O corpo-câmera: o performer e sua imagem

Sophie Delpeux

Resumo


Neste texto que introduz sua obra, Le corps-caméra: le performer et son image, Sophie Delpeux se pergunta qual o lugar que as imagens de performance ocupam no contexto das artes corporais. Neste sentido, a autora nos conduz por um caminho reflexivo que nos faz ver nestes documentos de época, não um substituto da performance, mas uma outra instância legítima de experiência. Para este dossiê, Delpeux  acrescentou algumas linhas iniciais para nos dar conta do estado atual de sua pesquisa.

Abstract 

In this introductory essay for her work Le corps-caméra: le performer et son image, Sophie Delpeux wonders about which place does the performance images occupy in the light of the body arts. In this way, the author leads us through the reflection on what makes us see in those photographs not a substitute of the performance but another instance of experience. For this dossier, Delpeux added a few opening lines to give us account of the current state of their research.

Resumen 

En este texto que introduce su obra, Le corps-camêra: le performer et son image, Sophie Delpeux se pregunta cuál es el lugar que las imágenes de desempeño ocupan en el contexto de las artes corporales. En este sentido, la autora nos conduce por un camino reflexivo que nos hace ver en estos documentos de época, no un sustituto de la performance, sino otra instancia legítima de experiencia. Para este dossier, Delpeux añadió algunas líneas iniciales para darnos cuenta del estado actual de su investigación.


Palavras-chave


Corpo; Performance; Imagem

Texto completo:

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Referências


Catherine Perret, Les porteurs d’ombre. Mimésis et modernité, Paris, Belin, 2012.

Performing for the câmera, exposição que exibida em 2016 na Taten Modern.

Boris Groys, Art Power, Cambridge, The MIT press, 2008, p. 53.

Lucy R. Lippard, “Postface”, in: Six Years: the dematerialisation of the art objet from 1966 to 1972, Berkeley, University of Califórnia Press, 2001, pp. 263-264.

Jean-Jacques Lebel, Androula Michael, Happenings de Jean-Jacques Lebel ou l’insunuassion radicale, Paris, Hazan, 2009, p. 10.

Allan Kaprow, “Les happenings sur la scène new-yorkaise”(1961), L’art et la vie confondus, Paris, Centre George Pompidou, 1996, p. 51.

Allan Kaprow, Assemblages, Environments & Happenings, New York, Abrams, 1966, p. 21.

Alan Kaprow, “Les happenings sont morts: longue vie aux hapenings!”, L’art et la vie confondus, op. cit., p. 91.

Rebecca Schneider, “Figés dans le temps réel: la performance et les tableaux vivants”. Point & Shoot. Performance et photographie. Montréal, Dazibao, 2005, p. 63.64.

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Kathy O’Dell, Contract with the skin, Masochism Performance Art and the 1970s, Minneapolis, University of Minnesota Press, 1998, p. 14.

Roland Barthes, La chambre Claire, Paris, Éditions de l’Étoile/Gallimard/Seuil, 1980, p. 126-127.

Rosalind Krauss, “Note sur la photographie et le simulacre” (1983), Le photographique. Pour une Théorie des Écarts, Paris: Macula, 1990, p.211 (trad. Jean Kempf).

Roland Barthes, La chambre Claire, op. cit., p. 18.

Ibid, p. 16

Willoughby Sharp, “Bodyworks. A pre-critical, non definitive survey of very recent works using the human body or parts thereof “, Avalanche, n 1, automme 1970, p. 16.

“Entretien avec Gina Pane” (dec. 1984), Bernard Marcadé, Ceci n’est pas une photographie, Bordeaux, Fonds regional d’art contemporain Aquitaine, 1985, p. 24.

Amelia Jones, “Presence in absentia”, Art Journal, vol. 56, n 4, hiver 1997, p. 11.

David Briers, “Photography and Performance Art”, Photographie as performance. Message through objects and picture, Londres, Photographer’s Gallery, 1986, p.43.

“Performing for the câmera. A discussion between Susan Butler, Tony Arefin and Maureen O. Paley”, ibid., p. 15

Philippe Dubois, L’acte photographique et autres essais, Paris, Nathan , 1990, p. 247.

Dominique Baqué, La photographie plasticienne. Un art paradoxal, Paris, Editions du Regard, 1998, p.13-22.

Robert C. Morgan, “Half-Truth. Performance and the photograph”, Action/Performance and the photograph, Los Angeles. Turnê/Krull Galeries, 1993, n. p.

Art, Lies and Videotape: exposing Performance, Liverpool, Tate, 2004; After the Acte. The (Re)Presentation of Performance Art, Vienne, Mumok, 2005; Point & Shoot. Performance et photographie, op. cit.; Live Art on Câmera: Performance and Photography (Ed. Alice Maude-Roxby) Southampson. John Hansard Gallery, 2007.

Tracy Warr, “Image as Icon: Recognising the Enigma”, Art, Lies and Viedeotape: exposing Performance, op. cit. p. 30-31.

Hubert Damisch, “À partir de la photographie”, Le photographique. Pour une Théorie des Écarts, Paris, Macula, 1990, p.7.

Cindy Menser, “Subject-Object Body Art”, Arts Magazine, vol 46, n 1, septembre-octobre 1971, p. 38. 32 Marshal McLuhan, Pour comprendre les médias, les prolongement technologiques de l’homme (1964), Paris, Seuil, 1977, p. 224.

Rosalind Krauss, “Note sur la photographie et le simulacre” (1983), Le photographique. Pour une Théorie des Écarts, op. cit., p.224.

Philip Auslander, “On the Performativity of Performance Documentation”, After the Acte. The (Re)présentation of Performance Art, op. cit. p. 25-26.

Catherine Perret, Les Porteurs d’ombre. Mimésis et modernité, Paris, Belin, 2001, p. 303.

Chantal Pontbriand, “Performance et photographie”, Point & Shoot. Performance et photographie, op. cit. p. 33.

“Paul McCarthy. Entretien avec Marie de Brugerolle”, Hors Limite. L’art et la vie 1952-1994, Paris, Centre Georges Pompidou, p. 295.

Catherine Perret, Les Porteurs d’ombre. Mimésis et modernité, op. cit., p. 303.




DOI: https://doi.org/10.20396/rv.v4i6.2120

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