Conference Presentations by Teresa Azevedo
Bookmarks Related papers MentionsView impact
Papers by Teresa Azevedo
This paper explores the notion of the exhibition as an opportunity to reveal and enhance meaning ... more This paper explores the notion of the exhibition as an opportunity to reveal and enhance meaning thus creating a reflective space where viewer and artwork dialogue and relate with each other. Using as example the practice of Portuguese sculptor Alberto Carneiro (b. 1937), it will analyze key features of his work and suggest ways to expand them into the exhibition space.
The work of Alberto Carneiro can be described as highly conceptual while grounded in a strong materiality. Carneiro’s work is often site-related and his installation pieces are usually preceded by what the artist himself designates by project-drawings.
The graph paper sheets that Carneiro uses for his project-drawings are filled with records that elucidate about the concepts inherent to the origin of the work as well as about its installation in the exhibition space: drawings of details from the work, references to the materials used, schemes of the spatial distribution of the elements, possible trajectories for the viewer, dimensions of some parts, sentences and thoughts of the artist. All aspects in these complex project-drawings concur to reveal the profound thinking process behind them.
The subsequent installation artworks, which typically bring natural elements such as trees, rocks or fruits into the museum, are, then, the materialization of that deep investigation about space and its relations with each element of the artwork and the body and mind of both the artist and the viewer.
One of the common aspects between the two devices, project-drawings and installation artworks, is the use of the word as a means to establish a dialogue with the viewer: not only in the titles which directly address him/her, but also annotations in the project-drawings or sentences present in some installation artworks. All call upon the presence of the viewer in the space shared by him/her and the artwork, as well as the viewers’ experiences in nature (walking, lying in grass, picking up fruit). It is this communicability inherent to the genesis of both project-drawings and installations that I believe can be potentiated with the simultaneous exhibition of the two.
However, although obviously connected, project-drawings and installations are independent works: they belong to different collections and as a rule are exhibited separately. By taking the exhibition as a reflective space, this paper analyzes how the confrontation between the project-drawings and the installation artworks can potentiate new dialogues and perspectives about them, enhancing that communicability which was one of the artist’s goals in the first place.
I will start to present the works which will be used as examples, and then explore the potential new readings that using the exhibition as medium could create. Taking the exhibition as a privileged space where to materialize the concepts explored in the project-drawings, the artist himself renders each re-installation as a new experience. If, as Carneiro states, “The drawing is not made as something which prepares sculpture, but as a means which favors its developments” , then their simultaneous exhibition will always create a new space for reflection and deeper understanding of the artist’s concepts, intentions and artistic processes.
Bookmarks Related papers MentionsView impact
O doutoramento em Museologia da Universidade do Porto é um programa de
formação em investigação a... more O doutoramento em Museologia da Universidade do Porto é um programa de
formação em investigação a nível internacional, fruto da parceria entre a Faculdade
de Letras e a Faculdade de Belas Artes, que potencia a multidisciplinaridade,
rentabilização e qualidade no uso dos meios técnicos e recursos humanos da
Universidade do Porto. A missão do Doutoramento em Museologia da Universidade
do Porto é educar os estudantes para a investigação científica inovadora
e rigorosa sobre temas desenvolvidos pelas diferentes linhas de pesquisa
interdisciplinares. O esforço e o ambiente ativo de investigação que se procura,
ambiciona, claramente, contribuir para a acumulação, disseminação, síntese e
inovação do conhecimento em Museologia. Para este fim, o Doutoramento em
Museologia tem-se comprometido com a criação e promoção de um programa
atualizado e relevante para esta área de conhecimento que inclui a organização
de eventos científicos. Estes eventos científicos têm-se constituído enquanto
espaço essencial de interação, partilha de visões multidisciplinares e modos de
construção do campo de investigadores e universidades, criando oportunidades
para a transmissão de conhecimentos e debate sobre as questões apresentadas
e advogando o espaço único da Museologia no âmbito da investigação da cultura.
Considera-se que estes eventos de comunicação científica assumem a maior
importância não só para a divulgação e atualização do conhecimento mas também
para o desenvolvimento de competências e valores próprios da comunidade
científica.
A ciência contemporânea é uma atividade social complexa na qual estudantes,
docentes e outros investigadores participam, trabalhando para objetivos comuns,
formulando e reformulando questões e métodos. A apresentação de trabalhos
sobre os projetos de investigação em curso permite expor dados e argumentos
durante as diferentes fases de desenvolvimento da tese, criando oportunidades
de feedback, melhoramento e revisão. Estes eventos têm, igualmente, apoiado
a criação e manutenção de relações académicas profícuas que ultrapassam
barreiras disciplinares, linguísticas e geográficas.
5
Processos de Musealização. Um Seminário de Investigação Internacional | Atas do Seminário
Musealisation Processes. An International Research Seminar | Conference Proceedings
As diferentes dimensões dos processos de musealização são crescentemente
compreendidas enquanto aspetos centrais para pensar os museus como
artefactos sociais e produtores de conhecimento. Assim, e organizando-se a
partir das diferentes linhas de investigação do Doutoramento em Museologia da
Universidade do Porto - Museus, Coleções e Património; Museus, Património e
Conservação Preventiva; Museus, Espaço e Comunicação; Museus e Curadoria -,
este Seminário propôs-se refletir sobre os Processos de Musealização, explorando
os desenvolvimentos teóricos do pensamento museológico contemporâneo e
destacando como a sua materialização acontece nas suas práticas.
Este seminário de investigação contou, ainda, com o valioso contributo de três
keynote speakers, que apresentaram, em diferentes dias, as suas reflexões:
Marina Pugliese, The Upcoming Museum of Cultures in Milan. An innovative
museological project for ethnographic collections and contemporary arts with the
involvement of the international communities living in the city; Paul Basu, Museum
Interventions, Museum Provocations; e Maria Teresa Cruz, Técnicas Culturais e
Património.
Procurou-se um modelo organizativo que oferecesse a todos os envolvidos quer
momentos de transferência de conhecimentos sobre temas emergentes, quer
de discussão sobre os seus projetos de investigação ou proporcionando, pois,
espaços de experimentação que conduzissem a reflexões sobre a própria natureza
do objeto e do trabalho de investigação em curso.
As atas que aqui se publicam são, assim, uma compilação multidimensional
bastante rica de textos apresentados ao Seminário, organizada por linha de
investigação e ordem alfabética de autor.
Bookmarks Related papers MentionsView impact
Performing Documentation in the Conservation of Contemporary Art, Oct 2015
In 1996, Ângela Ferreira (b. 1958, Mozambique)
initiated a double site installation project
con... more In 1996, Ângela Ferreira (b. 1958, Mozambique)
initiated a double site installation project
consisting of two site‑specific installations:
Double‑Sided Part I, 1996, Marfa, Texas; and
Double‑Sided Part II, 1997, Nieu‑Bethesda,
South Africa.1
It confronts Donald Judd’s and
Helen Martins’ homes, work places, natural
environments, and artistic practices by
displacing some features of one’s space to the
other and vice versa.
A second moment of this project began when
Ferreira decided to show side by side in
one single work the two earlier installations
of which the only remnants are their
photographic documentation. This evolving
process includes, since 1997, ten different
versions of Double‑Sided, each being an
attempt by the artist to find the best format
to present the concept that originated the
work. Each time a new version is produced
it takes a new configuration, revealing the
project’s openness and nomadic‑nature.
This paper follows the process of
documenting Double‑Sided, enhancing its
complexity, pointing out difficulties in the
musealization process and demonstrating
the relevance of the documentation
of process‑based artworks in order to
contextualize and support decisions in future
re‑installations.
Bookmarks Related papers MentionsView impact
The goal of this paper is to analize the ways by which some contemporary artists establish a rela... more The goal of this paper is to analize the ways by which some contemporary artists establish a relation with their place and process of artistic creation through the way they choose to publish and/or exhibit images of their works. Sculptors Alberto Carneiro and Ângela Ferreira will be studied as examples.
The first artist explores a relation with nature – in the last years specifically with his domestic garden – which extends itself to the way a group of his works is sometimes presented in his exhibition catalogues. Instead of photos of the works in exhibition, some of them publish images of the pieces photographed in Alberto Carneiro’s private garden. This provides the works with various layers of meaning, in a close relation with place: the place which inspired their creation; the place where they were created and the place which, because of that, would be the preferred scenario for their presentation.
In turn, Ângela Ferreira transposes her “place” of creation to the exhibition space through a method, which the artist has been developing since 2010, of presenting the creative process. More than the artist’s interviews and the images published in the catalogues which accompany her exhibitions, Ângela Ferreira is concerned with finding a way to show, in the exhibition space and close to the artworks, the investigation process that lead her to the final configuration of the pieces. She found the most truthful configuration to her creative process in the way she organizes her research documents in her home’s kitchen.
The close contact with the two artists and with their studios, in confrontation with the analyses of the recent bibliography about the subject is the methodological basis to explore, in this paper, different ways of showing the place and the creative process, one of the many potentialities which the study of the artist’s studios allows to foresee.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Uploads
Conference Presentations by Teresa Azevedo
Papers by Teresa Azevedo
The work of Alberto Carneiro can be described as highly conceptual while grounded in a strong materiality. Carneiro’s work is often site-related and his installation pieces are usually preceded by what the artist himself designates by project-drawings.
The graph paper sheets that Carneiro uses for his project-drawings are filled with records that elucidate about the concepts inherent to the origin of the work as well as about its installation in the exhibition space: drawings of details from the work, references to the materials used, schemes of the spatial distribution of the elements, possible trajectories for the viewer, dimensions of some parts, sentences and thoughts of the artist. All aspects in these complex project-drawings concur to reveal the profound thinking process behind them.
The subsequent installation artworks, which typically bring natural elements such as trees, rocks or fruits into the museum, are, then, the materialization of that deep investigation about space and its relations with each element of the artwork and the body and mind of both the artist and the viewer.
One of the common aspects between the two devices, project-drawings and installation artworks, is the use of the word as a means to establish a dialogue with the viewer: not only in the titles which directly address him/her, but also annotations in the project-drawings or sentences present in some installation artworks. All call upon the presence of the viewer in the space shared by him/her and the artwork, as well as the viewers’ experiences in nature (walking, lying in grass, picking up fruit). It is this communicability inherent to the genesis of both project-drawings and installations that I believe can be potentiated with the simultaneous exhibition of the two.
However, although obviously connected, project-drawings and installations are independent works: they belong to different collections and as a rule are exhibited separately. By taking the exhibition as a reflective space, this paper analyzes how the confrontation between the project-drawings and the installation artworks can potentiate new dialogues and perspectives about them, enhancing that communicability which was one of the artist’s goals in the first place.
I will start to present the works which will be used as examples, and then explore the potential new readings that using the exhibition as medium could create. Taking the exhibition as a privileged space where to materialize the concepts explored in the project-drawings, the artist himself renders each re-installation as a new experience. If, as Carneiro states, “The drawing is not made as something which prepares sculpture, but as a means which favors its developments” , then their simultaneous exhibition will always create a new space for reflection and deeper understanding of the artist’s concepts, intentions and artistic processes.
formação em investigação a nível internacional, fruto da parceria entre a Faculdade
de Letras e a Faculdade de Belas Artes, que potencia a multidisciplinaridade,
rentabilização e qualidade no uso dos meios técnicos e recursos humanos da
Universidade do Porto. A missão do Doutoramento em Museologia da Universidade
do Porto é educar os estudantes para a investigação científica inovadora
e rigorosa sobre temas desenvolvidos pelas diferentes linhas de pesquisa
interdisciplinares. O esforço e o ambiente ativo de investigação que se procura,
ambiciona, claramente, contribuir para a acumulação, disseminação, síntese e
inovação do conhecimento em Museologia. Para este fim, o Doutoramento em
Museologia tem-se comprometido com a criação e promoção de um programa
atualizado e relevante para esta área de conhecimento que inclui a organização
de eventos científicos. Estes eventos científicos têm-se constituído enquanto
espaço essencial de interação, partilha de visões multidisciplinares e modos de
construção do campo de investigadores e universidades, criando oportunidades
para a transmissão de conhecimentos e debate sobre as questões apresentadas
e advogando o espaço único da Museologia no âmbito da investigação da cultura.
Considera-se que estes eventos de comunicação científica assumem a maior
importância não só para a divulgação e atualização do conhecimento mas também
para o desenvolvimento de competências e valores próprios da comunidade
científica.
A ciência contemporânea é uma atividade social complexa na qual estudantes,
docentes e outros investigadores participam, trabalhando para objetivos comuns,
formulando e reformulando questões e métodos. A apresentação de trabalhos
sobre os projetos de investigação em curso permite expor dados e argumentos
durante as diferentes fases de desenvolvimento da tese, criando oportunidades
de feedback, melhoramento e revisão. Estes eventos têm, igualmente, apoiado
a criação e manutenção de relações académicas profícuas que ultrapassam
barreiras disciplinares, linguísticas e geográficas.
5
Processos de Musealização. Um Seminário de Investigação Internacional | Atas do Seminário
Musealisation Processes. An International Research Seminar | Conference Proceedings
As diferentes dimensões dos processos de musealização são crescentemente
compreendidas enquanto aspetos centrais para pensar os museus como
artefactos sociais e produtores de conhecimento. Assim, e organizando-se a
partir das diferentes linhas de investigação do Doutoramento em Museologia da
Universidade do Porto - Museus, Coleções e Património; Museus, Património e
Conservação Preventiva; Museus, Espaço e Comunicação; Museus e Curadoria -,
este Seminário propôs-se refletir sobre os Processos de Musealização, explorando
os desenvolvimentos teóricos do pensamento museológico contemporâneo e
destacando como a sua materialização acontece nas suas práticas.
Este seminário de investigação contou, ainda, com o valioso contributo de três
keynote speakers, que apresentaram, em diferentes dias, as suas reflexões:
Marina Pugliese, The Upcoming Museum of Cultures in Milan. An innovative
museological project for ethnographic collections and contemporary arts with the
involvement of the international communities living in the city; Paul Basu, Museum
Interventions, Museum Provocations; e Maria Teresa Cruz, Técnicas Culturais e
Património.
Procurou-se um modelo organizativo que oferecesse a todos os envolvidos quer
momentos de transferência de conhecimentos sobre temas emergentes, quer
de discussão sobre os seus projetos de investigação ou proporcionando, pois,
espaços de experimentação que conduzissem a reflexões sobre a própria natureza
do objeto e do trabalho de investigação em curso.
As atas que aqui se publicam são, assim, uma compilação multidimensional
bastante rica de textos apresentados ao Seminário, organizada por linha de
investigação e ordem alfabética de autor.
initiated a double site installation project
consisting of two site‑specific installations:
Double‑Sided Part I, 1996, Marfa, Texas; and
Double‑Sided Part II, 1997, Nieu‑Bethesda,
South Africa.1
It confronts Donald Judd’s and
Helen Martins’ homes, work places, natural
environments, and artistic practices by
displacing some features of one’s space to the
other and vice versa.
A second moment of this project began when
Ferreira decided to show side by side in
one single work the two earlier installations
of which the only remnants are their
photographic documentation. This evolving
process includes, since 1997, ten different
versions of Double‑Sided, each being an
attempt by the artist to find the best format
to present the concept that originated the
work. Each time a new version is produced
it takes a new configuration, revealing the
project’s openness and nomadic‑nature.
This paper follows the process of
documenting Double‑Sided, enhancing its
complexity, pointing out difficulties in the
musealization process and demonstrating
the relevance of the documentation
of process‑based artworks in order to
contextualize and support decisions in future
re‑installations.
The first artist explores a relation with nature – in the last years specifically with his domestic garden – which extends itself to the way a group of his works is sometimes presented in his exhibition catalogues. Instead of photos of the works in exhibition, some of them publish images of the pieces photographed in Alberto Carneiro’s private garden. This provides the works with various layers of meaning, in a close relation with place: the place which inspired their creation; the place where they were created and the place which, because of that, would be the preferred scenario for their presentation.
In turn, Ângela Ferreira transposes her “place” of creation to the exhibition space through a method, which the artist has been developing since 2010, of presenting the creative process. More than the artist’s interviews and the images published in the catalogues which accompany her exhibitions, Ângela Ferreira is concerned with finding a way to show, in the exhibition space and close to the artworks, the investigation process that lead her to the final configuration of the pieces. She found the most truthful configuration to her creative process in the way she organizes her research documents in her home’s kitchen.
The close contact with the two artists and with their studios, in confrontation with the analyses of the recent bibliography about the subject is the methodological basis to explore, in this paper, different ways of showing the place and the creative process, one of the many potentialities which the study of the artist’s studios allows to foresee.
The work of Alberto Carneiro can be described as highly conceptual while grounded in a strong materiality. Carneiro’s work is often site-related and his installation pieces are usually preceded by what the artist himself designates by project-drawings.
The graph paper sheets that Carneiro uses for his project-drawings are filled with records that elucidate about the concepts inherent to the origin of the work as well as about its installation in the exhibition space: drawings of details from the work, references to the materials used, schemes of the spatial distribution of the elements, possible trajectories for the viewer, dimensions of some parts, sentences and thoughts of the artist. All aspects in these complex project-drawings concur to reveal the profound thinking process behind them.
The subsequent installation artworks, which typically bring natural elements such as trees, rocks or fruits into the museum, are, then, the materialization of that deep investigation about space and its relations with each element of the artwork and the body and mind of both the artist and the viewer.
One of the common aspects between the two devices, project-drawings and installation artworks, is the use of the word as a means to establish a dialogue with the viewer: not only in the titles which directly address him/her, but also annotations in the project-drawings or sentences present in some installation artworks. All call upon the presence of the viewer in the space shared by him/her and the artwork, as well as the viewers’ experiences in nature (walking, lying in grass, picking up fruit). It is this communicability inherent to the genesis of both project-drawings and installations that I believe can be potentiated with the simultaneous exhibition of the two.
However, although obviously connected, project-drawings and installations are independent works: they belong to different collections and as a rule are exhibited separately. By taking the exhibition as a reflective space, this paper analyzes how the confrontation between the project-drawings and the installation artworks can potentiate new dialogues and perspectives about them, enhancing that communicability which was one of the artist’s goals in the first place.
I will start to present the works which will be used as examples, and then explore the potential new readings that using the exhibition as medium could create. Taking the exhibition as a privileged space where to materialize the concepts explored in the project-drawings, the artist himself renders each re-installation as a new experience. If, as Carneiro states, “The drawing is not made as something which prepares sculpture, but as a means which favors its developments” , then their simultaneous exhibition will always create a new space for reflection and deeper understanding of the artist’s concepts, intentions and artistic processes.
formação em investigação a nível internacional, fruto da parceria entre a Faculdade
de Letras e a Faculdade de Belas Artes, que potencia a multidisciplinaridade,
rentabilização e qualidade no uso dos meios técnicos e recursos humanos da
Universidade do Porto. A missão do Doutoramento em Museologia da Universidade
do Porto é educar os estudantes para a investigação científica inovadora
e rigorosa sobre temas desenvolvidos pelas diferentes linhas de pesquisa
interdisciplinares. O esforço e o ambiente ativo de investigação que se procura,
ambiciona, claramente, contribuir para a acumulação, disseminação, síntese e
inovação do conhecimento em Museologia. Para este fim, o Doutoramento em
Museologia tem-se comprometido com a criação e promoção de um programa
atualizado e relevante para esta área de conhecimento que inclui a organização
de eventos científicos. Estes eventos científicos têm-se constituído enquanto
espaço essencial de interação, partilha de visões multidisciplinares e modos de
construção do campo de investigadores e universidades, criando oportunidades
para a transmissão de conhecimentos e debate sobre as questões apresentadas
e advogando o espaço único da Museologia no âmbito da investigação da cultura.
Considera-se que estes eventos de comunicação científica assumem a maior
importância não só para a divulgação e atualização do conhecimento mas também
para o desenvolvimento de competências e valores próprios da comunidade
científica.
A ciência contemporânea é uma atividade social complexa na qual estudantes,
docentes e outros investigadores participam, trabalhando para objetivos comuns,
formulando e reformulando questões e métodos. A apresentação de trabalhos
sobre os projetos de investigação em curso permite expor dados e argumentos
durante as diferentes fases de desenvolvimento da tese, criando oportunidades
de feedback, melhoramento e revisão. Estes eventos têm, igualmente, apoiado
a criação e manutenção de relações académicas profícuas que ultrapassam
barreiras disciplinares, linguísticas e geográficas.
5
Processos de Musealização. Um Seminário de Investigação Internacional | Atas do Seminário
Musealisation Processes. An International Research Seminar | Conference Proceedings
As diferentes dimensões dos processos de musealização são crescentemente
compreendidas enquanto aspetos centrais para pensar os museus como
artefactos sociais e produtores de conhecimento. Assim, e organizando-se a
partir das diferentes linhas de investigação do Doutoramento em Museologia da
Universidade do Porto - Museus, Coleções e Património; Museus, Património e
Conservação Preventiva; Museus, Espaço e Comunicação; Museus e Curadoria -,
este Seminário propôs-se refletir sobre os Processos de Musealização, explorando
os desenvolvimentos teóricos do pensamento museológico contemporâneo e
destacando como a sua materialização acontece nas suas práticas.
Este seminário de investigação contou, ainda, com o valioso contributo de três
keynote speakers, que apresentaram, em diferentes dias, as suas reflexões:
Marina Pugliese, The Upcoming Museum of Cultures in Milan. An innovative
museological project for ethnographic collections and contemporary arts with the
involvement of the international communities living in the city; Paul Basu, Museum
Interventions, Museum Provocations; e Maria Teresa Cruz, Técnicas Culturais e
Património.
Procurou-se um modelo organizativo que oferecesse a todos os envolvidos quer
momentos de transferência de conhecimentos sobre temas emergentes, quer
de discussão sobre os seus projetos de investigação ou proporcionando, pois,
espaços de experimentação que conduzissem a reflexões sobre a própria natureza
do objeto e do trabalho de investigação em curso.
As atas que aqui se publicam são, assim, uma compilação multidimensional
bastante rica de textos apresentados ao Seminário, organizada por linha de
investigação e ordem alfabética de autor.
initiated a double site installation project
consisting of two site‑specific installations:
Double‑Sided Part I, 1996, Marfa, Texas; and
Double‑Sided Part II, 1997, Nieu‑Bethesda,
South Africa.1
It confronts Donald Judd’s and
Helen Martins’ homes, work places, natural
environments, and artistic practices by
displacing some features of one’s space to the
other and vice versa.
A second moment of this project began when
Ferreira decided to show side by side in
one single work the two earlier installations
of which the only remnants are their
photographic documentation. This evolving
process includes, since 1997, ten different
versions of Double‑Sided, each being an
attempt by the artist to find the best format
to present the concept that originated the
work. Each time a new version is produced
it takes a new configuration, revealing the
project’s openness and nomadic‑nature.
This paper follows the process of
documenting Double‑Sided, enhancing its
complexity, pointing out difficulties in the
musealization process and demonstrating
the relevance of the documentation
of process‑based artworks in order to
contextualize and support decisions in future
re‑installations.
The first artist explores a relation with nature – in the last years specifically with his domestic garden – which extends itself to the way a group of his works is sometimes presented in his exhibition catalogues. Instead of photos of the works in exhibition, some of them publish images of the pieces photographed in Alberto Carneiro’s private garden. This provides the works with various layers of meaning, in a close relation with place: the place which inspired their creation; the place where they were created and the place which, because of that, would be the preferred scenario for their presentation.
In turn, Ângela Ferreira transposes her “place” of creation to the exhibition space through a method, which the artist has been developing since 2010, of presenting the creative process. More than the artist’s interviews and the images published in the catalogues which accompany her exhibitions, Ângela Ferreira is concerned with finding a way to show, in the exhibition space and close to the artworks, the investigation process that lead her to the final configuration of the pieces. She found the most truthful configuration to her creative process in the way she organizes her research documents in her home’s kitchen.
The close contact with the two artists and with their studios, in confrontation with the analyses of the recent bibliography about the subject is the methodological basis to explore, in this paper, different ways of showing the place and the creative process, one of the many potentialities which the study of the artist’s studios allows to foresee.