Publicação
Os múltiplos Eus em cena na obra de Vasco Araújo - identidades sobrepostas
| Resumo: | Through disguise, games of masquerade, and the intersection of fiction with reality, where truth and artifice co-inhabit, Portuguese artist Vasco Araújo (b. Lisbon, 1975) constructs and stages characters that threaten to topple positions established by norms such as gender and stereotype. The effect leads the viewer to reflect - not only on the world around him - but on his own identity. They are characters that are mere bodies without a reason to exist beyond the stage. Often they are reincarnated by the artist, who performs a gender transformation on himself using disguises as a vehicle of expressing different identities and revealing Me and the others. The sex-change should be construed as a representational and staging device, a way of building narrative, and enhancing theatricality: there is skill involved in this crossdressing, in donning clothes to look like somebody else, to fool, pretend, and make up a fake identity. Vasco Araújo makes use of the super-performance, the art of staging and making a theatrical event out of a written text. He also uses several devices belonging to the structure of theatrical representation to convey a message through the fictionalization of Me. For the artist, there is no single, indivisible Me. He therefore uses art as a disguise which, in turn, he utilizes as a mechanism for constructing and deconstructing identities, showing us that we can be Multiple Me’s and that in the end, the human being is host to several layered identities. Identities and the search for them are the very lifeblood of his work. That is precisely why Vasco Araújo has brought this multiplicity of Me’s into the domain of art. And here he beckons us to reflect on issues dealing with human beings and their existence, using references to erudite culture, opera, and classical literature, manifestations he considers universal and timeless |
|---|---|
| Autores principais: | Alves, Maria Inês Grosso |
| Assunto: | Araújo, Vasco, 1975- Performance art Encenação Travestismo Identidade |
| 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: | Through disguise, games of masquerade, and the intersection of fiction with reality, where truth and artifice co-inhabit, Portuguese artist Vasco Araújo (b. Lisbon, 1975) constructs and stages characters that threaten to topple positions established by norms such as gender and stereotype. The effect leads the viewer to reflect - not only on the world around him - but on his own identity. They are characters that are mere bodies without a reason to exist beyond the stage. Often they are reincarnated by the artist, who performs a gender transformation on himself using disguises as a vehicle of expressing different identities and revealing Me and the others. The sex-change should be construed as a representational and staging device, a way of building narrative, and enhancing theatricality: there is skill involved in this crossdressing, in donning clothes to look like somebody else, to fool, pretend, and make up a fake identity. Vasco Araújo makes use of the super-performance, the art of staging and making a theatrical event out of a written text. He also uses several devices belonging to the structure of theatrical representation to convey a message through the fictionalization of Me. For the artist, there is no single, indivisible Me. He therefore uses art as a disguise which, in turn, he utilizes as a mechanism for constructing and deconstructing identities, showing us that we can be Multiple Me’s and that in the end, the human being is host to several layered identities. Identities and the search for them are the very lifeblood of his work. That is precisely why Vasco Araújo has brought this multiplicity of Me’s into the domain of art. And here he beckons us to reflect on issues dealing with human beings and their existence, using references to erudite culture, opera, and classical literature, manifestations he considers universal and timeless |
|---|