabilidade da arte .......................................................................................... 26 2.2 A desmaterialização das exposições de arte ......................................................... 32 3 ATIVISMO CURATORIAL ...................................................................................
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