Borboletear, o conhecimento movente

• Ano de defesa: 2021
• Autor(a) principal: Marcelino Peixoto de Melo
• 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: Desenho; Corpo; Método; Acontecimento; Ateliê; História da arte; Kentridge, William, 1955-; Desenho - Técnica; Desenho - Pesquisa; Arte - História; Imagens - Interpretação; Artes - Pesquisa
• Link de acesso: http://hdl.handle.net/1843/38270

This is a research about methods of research. It aims to discuss the production of knowledge in arts and, more specifically, the nature of a certain knowledge that emerges from drawing. It refers about Research and interpretation methods in Sciences, in particular, the History of Art as well the specificities of Drawing, books and animation. It considers reading as an active process for the elaboration of writing and image. The research collates William Kentridge works – artist and researcher of drawing in motion – considering his atelier production. It takes as a corpus empiricus the flipbook called How I did not become a monster, created for the exhibition Fortuna (2013) at the Pinacoteca do Estado de São Paulo, at the Instituto Moreira Salles (Rio de Janeiro), and at the Fundação Iberê Camargo (Rio Grande do Sul) in Brazil. It works with Kentridge’s moving drawings, going through the individuality of its various pages, placing them in relation between each other via montage in an image panel (Mnemosyne). The flipbook was chosen because it was a work which drawings were made frame-by-frame, pointing to the specific dynamics of occupation of time as well as the ways of reading the book. This choice imposes an approach to the book as a sensitive matter, as first meat (as an ouvre), thus giving special attention to its physical attributes (paper, printing, format, etc.), its presentation and paratext statutes. The research explores the principle of montage in the approach to Kentrige’s work. This principle forms the basis of Aby Warbug’s historiography, as well as the sediment of thought on Art History by Georges Didi-Huberman. It aims to approach the notion of montage to the artist’s work modes in studio. It presents the studio as paradoxical place for the reunion of the past with the present; a place of choice, where it is possible to pass through paths of problems instead of speeches of certainties. In this thesis, that prepared space for work is considered a place of Event (l´Evénement). It highlights the transformation of one of the studio’s rooms where the researcher worked during the time the research was developed (2017 to 2021). Here are exposed the experiments carried out, where those images and texts which had been read were posted on the walls, creating an immersive space for research. The questions elaborated here as visual art production and the research outcome are named as consequences.