Sob o signo do tempo: implicações temporais na experiência visual e na experiência imersiva na escultura

Abstract

The phenomena of time, space, and motion permeate all existence; in art, in addition to being necessary for representation, they become themes for his works. Over the years, the way we look at such phenomena has been changed or, as Charles S. Peirce understands, updated. Thus, in mythologies, religions, and from the various areas of knowledge, throughout history and even today, one can see a polysemy in the way in which the ideas of time, space, and movement are signified. Analogously, it is possible to perceive the displacement of the categories of art and its works in proposals that dialogue in the most varied ways with these phenomena and their meanings, although considered banal by many of us in our daily lives. At the beginning of the 20th century, as a result of modernization and, in the second half of the century, globalization, artistic trends such as Futurism and Land Art emerged, which proposed to explore the phenomena of movement and space in works that physically or conceptually encompass the idea of time, which is still recurrent in current productions. And it is in this bias of changes and adaptations that art will restructure itself, as proposed by Rosalind Krauss, with the “expanded field”. From this panorama, this research is part of the studies on sculpture as an expanded field, to study how these phenomena – of time, space, and movement – ​​are present/participate in works of art. Therefore, it is proposed to analyze three sculptures, from the beginning of the 20th century, the end of this century, and the beginning of the 21st century: 1. Development of a bottle in space, by Humberto Boccioni (1912), 2. Running Fence, by Christo & Jeanne-Claude (1976), and 3. Abyss over an abyss, by Thiago Rocha Pitta (2018), the latter by a Brazilian artist. The analysis is guided by sign relations, especially the interpretive effects that the works can produce and the participation of the phenomena under study in their generative process. Relying on both history and semiotics, this research resorted to different historical perspectives on the conceptualizations of time and its relations with space and movement; in art history, is based on texts by Michael Archer, and Giulio Argan, and Ernest Gombrich, among others. Semiotic studies consider aspects of Erwin Panofsky's iconography and Charles S. Peirce's general semiotics, as well as texts by scholars of his semiotics applied to images. The research was carried out, involving literature review and semiotic analysis, to build a view of the relationship between time, space, movement, and visual arts. The results should allow a better understanding of modernism and contemporaneity, in addition to contributing to expanding studies relating to art and semiotics.