Details
- Autor(en) / Beteiligte
- Titel
- Autorrepresentação e Arte Contemporânea: Identidade/Alteridade - Matérias e Memórias
- Ort / Verlag
- ProQuest Dissertations & Theses
- Erscheinungsjahr
- 2019
- Link zum Volltext
- Quelle
- ProQuest Dissertations & Theses A&I
- Beschreibungen/Notizen
- This investigation is included in the doctoral program in Plastic Arts, specialization in Painting, from the Fine Arts School in the Lisbon University. It intends to investigate, in a theoretical and practical way, the personal identity in contemporaneity. The text tries to discern several aspects relating to different questionings and perceptions about the «self».Its main purpose is to analyze how those perceptions have repercussions on my creative process, specifically in relation to the self-representation, starting from the series of paintings of self-portraits named Heads: autopsy of a pictorial process. The text presents how the individual, with a stable feeling of his identity and place in the order of things; centred, unified and equal to himself – that emerged in the Modern Age – is being rearranged in our days, and how those circumstances interfere and taint the theoretical and practical fields, and relate to the exploratory /creative process. In other words, the point is to divert the attention from what it would be the «true essence» of the existential subject, to invest in the permanent learning process of new forms of being, by means of the egological-hermeneutic synthesis that allows the individual to re-elaborate his subjective contents and, thus, to differentiate his own singularity, though considered in a different way, by the intensification of the processes of social interaction; which demands to absorb the plasticity needed to the actualizations of the multiple sides of the self, in an unique, multiple and integrated time; to internalize the subject that builds himself from a feeling that assumes the identity as multiplicity, and to find, through the art, new meanings for himself and for life. These are subjective approaches that permit improvisations, ruptures and fragmentations, born in the dialogue between memory, the mentalities of the paintings and the world, the body and its shadow, and the travels. This facilitates the frictions, the conflicts and the differences, in on hand, inherent to the creation and the artistic doing; on the other hand, equivalent to the personal and interpersonal processes of leaving the centre, diversification, dilution and multiplicity that characterize the «new» human condition, named post-modern. It's this supposed meeting, this eventual logic between the subjectivist and hermeneutic approach of «painting and photograph realizations» – examined from the production of the series of works proposed as Study Object – and an objective and theoretical approach of the post-modern condition, of the «multiple and integrated» subject, that defines my hypothesis.