Publicação
Do objecto da medalha à medalha-objecto
| Resumo: | Beginning to act beyond their morphological and functional dimensions, contemporary medal contains actually difficult to cover into a single definition. After commemorative sclerosis of the first half on the century, medal reborn in Portugal in the 70`s, from an interventionist action developed by new authors. The protagonists of this project, recurrently labeled by the lack of parameters, respond: medal is what medal maker do. But the appropriation of tautology doesn`t seem enough to justify either work or creator. They began to build paternities for the various disruptions scenarios, then investing in the creation of a set of standards with which sought to legitimize and authenticate the membership of the proposals developed within traditional category of medal art. Developed in the wake of this process, the concept of medal/object seems to establish a relationship with plastic arts, in particular, with the sculpture and jewelry, equating the relationship between form/function in three dimensions: aesthetic, utilitarian and symbolic. It would be a matter of time until forms became independent from technical constrains of mass production. Starting from a single species – the traditional circular medal – are created current leads, being the process by which such changes occurred directly related to the selection of features of interest raised in the various fields of action with which medal practice is related. Contemporary medal, investing in a three-dimensional appearance, rethought in order to acquire meaning when the spectator, through his creative activity, experience and assign direction, towards a more democratic and creative communication, but a question remains: is that medal, object, or medal/object? |
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| Autores principais: | Ferreira, Andreia Sofia Pereira, 1978- |
| Assunto: | Menguin, Antoine, 1690-1772 Gaspart, Joseph Vale, José António do, 1765-1840 Almeida Sobrinho, Simões de, 1880-1950 Silva, João da, 1880-1960 Escultura Medalhas Tipologias História Portugal |
| Ano: | 2012 |
| 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: | Beginning to act beyond their morphological and functional dimensions, contemporary medal contains actually difficult to cover into a single definition. After commemorative sclerosis of the first half on the century, medal reborn in Portugal in the 70`s, from an interventionist action developed by new authors. The protagonists of this project, recurrently labeled by the lack of parameters, respond: medal is what medal maker do. But the appropriation of tautology doesn`t seem enough to justify either work or creator. They began to build paternities for the various disruptions scenarios, then investing in the creation of a set of standards with which sought to legitimize and authenticate the membership of the proposals developed within traditional category of medal art. Developed in the wake of this process, the concept of medal/object seems to establish a relationship with plastic arts, in particular, with the sculpture and jewelry, equating the relationship between form/function in three dimensions: aesthetic, utilitarian and symbolic. It would be a matter of time until forms became independent from technical constrains of mass production. Starting from a single species – the traditional circular medal – are created current leads, being the process by which such changes occurred directly related to the selection of features of interest raised in the various fields of action with which medal practice is related. Contemporary medal, investing in a three-dimensional appearance, rethought in order to acquire meaning when the spectator, through his creative activity, experience and assign direction, towards a more democratic and creative communication, but a question remains: is that medal, object, or medal/object? |
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