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Operação Bangkok o processo curatorial e o processo artístico na concepção de uma exposição
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Abstract(s)
As duas exposições pensadas e materializadas no âmbito do presente trabalho de mestrado serviram de mote para podermos realizar uma reflexão sobre o processo curatorial como ato criativo e eventuais ligações e implicações do processo curatorial na comunicação do fazer e entender artístico e no próprio processo artístico. Procurou-se, assim, nas histórias das exposições de arte, sobretudo a partir dos anos de 1960, quando a profissão de curador/comissário se emancipou, estudar os processos que estavam em causa, nomeadamente aqueles que “trabalhavam” fora de espaços institucionais e que foram capazes de “desconstruir” o objeto artístico, visando um interesse mais apoiado nos processos do que propriamente na materialização destes num objeto. Foi o caso dos curadores Harald Szeemann, Seth Siegelaub, Lucy Lippard, ou mesmo Ernesto de Sousa. Atualmente curadores como Jens Hoffmann, Maria Lind, Catherine David, perseguem, justamente, a ideia de exposição como uma criação de experiências para uma audiência, em vez de situar os objetos em narrativas de história de arte. Defendem a ideia de exposição como elemento discursivo tendo como base o formato de conversas, filmes, discussões, leituras, que servem, deste modo, como meios de questionamento de questões políticas e sociais. A análise realizada aos processos criativos dos curadores Harald Szeemann e Ernesto de Sousa, através dos arquivos deixados por estes, permite traçar uma série de eventos e de processos que facilmente identificamos com as teorias de redes de criação de Cecília Salles. A criação das exposições por estes dois curadores, à luz do que se estabelece para a criação da obra de arte, não resulta de um gesto autónomo, mas é uma manifestação de disputadas redes de processos intersubjetivos que resultam de comunicações entre consciências individuais com artistas, historiadores, críticos, ou outros sujeitos com quem estes curadores se relacionaram e que de certa forma tiveram uma influência nos seus processos criativos. Ao mesmo tempo fez-se um exercício de autorreflexão. Através do projeto expositivo Operação Bangkok, testar a capacidade de o curador intervir no trabalho do artista, quer participando ativamente na dinâmica de produção da obra, quer propondo formas de apresentação das obras, criando assim valor no trabalho do artista. Por fim, a exposição como obra depende de vários outros aspetos como a arquitetura do espaço, condições lumínicas e de acessibilidade do mesmo, de uma equipa sincronizada, de processos claros ao nível da comunicação, entre outros. O curador independente deverá ter sempre presente os limites de atuação criativa em cada um deles e a sua capacidade negocial.
The two exhibitions designed and materialized within the scope of this master´s project served as a motto to reflect on the curatorial process as a creative act and possible connections and implications of the curatorial process in the communication of artistic making and understanding. Therefore, in the history of art exhibitions, especially from the 1960s onwards, when the profession of curator/commissioner became emancipated, an attempt was made to study the processes that were at stake, namely those that “worked” outside institutional spaces and that were capable of “deconstructing” the artistic object, aiming for an interest based more on the processes than on the actual materialization of these into an object. This was the case with curators Harald Szeemann, Seth Siegelaub, Lucy Lippard, or even Ernesto de Sousa. Also today, curators such as Jens Hoffmann, Maria Lind, Catherine David, precisely pursue the idea of exhibition as a creation of experiences for an audience, instead of placing objects in art history narratives. They defend the idea of exhibition as a discursive element based on the format of conversations, films, discussions, readings, which serve, in this way, as means of questioning political and social issues. Through the archives left by Harald Szeemann and Ernesto de Sousa, an analysis was carried out on the creative processes of each curator. This procedure allowed us to trace a series of events and processes that we easily identify with Cecilia Salles' theories of creation networks. The creation of the exhibitions by these two curators, in light of what is established for the creation of the work of art, is not the result of an autonomous gesture, but is a manifestation of disputed networks of intersubjective processes that result from communications between individual consciousnesses with artists, historians, critics, or other subjects with whom these curators interacted and who, in a certain way, had an influence on their creative processes. Finally, a self-reflection exercise was carried out. Through the exhibition project, Operação Bangkok, it was tested the curator's ability to intervene in the artist's work; either by actively participating in the dynamics of the work's production, or by proposing different ways of presenting the work. The exhibition as an artwork depends on several other aspects such as the architecture of the space, lighting conditions and accessibility, a synchronized team, clear processes in terms of communication, among others. The independent curator should be aware of the limits of creative action in each of them and her/his negotiating capacity.
The two exhibitions designed and materialized within the scope of this master´s project served as a motto to reflect on the curatorial process as a creative act and possible connections and implications of the curatorial process in the communication of artistic making and understanding. Therefore, in the history of art exhibitions, especially from the 1960s onwards, when the profession of curator/commissioner became emancipated, an attempt was made to study the processes that were at stake, namely those that “worked” outside institutional spaces and that were capable of “deconstructing” the artistic object, aiming for an interest based more on the processes than on the actual materialization of these into an object. This was the case with curators Harald Szeemann, Seth Siegelaub, Lucy Lippard, or even Ernesto de Sousa. Also today, curators such as Jens Hoffmann, Maria Lind, Catherine David, precisely pursue the idea of exhibition as a creation of experiences for an audience, instead of placing objects in art history narratives. They defend the idea of exhibition as a discursive element based on the format of conversations, films, discussions, readings, which serve, in this way, as means of questioning political and social issues. Through the archives left by Harald Szeemann and Ernesto de Sousa, an analysis was carried out on the creative processes of each curator. This procedure allowed us to trace a series of events and processes that we easily identify with Cecilia Salles' theories of creation networks. The creation of the exhibitions by these two curators, in light of what is established for the creation of the work of art, is not the result of an autonomous gesture, but is a manifestation of disputed networks of intersubjective processes that result from communications between individual consciousnesses with artists, historians, critics, or other subjects with whom these curators interacted and who, in a certain way, had an influence on their creative processes. Finally, a self-reflection exercise was carried out. Through the exhibition project, Operação Bangkok, it was tested the curator's ability to intervene in the artist's work; either by actively participating in the dynamics of the work's production, or by proposing different ways of presenting the work. The exhibition as an artwork depends on several other aspects such as the architecture of the space, lighting conditions and accessibility, a synchronized team, clear processes in terms of communication, among others. The independent curator should be aware of the limits of creative action in each of them and her/his negotiating capacity.
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Keywords
Curador Processo criativo Arte conceptual Artista Obra Afinidade Arquivo