Babel: a postura do artista no paradigma da arte contemporânea

• Ano de defesa: 2020
• Autor(a) principal: Bárbara Mól Gonçalves
• 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: Artista; Arte contemporânea; Imagem; Postura; Singularidade; Artistas - Séc. XX-XXI; Arte - Filosofia; Crítica de arte; Arte - Aspectos sociais; Arte moderna - Séc. XX-XXI
• Link de acesso: http://hdl.handle.net/1843/36542; http://orcid.org/0000-0003-1104-8387

Babel: the artist's posture in the contemporary art paradigm questions certain postures of artists and theirs images within the current artistic context, understood as a complex set of values and relationships. Under the background image of Babel and the plurality of its name, it is investigated the works of artists Doris Salcedo, with Shibboleth (2007), Teresa Margolles, with ¿De qué otra cosa podríamos hablar?Limpieza (2009), William Kentridge, with I am not me, the horse is not mine (2008), and Jorge Fonseca, with Fiotim – O Museu em Movimento (2015). Through the study and listening/observation of its processes unrestricted to a majority object, it is questioned: What would be the artist's posture and his images (de)constructing? What would be its statute: aesthetic, philosophical, moral, social? What these specific images can ontract – or cheat – in relation to the world(s) surrounding each of these artists? What is the connection between the works, the titles and the counter-field of these postures in contemporary art? After all, what the artist’s posture is for? Although one question leads to another, babelically, the research discusses by critically and, above all sensitively, the art proposals studied here, wishing to learn a possible way, between uncertainty and hope, of being in the world.