Curadoria autoral: o papel dos arranjos expositivos na comunicação do trabalho de arte

• Ano de defesa: 2012
• Autor(a) principal: Gonring, Gabriel Menotti
• Orientador(a): Salles, Cecilia Almeida
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Comunicação e Semiótica
• Departamento: Comunicação
• País: BR
• Palavras-chave em Português: Curadoria; Artes; Redes; Tecnologias de comunicação; Audiovisual; Cinema
• Palavras-chave em Inglês: Curating; Arts; Networks; Media technologies; Audiovisual; Cinema
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://tede2.pucsp.br/handle/handle/4409

Under the light of the recent developments in mass media and computer technologies, this thesis proposes a relational perspective that allows us to evaluate the creative autonomy of curatorial practices in other words, the capacity of the curator to intervene in the meaning and value of the artist s work, and even to be able to create meaning and value with her own activity. Departing from ideas of Cecília Salles and Bruno Latour, we established that an artwork, more than an autonomous gesture or singular artefact, is the manifestation of disputed networks of intersubjective processes. The importance of the activity of the curator in these networks is underscored by a close reading of the history of art exhibitions from the middle of the 19th century until today, the period in which the profession of curator as we know it has been established. This is based on critical studies such as those of Karsten Schubert, Nicholas Serota, Brian O Doherty and Mary Anne Staniszewski. Simultaneously, we analyse how curatorial practices have been transformed in relation to art making, changing its scope according to the way media systems were incorporated by creative processes. In that sense, we propose that such practices do not operate only in the conservation and exhibition of artworks, but rather participate actively of its dynamics of production and consumption. Finally, another way of understanding the work is proposed by the means of the concept of exhibition design, which would create an intersection between the fields of media, arts and design, allowing us to understand in detail how these disciplines interact and influence each other historically, specially in what concern the negotiation of the limits of creative activity in each of them. This approach is exercised in the making of the exhibition Denied Distances, employing curatorial practices as a self-reflexive opportunity to promote a deeper understanding about their own intervention in creative networks. Besides calling our attention to the degree of influence of the curator in the communication of art making, such methodology underscored the role of contingencies and institutional realities in the work of the independent curator