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| Author(s): |
Tiago Machado de Jesus
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2013-12-06 |
| Examining board members: |
Francisco Cabral Alambert Junior;
Marcos Francisco Napolitano de Eugênio;
Artur Correia de Freitas;
Vinicius Pontes Spricigo;
Paulo Venancio Filho
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| Advisor: | Francisco Cabral Alambert Junior |
| Abstract | |
This thesis examines the development of the work of French artist Daniel Buren, born in 1938 in Boulogne-Billancourt, near Paris. His work is characterized by establishing a systematic analysis between the work of art and its exhibition venue through what he called the work in situ. Currently, this term is often used in the field of contemporary art to define a work done on site. Among the many ways of analyzing the vast work of Daniel Buren, we explore the development of this central aspect of his work, the notion of work in situ and its application in and out of museums and galleries. This choice aims at two objectives: firstly present the functioning of these works over the period analyzed. Even though they arise from a simple proposal, they mobilize various material and symbolic elements that constitute the invested space. Secondly, evaluate the critical strength of the work in situ during these two decades and their possible resonance to contemporary art, since the work in situ is characterized by evidencing the space in which it is installed as a site of exhibition and cultural production open to questioning. To develop this study, we consider that the \"art system\" analyzed and criticized by Buren, who work within that system, was modified significantly in the period referred to in this research, accompanied by equally significant changes in how culture reproduces itself in late capitalism. This effect is consolidated in many curatorial proposals that leave the safe territory of art history toward questions regarding the dematerialization of the art object and its circulation in the expanded cultural field. We also observe the redesigning and the creation of new experimental exhibition spaces. In addition to this, the urban space itself becomes a place to be invested by the works in situ, raising questions concerning the relationship of the art and the artists in the public space of the city. (AU) | |