Detalhes bibliográficos
| Ano de defesa: |
2020 |
| Autor(a) principal: |
Scudeller, Pedro de Assis Pereira
 |
| Orientador(a): |
Rocha, Rosamaria Luiza de Melo |
| Banca de defesa: |
Carrascoza, João Luís Anzanello,
Anjos, Moacir Tavares Rodrigues dos |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Escola Superior de Propaganda e Marketing
|
| Programa de Pós-Graduação: |
Programa de Mestrado em Comunicação e Práticas de Consumo
|
| Departamento: |
ESPM::Pós-Graduação Stricto Sensu
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
http://tede2.espm.br/handle/tede/493
|
Resumo: |
This dissertation comments on consumption and circulation of art in the context of large-scale art events, having the 33rd Bienal de São Paulo as its empirical object. For this discussion, Remix is used as an interpretive key, as we understand it both as a creative practice and as a variable that permeates culture. Therefore, we put forward a theoretical discussion about the concept of remix, its premises and developments, also discussing its politicity. Following this topic, we analyze the concept of curating and the characteristics of major exhibition events, based on a historical account of such concepts and some of their more pressing issues, also exploring the relations between art and consumption. Finally, we examine the curatorial project of the 33rd Bienal, dissecting it under the Remix lens, in order to understand how large exhibition models could benefit from some of its elements. We also scrutinize the exhibited works based on an experience of dérive, from which we propose themes pertaining to the interface between art and remix, thus giving materiality to the proposed theoretical discussion. |
