Do objecto impessoal ao objecto auto-referencial

• Author(s): Mateus, Joana Adelaide Souto, 1985-
• Date: 2011
• Persistent ID: http://hdl.handle.net/10451/2530
• Origin: Repositório da Universidade de Lisboa
• Subject(s): Pintura; Auto-referência; Autobiografia; Identidade; Objecto
• Document Type: Master thesis
• Language: Portuguese
• Advisor(s): Botelho, Manuel, 1950-
• Contributor(s): Repositório da Universidade de Lisboa

Description

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011

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This dissertation deals with the object (of daily use) as a means for the artist to self-reference in their artistic practice. In an investigation that refers to the genre of still life, addresses the self-referential object, being necessary to speak of three aspects that contextualize the field of art: the object considered impersonal (worked for numerous artists of the twentieth century); the re-signification of the object; and finally the personal object and the construction of identity (personal and collective). Within these themes, we tried to select artists whose work refers to the use of the object as a vehicle to achieve certain objectives, in terms of self-reference or as a way of overcoming the limits of painting itself. The dissertation is divided in two chapters: the first approach to the three aspects mentioned above, and the second focuses on the author's personal art project. In relation to the object, addresses the impersonal object, (first) referring to, the readymades of Marcel Duchamp, whose distance from the author's reference to the work face. However, some artists began to use such impersonal objects as well as personal objects. In addition to this self-reference through the personal object, other artists use it to build not only an autobiographical dimension as well as collective identities (which are a particular social group). In the second chapter, the author's personal art project is articulated with the concept of self-referential object in a search and affirmation of personal identity. It develops a path for painting; for three-dimensional works in which the object itself is present; while at others where, through the photographic image, to create scenarios; and finally, through video, as static objects come to life. As background material, complete with an attachment section which takes a brief look at the historical context of the still life.