SERGIO MOURA, VIDA E ARTE VOAM JUNTOS
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Data
2025-07-29
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PPGARTES
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Universidade Estadual do Paraná
Resumo
This dissertation aims to provide access to the creative process of the artist Sergio Moura by revisiting places, stored works, his projects Praça da Arte, Artshow, Sensibilizar, and the urgency of cultivating creative sensitivity to the complex and unpredictable Brazilian reality between 1977 and 1987. Its problem, considering the little material published and available on the artist's career during this period: how can we keep alive the perception of what Sergio Moura tried to awaken in people by taking art to the streets, by provoking the actions of artists and passers-by during the military dictatorship? In the quest to elucidate this question, a new exhibition perspective will be presented based on a reflection on documentary cinema in the process of developing a film that sets out to take a unique look at the life and art of this artist. The theoretical basis lies in the dialog with the authors Gilles Deleuze, Jacques Rancière, Michel de Certeau, Jacques Aumont, Bill Nichols and Sidney Lumet. The materials collected in this research were defined on the basis of the life story methodology in order to expand on the path taken by the artist with freedom in projecting the thoughts of life into the collective.
Descrição
Nesta dissertação, pretende-se promover o acesso ao processo criativo do artista Sergio Moura ao revisitar lugares, trabalhos guardados, seus projetos Praça da Arte, Artshow, Sensibilizar, e a urgência de cultivar a sensibilidade criadora com a complexa e imprevisível realidade brasileira no período de 1977 a 1987. Tem como problemática, considerando o pouco material publicado e disponível sobre a trajetória do artista neste período: como manter viva a percepção do que Sergio Moura tentou despertar das pessoas ao levar a Arte para as ruas, ao provocar a atuação dos artistas e dos transeuntes durante a ditadura militar? Na busca por elucidar essa indagação, uma nova perspectiva de exposição será apresentada a partir de uma reflexão sobre o cinema documentário no processo de desenvolvimento de um filme que se propõe a lançar um olhar singular sobre a vida e a arte deste artista. A fundamentação teórica está no diálogo com os autores Gilles Deleuze, Jacques Rancière, Michel de Certeau, Jacques Aumont, Bill Nichols e Sidney Lumet. Os materiais coletados nesta pesquisa foram definidos com base na metodologia história de vida para expandir o caminho trilhado pelo artista com liberdade na projeção dos pensamentos da vida no coletivo.
This dissertation aims to provide access to the creative process of the artist Sergio Moura by revisiting places, stored works, his projects Praça da Arte, Artshow, Sensibilizar, and the urgency of cultivating creative sensitivity to the complex and unpredictable Brazilian reality between 1977 and 1987. Its problem, considering the little material published and available on the artist's career during this period: how can we keep alive the perception of what Sergio Moura tried to awaken in people by taking art to the streets, by provoking the actions of artists and passers-by during the military dictatorship? In the quest to elucidate this question, a new exhibition perspective will be presented based on a reflection on documentary cinema in the process of developing a film that sets out to take a unique look at the life and art of this artist. The theoretical basis lies in the dialog with the authors Gilles Deleuze, Jacques Rancière, Michel de Certeau, Jacques Aumont, Bill Nichols and Sidney Lumet. The materials collected in this research were defined on the basis of the life story methodology in order to expand on the path taken by the artist with freedom in projecting the thoughts of life into the collective.
This dissertation aims to provide access to the creative process of the artist Sergio Moura by revisiting places, stored works, his projects Praça da Arte, Artshow, Sensibilizar, and the urgency of cultivating creative sensitivity to the complex and unpredictable Brazilian reality between 1977 and 1987. Its problem, considering the little material published and available on the artist's career during this period: how can we keep alive the perception of what Sergio Moura tried to awaken in people by taking art to the streets, by provoking the actions of artists and passers-by during the military dictatorship? In the quest to elucidate this question, a new exhibition perspective will be presented based on a reflection on documentary cinema in the process of developing a film that sets out to take a unique look at the life and art of this artist. The theoretical basis lies in the dialog with the authors Gilles Deleuze, Jacques Rancière, Michel de Certeau, Jacques Aumont, Bill Nichols and Sidney Lumet. The materials collected in this research were defined on the basis of the life story methodology in order to expand on the path taken by the artist with freedom in projecting the thoughts of life into the collective.
Palavras-chave
arte. coletivo. crítico. ruptura. liberdade criativa.