A imagem da inquietação

• Ano de defesa: 2024
• Autor(a) principal: Flávia Tresinari Bertinato
• 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: Alegoria; Gênero; Construções culturais; Processo artístico; Bertinato, Flávia Tresinari, 1980-; Criação (Literária, artística, etc.); Alegorias; Arte e filosofia; Feminismo e arte; Arte brasileira - 1960-1969
• Link de acesso: http://hdl.handle.net/1843/76427

The research The Image of Unrest presents questions concerning my artistic production in its investigative center. The decision to a trajectory segment containing installations, sculptures, paintings, and photographs is motivated by observing the common approach to exploring the allegorical form, specifically regarding the representation of feminine figures. The title of the thesis doesn´t leaves relate to the unstable movement of coming and going in the development of artistic language. Based on this characteristic of mobility and tension, present in the expression authored by the philosopher Walter Benjamin, when qualifying the allegorical form, I also find bases for reflection on the very notion of feminine. For the philosopher, the allegorical form is characterized mainly by the resistance to fixating on a single meaning that remains stable over time. It is in this sense that I propose, in this thesis, a meditation on the correspondences between allegory and the notion of feminine, also involving the reading of an aspect of artistic production in Brazil in the 1960s by music and cinema which found in the broad aesthetic exploration of allegorical resources (among others, the abysmal work of metaphors, analogies, and dialectical structures) ways of demystifying and confronting signs aligned with the ideological mechanisms of the dominant powers of that period of social repressions by dictatorial governments. In the sequence of this theoretical and historical study, I discuss artistic works that I have produced and others in the process, entering into the reflection of the disruptive power of the allegorical form in favor of mutant materiality, critical of the homogenizing and normalized cultural constructions that incur on the sign feminine.