Delson Uchôa e o corpo como arquivo: arte e política nos anos 1980

Abstract

This thesis presents a study of the paintings of the artist Delson Uchôa (1956-), from the 1980s, a period highlighted in his artistic trajectory due to his participation in the exhibition Como vai você, Geração 80?, in 1984, at the Escola de Artes Visuais do Parque Lage (RJ). The methodological procedure was built from frictions raised between the "inside and outside" of the images. It takes as a visual resource about the operations worked in the research, the Möbius tape, in the work Caminhando (1963), by the artist Lygia Clark (1920-1988), because each image and documents found in institutional and personal collections, transformed the construction, as well as the cuts of the ribbon, by unfolding as a spiral, containing several parts. Each one intertwines as the participants cut it. We focus on the construction of the subject's scene in this temporality, to understand the historical processes and the theories developed, in the references and relations with the art system. In this context, we discuss aesthetic regimes and the political aspect of production. The thesis presents the works as a body of painting and defends the artist's poetics as a living archive that performs in the photographic act, converting memories and cultural codes into the production of experiences, in the construction of environments and together with spaces and landscapes.