Author(s):
Cordeiro, Cordeiro, Maria da Conceição Torres, 1958-
Date: 2017
Persistent ID: http://hdl.handle.net/10451/34115
Origin: Repositório da Universidade de Lisboa
Subject(s): Einstein, Carl, 1885-1940; Schlichter, Rudolf, 1890-1955; Warburg, Aby, 1866-1929; Cardoso, Amadeo de Sousa, 1887-1918; Viana, Eduardo, 1881-1967; Afonso, Sara, 1899-1983; Rodrigo, Joaquim, 1912-1997; Quadros, António, 1933-1994; Rego, Paula, 1935-; Guimarães, José de, 1939-; Morais, Graça, 1948-; Didi-Huberman, Georges, 1953-; Hirst, Damien, 1965-; Muntadas, Antoni, 1942-; Noé, Luis Felipe, 1933-; Jaar, Alfredo, 1956-; Polke, Sigmar, 1941-; Pintura; Primitivismo; Hibridismo; Pensamento; Montagens; Belas Artes (Especialidade de Pintura)
Description
The need to go deeper into the thinking about Painting has led us to the study of works which display features of differentiated cultures and pieces resulting from the career paths of artists in the global world. In a world, which has, for long been the result of contaminations, it is at the beginning of the 20th century that the outcome of travels, of cultures’ intersections, finds a strong materialization through the artistic avant-gardes, with movements like the Cubism or Dadaism. The European Ethnographic Museums, home of an endless source of identity pieces from the peoples of Africa, Oceania and the Americas, will bring about, both in the artistic field and in terms of theoretical conception, a new look at art. Along with an ethnocentric study of works external to European culture, it is with Carl Einstein that emerges an analysis focused on African sculpture and opposed to the evolutionary theory, which highlights the formal and primeval characteristics of the works. This analysis is the foundation of Carl Einstein’s approach to cubism. Considering the identification of non-western peoples with primitive people, we try to present a perspective on this concept, in order to accept primitive as a state of rupture, as a human component. Transposing the artistic avant-gardes and the concept of primitivism to Portugal, we notice that its influence was shown to be closer to art and to popular culture. With the theories of multiculturalism, interculturality and globalization we come to realize that the miscegenation of non-western peoples with European cultures will cause the proliferation of hybrid territories, identified by Homi Bhabha, Néstor García Canclini and Arjun Appadurai. Hybrid territories are fertile in artistic production, the outcome of the activity of artists who travel the global world, in a state of conflict and appeasement between their origins and the cultures that they absorb. The processes of photomontage and montage are expressed by the thought of Georges Didi-Huberman, based on Aby Warburg, for the simultaneous development of thought and knowledge by montage. This knowledge encompasses the study of Dadaist photomontage, the painting of Hannah Höch, the combine of Robert Rauschenberg and the assemblages of Allan Kaprow, within a framework of formal hybridity. With Allan Kaprow and Sigmar Polke impurity is assumed, which characterizes hybrid territories. From formal hybrid we move to conceptual hybridity with Damien Hirst, in a dual reading of his work. Antoni Muntadas, Luís Felipe Noé and Alfredo Jaar, analysed by García Canclini, dig deeper into questions of cultural hybridity, then extended to the works of Shahzia Sikander, Shirin Neshat, Ghada Amer, Shirazeh Houshiary, Arif Özakça and Barry Reigate, in a meeting with inter-spaces, with inter-times, with interstitial spaces and with spaces in between
