A dissolução da paisagem: imagem, espaço e tempo na vídeo-instalação

• Ano de defesa: 2017
• Autor(a) principal: Paraboni, Muriel
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• dARK ID: ark:/26339/001300000wqv8
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; Brasil; Artes; UFSM; Programa de Pós-Graduação em Artes Visuais; Centro de Artes e Letras
• Palavras-chave em Português: Arte contemporânea; Arte e tecnologia; Vídeo-instalação; Paisagem; Imagem; Contemporary art; Art and technology; Video installation; Landscape; Image; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES
• Link de acesso: http://repositorio.ufsm.br/handle/1/13663

The present investigation in Visual Poetics, as a research in the line of Art and Technology, at PPGART/UFSM, brings as object the realization of video installations, having the landscape as theme. The landscape emblematizes the central questions of the research: the concept of image, time and space in the video installation. In this context, landscape is discussed by the ideas of Anne Cauquelin and analyzed from the romantic painting in Gaspar David Friedrich, through its visual dissolution in William Turner, at the gates of modernity. From there, brings Mark Rothko and Barnett Newman as references to think of the passage into space, color as an environmental sensation. With the help of the concepts of space, time, intensity and duration in Henri Bergson, also seen from the perspective of Gilles Deleuze, the image is problematized in its transition from representation to experience in the space of contemporary art, unfolding the other questions of research: space, language and technology. Color is thought as sensation in Dan Flavin and James Turrell. Metalanguage and the use of technology are approached from the works of Nam June Paik, Ryoji Ikeda and Dough Aitken, in their different interests and poetic perspectives, punctuated by the ideas of Vilém Flusser, Arlindo Machado, André Parente and Jean-Luc Nancy. The concept of drift, as used by North American land artists of the 1960s and 1970s, emerges as part of the working method, linking the exploration of the natural landscape with the introduction of the artificial landscape into the gallery, having the aesthetics and procedures of the minimalism as modules for designing space and time installed. The landscape resulting as installation, in this way, is proposed as experience, once founded on stimuli, vestiges, suggestions and sensations harvested in the natural landscape, then displaced and redefined by video and post production technology, in an expanded concept of image. Divided into three cycles, the research presents in each one the process of instituting one of the works produced in this poetic research, unfolded in its central concepts discussed from smaller experiments. In the first environment, the result of the series "Dissolution", the landscape is synthesized in projections of color and incidental sounds in the establishment of an expanded space-time. In "Video cascade" the parts of a waterfall are installed in different degrees of intensity, putting in check dichotomous notions of natural and artificial, from the ideas of Jean-Luc Nancy. In "Luminescences" the landscape itself is stripped away for an extended and abstract notion of installation space, analogous to the processes of the mind, using poertry, sound and visual collages. In short, and in all works, the common goal of providing environments of expanded temporality, inviting the public to a subtle experience, of interiorization and contemplation of self.