Publicação
Projetos cartográficos de uma genealogia do feminino na arte contemporânea portuguesa
| Resumo: | Building genealogical cartographies of the feminine, the present thesis is thought of as a subversive and transgressive reading of the works of art by Portuguese women artists, from modernity until the present day. It has its premise in the conscience of the effective (and affective) lacking of radical insubmission to the hegemonic discourses about art, when it comes to the art made by women. It is built as a transgression of the model of a logical essay – it is a rhizome, linked to materiality and to the body, and distant from the constraints of the Logos – and of the hegemonic structuring of art in movements, from male artist to male artist – where the feminine remains inconceivable. It proposes a rhizomatic and non-hierarchical understanding of the works in hand, proposing methodologies, language and logic that seem able to think the work of a chosen cast of 30 artists, with especial attention to Ana Vieira, Fernanda Fragateiro and Helena Almeida. The thesis is itself a rizhome, epistemological nomadic project where the dialogic confluence of voices and discursive positions are politically situated. It is itself a cartography of the senses: materialist art theory that has gender as analytical category (non-essentialist) |
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| Autores principais: | Tomé, Joana Margarida Banito, 1986- |
| Assunto: | Vieira, Ana, 1940-2016 Fragateiro, Fernanda, 1962- Almeida, Helena, 1934- Jorge, Alice, 1924-2008 Arte contemporânea - Portugal Mulheres artistas Teorias da arte Rizoma Genealogia Cartografia Dialógica Subversão Escrita feminina Aforismos e apotegmas Linguagem plástica |
| Ano: | 2017 |
| País: | Portugal |
| Tipo de documento: | tese de doutoramento |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | Building genealogical cartographies of the feminine, the present thesis is thought of as a subversive and transgressive reading of the works of art by Portuguese women artists, from modernity until the present day. It has its premise in the conscience of the effective (and affective) lacking of radical insubmission to the hegemonic discourses about art, when it comes to the art made by women. It is built as a transgression of the model of a logical essay – it is a rhizome, linked to materiality and to the body, and distant from the constraints of the Logos – and of the hegemonic structuring of art in movements, from male artist to male artist – where the feminine remains inconceivable. It proposes a rhizomatic and non-hierarchical understanding of the works in hand, proposing methodologies, language and logic that seem able to think the work of a chosen cast of 30 artists, with especial attention to Ana Vieira, Fernanda Fragateiro and Helena Almeida. The thesis is itself a rizhome, epistemological nomadic project where the dialogic confluence of voices and discursive positions are politically situated. It is itself a cartography of the senses: materialist art theory that has gender as analytical category (non-essentialist) |
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