Autor(es): Vasco, Daniela Marisa Domingues Alcântara, 1986-
Data: 2010
Identificador Persistente: http://hdl.handle.net/10451/3611
Origem: Repositório da Universidade de Lisboa
Assunto(s): Messager, Annette, 1943-; Feyzdjou, Chohreh, 1955-1996; Ficção; Ciência; Colecção; Memória
Tese de mestrado, Arte e multimédia, Universidade de Lisboa, Faculdade de Belas Artes, 2011
Laboratory: The fiction of science as collection is a practical-theoretical dissertation, whose work of research culminates in the project of installation Laboratório. Using the dichotomy visible/invisible as a starting point, this project reveals to the observer spaces where this relationship between the visible and the invisible are explored through the concepts of fiction associated to science and collection. This dissertation proposes a reflection about Laboratório‟s concepts base, arguing that science and collection, as forms of creating fictional realities, can be assumed as negotiators between the opposition visible/invisible. Science continuously negotiates the boundaries between the visible and invisible of the human body, by developing methods of invading, showing, representing what we are not able to see. On the other hand collection negotiates the boundaries between visible and invisible by being a physical representation of an invented reality. As references for this dissertation will be analysed two works of fiction, both finding their inspiration in science and questioning it at the same time. From literature, Frankenstein or the Modern Prometheus by Mary Shelley, and from cinema, A Zed & Two Noughts by Peter Greenaway. Will be also under analysis works of two artists who make use of the mechanisms of collection to construct and represent realities. By Annette Messager, the album collection series, the installations Les pensionnaires, La chambre secrète de la collectioneuse and Pénétration. By Chohreh Feyzdjou, Boutique Product of Chohreh Feyzdjou. At last, the presentation of the installation project Laboratório, as a series of spaces which are “fictional laboratories” and spaces of collection at the same time, where the observer is introduced and, by his turn, invited to negotiate with the space the proposed relationships of visibility and invisibility. However this collections turns into visible what is intimate and invisible, and the space of collection, which is private, became exposed to a public look by the presence of the observer, he is still a stranger with no access to the meaning of the collection
