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| Resumo: | In the art scene of the 21st century the use of installation as a mean of artistic expression seeks the constant discussion of the relation between the art object and the role of observer, in a continuous dialogue on the visible/invisible, the inside/outside. This work is a reflective proposal coming from a practical project, which guides us through the theoretical discussion of the dissertation, more than defining the issue of it. It is divided in two parts: a practice/artistic which shows an installation, and another theoretical part. This dissertation is a study about the secret and its relation with space. Secret is a certain knowledge hidden from someone, it’s a knowledge covered and concealed. The concealing of the secret involves two spaces (substantial spaces or not): the inside and the outside. This scission requires movements from one to the other, it also requires an object to allow the passage. The Hoogstraten’s perspective box A Peepshow with viwes of the interior of a Dutch House, the Duchamp’s peep-show Étant Donnés, the film The Draughtman’s Contract by Greenaway and the Bourgeois’s installation Red Room (Child), were chosen as demonstrations where secrecy and its relations (both the space of the observer as the space of the secret) are challenged, where they are set under experience. The four works are compelling contributions as part of a widespread culture of artistic references on the secret. In conclusion is showed a practical installation, also proposed as an input, as experimentation and reflection on the subject secret (the peep-show, which is part of the building foundations of this thesis): Sob o mesmo telhado (Under the Same roof). Through the demonstration of the practical/artistic project, the aim is to bring to the field of this discussion the house as a place of secrets, understood as an area of conflict between the visible and the invisible |
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| Autores principais: | Batista, Ricardo Daniel Fernandes, 1985- |
| Assunto: | Van Hoogstraten, Samuel, 1627-1678 Bourgeois, Louise, 1911-2010 Segredo Casa |
| Ano: | 2010 |
| País: | Portugal |
| Tipo de documento: | dissertação de mestrado |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | In the art scene of the 21st century the use of installation as a mean of artistic expression seeks the constant discussion of the relation between the art object and the role of observer, in a continuous dialogue on the visible/invisible, the inside/outside. This work is a reflective proposal coming from a practical project, which guides us through the theoretical discussion of the dissertation, more than defining the issue of it. It is divided in two parts: a practice/artistic which shows an installation, and another theoretical part. This dissertation is a study about the secret and its relation with space. Secret is a certain knowledge hidden from someone, it’s a knowledge covered and concealed. The concealing of the secret involves two spaces (substantial spaces or not): the inside and the outside. This scission requires movements from one to the other, it also requires an object to allow the passage. The Hoogstraten’s perspective box A Peepshow with viwes of the interior of a Dutch House, the Duchamp’s peep-show Étant Donnés, the film The Draughtman’s Contract by Greenaway and the Bourgeois’s installation Red Room (Child), were chosen as demonstrations where secrecy and its relations (both the space of the observer as the space of the secret) are challenged, where they are set under experience. The four works are compelling contributions as part of a widespread culture of artistic references on the secret. In conclusion is showed a practical installation, also proposed as an input, as experimentation and reflection on the subject secret (the peep-show, which is part of the building foundations of this thesis): Sob o mesmo telhado (Under the Same roof). Through the demonstration of the practical/artistic project, the aim is to bring to the field of this discussion the house as a place of secrets, understood as an area of conflict between the visible and the invisible |
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