Detalhes bibliográficos
| Ano de defesa: |
2021 |
| Autor(a) principal: |
Almeida, Ana Carolina Sant’Anna de
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| Orientador(a): |
Salles, Cecilia Almeida
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://repositorio.pucsp.br/jspui/handle/handle/24289
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Resumo: |
In the context of contemporary artistic production, it is possible to observe that the development of archives has been an essential tool for artists, serving as foundation for creating new artworks. These collections preserve documents that are essential to understand how these compositions are conceived and under what conditions this happens. Given what has been said, this Master’s project will focus on the study of Mauro Restiffe, a Brazilian photographer with an intense activity, who has an archive with more than one hundred and fifty thousand images. His visual production has a prominent place in the national and international contemporary art scene. His work is based on analog images that are made using the same camera since he started shooting, in the mid-1990s. With images that carry a timeless tone, due to the use of highly sensitive black and white film, the artist is interested in photographing the following themes: architecture, landscapes, daily life, urban space, historical events, artists' studios and artworks. Based on these aspects, this research proposes the analysis of the procedures used by Restiffe on his practice, from the point of view of the theory of creation process. Thus, in order to understand which are the methods used by him to constitute his work, it was performed an extensive analysis of his archive composed of images, negatives and contact sheets. In view of this, it sought to identify and investigate the existence of patterns in his art, by means of recurrences found in his procedures and images from his collection. Thereby, it was showed that the archive is a fundamental piece on the development of new artworks, being also a source during the production of his exhibition |
