Tempo andante da intervenção urbana: relações temporais nas obras “Imagens posteriores”, “Giganto” e “Polaroides (in)visíveis”

• Ano de defesa: 2017
• Autor(a) principal: Fernandes, Ana Rita Vidica
• Orientador(a): Borges, Maria Elizia
• Banca de defesa: Borges , Maria Elizia, Flores , Maria Bernardete Ramos, Jesus , Samuel José Gilbert de, Silva , Valéria Cristina Pereira da, Noronha , Márcio Pizarro
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em História (FH)
• Departamento: Faculdade de História - FH (RG)
• País: Brasil
• Palavras-chave em Português: Tempo; Fotografia; Cidade; Olhar; Intervenção urbana
• Palavras-chave em Inglês: Time; Photography; City; Look; Urban intervention
• Área do conhecimento CNPq: CIENCIAS HUMANAS::HISTORIA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/7077

The research “Walking time of urban intervention: temporal relations in the works ‘Imagens Posteriores’, ‘Giganto’ and ‘Polaroids (in)visíveis’ derives from reflections on time in three urban interventions with photography, namely Patricia Gouvêa’s “Imagens Posteriores” (2000-2013), Raquel Brust’s “Giganto” (2009-2013) and Tom Lisboa’s “Polaroides (in)visíveis (2005-2011). I place myself before the images and documents-sign of the works bearing in mind the proposition of the philosopher and historian Georges Didi-Huberman (1998, 2013, 2015), out of which emerges a temporal crossing of past, present and future. This crossing is due to the perception of the lines of time proposed by the philosopher Gilles Deleuze (1987): “time wasted”; “time lost”; “time regained” and “time rediscovered”. Furthermore, it is added the concept of “walking time”, set up by the researcher, concerning the temporal structure that results from the association of “time happening” with “plain space”. The perception of theses times leads to the discussion of the temporal crossings in relation to other urbanity, photography and art images, anachronicaly seen within the works (anachronies-process, anachronies-plasticity, anachronies-form), directed towards the past. And towards the future, at the meeting with the looks in the city (looks-invisibility, looks-emancipation, looks-circulation), it brings out relationship between work, artist, spectator, either in the virtual or in the urban space.