Que galeria para o século XXI?

• Author(s): Matos, Ana Reis Saramago
• Date: 2012
• Persistent ID: http://hdl.handle.net/10451/6334
• Origin: Repositório da Universidade de Lisboa
• Subject(s): White Cube (Londres); Arte contemporânea; Galerias de arte; Arte pública; Altermodernismo
• Document Type: Master thesis
• Language: Portuguese
• Advisor(s): Dias, José António Fernandes, 1947-; Coutinho, Bárbara, 1971-
• Contributor(s): Repositório da Universidade de Lisboa

Description

Tese de mestrado, Estudos Curatoriais, Universidade de Lisboa, Faculdade de Belas Artes, 2012

This dissertation, entitled «What Gallery for the 21th century? – A possible reflection», intends to analyze the Gallery as an institution in the present art system: a more complex and dynamic system than the one that has guided the last century’s canons. Similarly to what has been happening with the Museum, of which the positioning in the society and the relation with the other system agents have adapted to the new reality, the contemporary Gallery also needs a new definition and attitude that congregates the paradigms of this century. Throughout this study some moments of the Occidental Art History of the 20th century will be analyzed with the aim of supporting the tight relation between the Gallery - as a showroom and in its relation with the spectator - and the artistic practices. Being one a reflex of other, come to the second decade of the 21th century, it urges to question whether the essence of the Gallery responds to the new artistic and social circumstances. From these new circumstances there is to highlight that, on the one hand, the roles of the different art system agents have been contaminating themselves, changing in a profound manner the spectator’s perception on what is Art and in which way and contexts it expresses. On the other hand, the Information and Knowledge Society gave rise to an emancipation of the spectator who, this way, became more critic and attentive. The contemporary Gallery has, therefore, to take on new essences and adjust itself to its new audiences – physical and/or virtual – creating a new meaning for “temple”, retrieving the spectator physicality, expanding its field of action and intervention to other territories, and winning back the complicity with artists. These are the pillars on which stands the Grey Circle model proposed in this dissertation: an open model, raising the theoretical discussion on the role of the Gallery in a global and altermodern world