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Master's Dissertation
DOI
10.11606/D.18.2008.tde-19082008-135305
Document
Author
Full name
Vanessa Rosa Machado
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Carlos, 2008
Supervisor
Committee
Santos, Fabio Lopes de Souza (President)
Goldberg, Sonia Salzstein
Lopes, Ruy Sardinha
Title in Portuguese
Lygia Pape: espaços de ruptura
Keywords in Portuguese
Arte contemporânea
Artes visuais
Lygia Pape
Abstract in Portuguese
O presente trabalho lança luz sobre a trajetória de Lygia Pape (1927-2004), artista experimental que atuou em diversas linguagens e suportes. Pautando a análise de sua produção pela relação com o contexto urbano no qual se inseria, enfocamos três momentos e conjuntos de obras: o primeiro, parte do amplo "projeto cultural moderno", inclui as obras concretas e neoconcretas, como as xilogravuras "Tecelares" (1955-1959), o roteiro para um filme sobre Brasília (1959), o "Livro da criação" (1959) e "Balés neoconcretos" (1958-1959); o segundo, de crise do anterior conceito de projeto, contempla as obras participativas como "Ovo" (1968), "Divisor" (1968) e "Roda dos prazeres" (1968) e o terceiro, cronologicamente mais recente, no qual Lygia, menos propositora e mais crítica, evidencia características de uma cidade já permeada por outros discursos e práticas culturais, analisa obras como o projeto "Eat me: a gula ou a luxúria?" (1976) e os filmes "Wampirou" (1974) e "Carnival in Rio" (1974).
Title in English
Lygia Pape: spaces of rupture
Keywords in English
Contemporary art
Lygia Pape
Visual art
Abstract in English
This work analyses the trajectory of Lygia Pape (1927-2004), experimental artist who worked in several languages and media. By the analysis of her production in relation with the urban context she was inserted, we focus three moments and piece sets: the first, part of the wide "modern cultural project" includes concrete and neoconcrete pieces, like the wood cut "Tecelares" (1955-1959), the script for a movie about Brasília (1959), the "Livro da criação" (1959) e "Balés neoconcretos" (1958-1959); the second, on the crisis of the previous project concept, embraces the participative pieces like "Ovo" (1968), "Divisor" (1968) and "Roda dos prazeres" (1968) and the third, chronologically most recent, in which Lygia, in a more critical way, brings to evidence characteristics of a city relating it to other discourses and cultural practices, analyses pieces like her project "Eat me: a gula ou a luxúria?" (1976) and the movies "Wampirou" (1974) and "Carnival in Rio" (1974).
 
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Publishing Date
2008-08-22
 
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