O desenho estampado das interações: gravador e curador / mostra e público

Abstract

This research has as study object the curatorship of the exhibition O desenho estampado a obra gráfica de Evandro Carlos Jardim , presented in Pinacoteca do Estado de São Paulo from July to August 2005. The show congregated more than 250 works among engravings, paintings and sculptures from 1961 to 2005, with verbal texts by the curator Claudio Mubarac, the art critic Aracy Amaral and the poet, engraver and sculptor Alberto Martins. The proposal of this clipping is guided by the communicational processes used by the curator to evidence the particular making of the engraving in the mechanisms of visibility built in the work of the artist Jardim that, in the selected set, had integrated the exhibition. The base of our hypothesis is that the visitor apprehended the meaning of the exhibition guided by the procedures of manipulation and programming carried out by the curator and that for such, he evidences a sensible interactional contract by the procedure of adjustment with the work of the artist. The speech of the curator was analyzed on the basis of the structural semiotics developed around the work of Algirdas Julien Greimas. The curatorship is explored as a communicational net, in which the speech is constructed by the intersections with the speech of the artist. However, as independent texts, they also intersect, and they develop the marks of the temporality of making the engraving through intertextuality, that are materialized in the spaciality of Pinacoteca architecture and bring the marks of the actoriality that, in the relation with the others enunciatives dimensions, assemble an interaction of the visitor with two identities offered in exhibition: the one of the engraver and the one of the curator of the engraving work. During the development of the interdiscursive and the intertextual sphere, beyond the problematic of the identity versus alterity between curator-engraver and artist-engraver, the communicative situation that curatorship and artwork establish with the visiting public has been studied. This articulation between regimes of sense and regimes of interaction found its basis in the sociosemiotics of Eric Landowski, who, equally, has made us reaffirm that the theory and semiotics methodology are defined in the investigation act of the study object. The relevance of this study for the curatoriships of artistic exhibitions lays on underlining the importance of the joint between the intelligible and the sensible for the construction of a curatorial speech that makes the understanding of the totality of an artistic making, objectifying its explicitation. In this way, it makes possible the public s apprehension and learning the exhibition s communicational processes