A fotografia e o livro como lugares para a ação: projeto espaços

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Neste ensaio reflito acerca de meu projeto artístico espaços, partindo da noção de fotografia performada apresentada por Philip Auslander, na qual o espaço do documento fotográfico torna-se o lugar primário para o acontecimento da ação poética. O conceito de entrelaçamento proposto pelo filósofo Maurice Merleau-Ponty foi também importante referência no desenvolvimento desse projeto, no qual procurei investigar de forma poética a relação entre o meu corpo e as coisas visíveis/tangíveis na paisagem. Em minha proposição, a sequencialidade espaçotemporal própria da forma livro é sobreposta à lógica de corte temporal e espacial do ato fotográfico, na produção da série de livros de artista também denominada espaços.

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onsider two familiar images from the history of performance and body art: one from the documentation of Chris Burden's Shoot (1971), the notori- ous piece for which the artist had a friend shoot him in a gallery, and Yves Klein's famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second? Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation that one documents a performance that "really" happened while the other does not? I shall return to this question below. As a point of departure for my analysis here, I propose that performance docu- mentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the relationship between performance art and its documentation is conceived. It is assumed that the documentation of the performance event provides both a record of it through which it can be reconstructed (though, as Kathy O'Dell points out, the reconstruction is bound to be fragmentary and incomplete1) and evidence that it actually occurred. The connection between performance and docu - ment is thus thought to be ontological, with the event preceding and authorizing its documentation. Burden's performance documentation, as well as most of the documentation of classic performance and body art from the 1960s and 1970s, belongs to this category. Although it is generally taken for granted, the presumption of an ontological relation- ship between performance and document in this first model is ideological. The idea of the documentary photograph as a means of accessing the reality of the performance derives from the general ideology of photography, as described by Helen Gilbert, glossing Roland Barthes and Don Slater: "Through its trivial realism, photography creates the illusion of such exact correspondence between the signifier and the signi - fied that it appears to be the perfect instance of Barthes's 'message without a code.' The 'sense of the photograph as not only representationally accurate but ontologically
Neblina maresia orvalho: coletas. Rio de Janeiro: O Autor
  • Brígida Baltar
BALTAR, Brígida. Neblina maresia orvalho: coletas. Rio de Janeiro: O Autor, 2001.
Formas distendidas de performance
  • Regina Melim
MELIM, Regina. Formas distendidas de performance. In: Arte em Pesquisa: espe-