Loading...
Publication
Olhares subjetivos: a videoarte como espelho da cultura e da performance artística
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 535.39 KB | Adobe PDF |
Advisor(s)
Abstract(s)
Este artigo propõe o conceito de videoarte documental, através da análise do papel da subjetividade em obras videográficas de cariz documental, enquanto registo de performances artísticas e culturais, ao demonstrar como a perspetiva autoral pode valorizar este tipo de registo e ampliar os seus horizontes interpretativos. Através de uma abordagem teórica e da análise de três estudos de caso, Moon Moth Bed de Virginia L. Montgomery, A Love Song for Latasha de Sophia Nahli Allison, e Consonant Camera de E. V. Aleksandrov, explora-se como a videoarte articula fidelidade documental, narrativa poética e inovação estética. O conceito de Consonant Camera, a criação de memórias visuais fragmentadas e a utilização de metáforas naturais exemplificam estratégias que integram ética, criatividade e sensibilidade cultural. Argumenta-se que a videoarte, ao ultrapassar as fronteiras entre a arte e o documento, constitui um meio essencial para a preservação do património cultural imaterial e para a construção de narrativas que combinam reflexão crítica e experiência estética.
This article proposes the concept of documentary video art through the analysis of the role of subjectivity in videographic works of a documentary nature, as a record of artistic and cultural performances, demonstrating how the authorial perspective can enrich this type of record and broaden its interpretive horizons. Through a theoretical approach and the analysis of three case studies, Moon Moth Bed by Virginia L. Montgomery, A Love Song for Latasha by Sophia Nahli Allison, and Consonant Camera by E. V. Aleksandrov, the study explores how video art integrates documentary fidelity, poetic narrative, and aesthetic innovation. The concepts of the Consonant Camera, fragmented visual memories, and natural metaphors illustrate strategies that combine ethics, creativity, and cultural sensitivity. It is argued that video art, by transcending the boundaries between art and documentation, is an essential medium for preserving intangible cultural heritage and constructing narratives that blend critical reflection and aesthetic experience.
This article proposes the concept of documentary video art through the analysis of the role of subjectivity in videographic works of a documentary nature, as a record of artistic and cultural performances, demonstrating how the authorial perspective can enrich this type of record and broaden its interpretive horizons. Through a theoretical approach and the analysis of three case studies, Moon Moth Bed by Virginia L. Montgomery, A Love Song for Latasha by Sophia Nahli Allison, and Consonant Camera by E. V. Aleksandrov, the study explores how video art integrates documentary fidelity, poetic narrative, and aesthetic innovation. The concepts of the Consonant Camera, fragmented visual memories, and natural metaphors illustrate strategies that combine ethics, creativity, and cultural sensitivity. It is argued that video art, by transcending the boundaries between art and documentation, is an essential medium for preserving intangible cultural heritage and constructing narratives that blend critical reflection and aesthetic experience.
Description
Keywords
Videoarte Subjetividade Documentação Performance Artística Património Cultural intangível Video art Subjectivity Documentation Artistic performance Intangible cultural heritage
Pedagogical Context
Citation
Henriques, P., & Veiga, P.A. (2025). Olhares Subjetivos: a Videoarte como Espelho da Cultura e da Performance Artística. In Proceedings of Artech 2025, 12th International Conference on Digital and Interactive Arts, Braga, Portugal.
Publisher
ACM Digital Library