Um aqui (antes) um aqui (agora): entre acúmulos, artifícios e sobreposições na construção de imagens técnicas feitas por telefone celular para a rede social Instagram

Abstract

This thesis presents, recalls, and reflects on the creation processes of four works of art produced by the research artist who is also the author of this text. Three series use technical images such as photographs, videos, and screenshots, captured by cell phone, manipulated, and published on the social media Instagram. The fourth is this text that accumulates its past and reflects on itself. All of them were created using spunto as their origin, a concept discussed by Luigi Pareyson in his Theory of Formativity (Formatività) and his debate of the forming form (forma formans) e formed form (forma formata), the action of forming as making, and inventing its way of making while producing the work. While creating the works, my cell phone became my work tool like a studio. Within the app’s interface, as a place of game and dispute, there are transformations in the narrative paths of the works, such as #brasil_acima_de_tudo_REAJA, which uses this hashtag captured by Bolsonaro to try to destabilize its discourses. It is also on the social network, now through the instant communication app WhatsApp, that the series #CódigoParaReaçãoImediata begins as a reflection on my mediated daily life and becomes a study of art as a discursive artifice of coloniality that still shapes the construction of society’s visuality in contemporarily. The third work, Toda Gente é Paisagem que Habito, captures in prints and videos some of the many encounters I have had online, through different video call services during the Covid-19 pandemic, to reflect both on our lives within these virtual spaces and on the contracts and agreements we are compulsorily making with the Big Techs that make up the global internet complex. Thus, in this text-work, using the resources of editorial design, I embody reflections on the processes of creation, the idea of the past as a constructor of the present, the accumulation of images and times, the relationship between art and politics, and the inevitable negotiations between work and author during artistic creation, understanding the pages that follow each other as the body of the work that mixes text, technical images, and design arrangements to produce itself, showing its past and the articulations it makes in the present as it changes itself.