Quero ter tempo para rever as coisas que tenho: escritas de si, errância, arquivo

• Ano de defesa: 2023
• Autor(a) principal: Taila Suian Idzi
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; EBA - ESCOLA DE BELAS ARTES; Programa de Pós-Graduação em Artes; UFMG
• Palavras-chave em Português: Escrita de si; Arquivamento de si; Horizonte de subjetivação; Errância; Criação (Literária, artística, etc.); Gravura; Poética; Memória na arte; Livros de artistas
• Link de acesso: http://hdl.handle.net/1843/56835; https://orcid.org/0000-0002-8439-219X

This dissertation starts from my own production in the visual arts to investigate and discuss the relationships between artistic processes and processes of subjectivation, having my work as an artist as the object of analysis in dialogue with other contemporary artists. To do so, I developed a theoretical-practical methodology that involved the creation of a poetics of wandering, which thematizes both the literal displacement and the metaphorical displacement of traveling within oneself, from a work of art or from the artistic process itself. In this way, I also explore the accidents along the way as places of creation, grounding a poetics that embraces both error and fragmentation, which is presented in an intermedial body of work (CLUVER, 2008), (HIGGINS, 2012), ( HOEK, 2006), (VENEROSO, 2008), created between times of intense transit between Belo Horizonte-MG and Porto Alegre-RS and in times of isolation resulting from the Covid-19 pandemic. The works presented here involve metal engraving, video, photography, heliogravure, poetry and practices that transit between collection and archive. The theoretical framework used starts from the confluences between the fields of self-writing, covering concepts such as “biographical space” (ARFUCH, 2010), “subjective turn”, (SARLO, 2007), KLINGER (2012), “self-writing” FOUCAULT (1992) and also from the field of archival art, covering concepts such as “archive craze” (ROLNIK, 2005), “archive fever” (ENWENZOR, 2008), “archival impulse” (FOSTER, 2004) and “historiographical impulse” (BEIGUELMAN, 2018) and brings them together under the concept of horizon of subjectivation. Based on these theoretical contributions, the aim is to investigate and discuss the relationship between self-writing and archive both in my practice and in that of other artists, seeking to understand the relationship between art and archive, word and image, in processes of archiving the self (ARTIÈRES, 1998) and self-writing.