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| Author(s): |
Carolina Amaral de Aguiar
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA/SBD) |
| Defense date: | 2007-07-02 |
| Examining board members: |
Daisy Valle Machado Peccinini;
Diana Maria Gallicchio Domingues;
Marcos Francisco Napolitano de Eugênio
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| Advisor: | Daisy Valle Machado Peccinini |
| Abstract | |
Within the new practices that invaded museums and galleries in the seventies, video was the most evidenced by the great interest it brought, but also by the difficult access to its technology. In this context, the MAC-USP initiatives, under the direction of Walter Zanini, where essential so that artists could appropriate this support, using it to communicate their ideas embodied in the conceptualist trend of the time: through a reproductive vehicle, with great potential amplitude, breaking with aspired market intentions and thus creating a more democratic access to art and introducing it to more common spaces. The fraternal relation between the VT and TV was marked by conflict and by a proposal of subversion of television media, which achieved hegemony at the time combining the interests of big companies and the desires of the military dictatorship regime. In the hand of artists, video acquired a criticai view of society and a Creative potential, tuned with the experimentalism of the contra culture environment. Video art, in this scenario, in the beginning found support in a museum institution, which was fundamental for its consolidation and approval as an artistic practice. This institutionalized process occurred mainly during the years of 1974 and 1978, period determined by the focus on two exhibitions: the Video Art in the Contemporary Art Institute of the University of Pennsylvania, where Zanini ended up being invited for the selection of Brazilians (the videos for the exhibition date from 1974, although it only happened in January 1975); and the First São Paulos International Video Art Meeting, held in the MIS. The option of two events of intemational value - considering none occurred in the MAC-USP - reflects the consolidation of video art during the years of the initiatives of the museum object of this research. If, in the First case, Brazilian artists faced adversity to take part in the North American exhibition, but established the first generation of video artists; in the second, an intemational video meeting in São Paulo became a window for Brazilian and world productions of earlier years (AU) | |