Pintura site-specific

• Autor(es): Macedo, Rui Alexandre, 1975-
• Data: 2012
• Identificador Persistente: http://hdl.handle.net/10451/5061
• Origem: Repositório da Universidade de Lisboa
• Assunto(s): Pintura; Site - Specific; Trompe-l’oeil; Limites; Lugares
• Tipo de Documento: Dissertação de mestrado
• Idioma: Português
• Orientador(es): Sabino, Isabel, 1955-; Babo, Maria Augusta
• Contribuidor(es): Repositório da Universidade de Lisboa

Descrição

Tese de mestrado, Pintura (Variante teórico-práctica), Universidade de Lisboa, Faculdade de Belas Artes, 2012

I - In the example of La totalidad imposible are made the assumptions to define site-specific painting. Concepts such as topos / locus are articulated with the problem of musealization in order to formalize the specificity of this painting. The position of the painting on display is determined (also) by its pre-figuration: by a representation where the regime of implementation specified in the citation (in the representation and in the title) allows the cutting, repetition, mise en abyme and the mise en scène to participate in a performative way. II - «In advance of» distinguishes itself by using citation as a constant resource on representation and in the title. The fragment is conceptualised as a part of the representation: fragment as formal statement of a figural order. III - The Museum as Muse: an option to intervene in continuum. Nimium ne credere colori exemplifies how the performativity of a place within the regime of co-presence of exhibitions is achieved from games made in trompe l'oeil to camouflage representation. IV - ConTemplar ou A moldura como limite allows to give focus to the theme / concept of the frame that spans the previous examples: while parergon, as assumed in presence or represented, in whole or fragmented, complete or incomplete. V – Site-specific Painting: five works for the former Convent of San Francisco in Lisbon. Photographic documentation of the corpus of practical dissertation