Tânia Guimarães Cortez. É doutoranda do “Programa de Doutoramento en Creación e Investigación en Arte Contemporánea” da Universidade de Vigo, mestre em “Crítica de Arte e Arquitectura” pela Universidade de Coimbra e licenciada em “Artes Plásticas – Pintura” pela Faculdade de Belas Artes pela Universidade do Porto. Expõe regularmente desde 2001. Destacam-se as exposições individuais mais recentes: apresentou em 2019, “Zarpar”, no Atelier Logicofobista, no Porto (PT) e em 2016, “Mar-Morto-Serra-Corpo”, no Bar Irreal do Atelier Real, em Lisboa (PT). A sua prática artística procura recursos no vasto campo da pintura contemporânea e deseja convictamente inserir-se no domínio do sensível, assumindo a materialidade e a plasticidade do médium. Na obra visa reflectir as suas coordenadas territoriais e temporais. Tânia Cortez procura ainda desenvolver reflexão sobre arte. Nomeiam-se os mais recentes artigos publicados. Em Março de 2021, em co-autoria, na “Arte, Individuo y Sociedad” da Universidade Complutense de Madrid (ES) e em Dezembro de 2020 na “VIS” da Universidade de Brasília (BR). Participa ainda em diversos eventos de discussão e de divulgação artística , como observadora e organizadora. Destacam-se as Jornadas Internacionais de Arte Pública, CIEBA-FBAUL, em 2014, as Unneeded Conversations, i2ADS, em 2012 , assim como as actividades de programação e curadoria desenvolvidas em parceria com o Centro de Arte de São João da Madeira, até 2009. É investigadora colaboradora do i2ADS e actua na área de Humanidades com ênfase em Arte Contemporânea – investigação e prática.

Thesis title
The scape from representation and validation of the peripheral – The inexhaustibility of art resources (provisional)

FCT reference
2021.05023.BD

Abstract
This research project aims to deepen the study of the paradigms of art, considering the possibility that these reveal the tense opposition that precedes them. It is understood that the current artistic assumptions are likely to denounce – at the same time – the distance to the previously existing model and the approximation to its antithesis. It would be possible, through careful observation, to ascertain the formal and conceptual affiliation of part of the art’s resources. It is a proposal that is framed in a dialectical view of history, and that conceives the path of art in permanent antagonism and transience. About modernity and contemporaneity, it intends to study the distance to the classical-Aristotelian referent – the break with representation (1) as J. Rancière understands it – and to verify the increase of interest in the intentions and imagery forms that historically opposed it. It is suggested that other models of imagery construction – because they are distant in territory and divergent in conviction – have been under the domination of the Hellenic canon, first as a result of the Latin occupation and then as a result of its repeated cultural recoveries. The artistic creation of the extreme west of Europe could be paradigmatic of this. Sometimes overtly, sometimes subliminal, the territory appears to conceive, build and receive images in a particular way. The plastic and formal intentions that characterize the creation of Portugal and Galicia – often devalued by the historical narrative – in the light of contemporaneity may find special acceptance. We will try to study them from their ancestry, integrated into the aesthetics of negation. Research should be able to assess these possibilities, promoting theoretical investigation and practical experimentation.

(1) It is interesting to quote Ranciére here to clarify the statement: “I call it representatitve insofar as it is the representation or mimesis that organizes these ways of doing, making, seeing, and judging. Onde again, however, mimesis is not the law that brings the arts under the yoke of resemblance. It is first of all a fold in the distribution of ways of doing and making as well as in social occupations, a fold that renders the arts visible. It is not an artistic process but a regime of visibility regarding the arts » (Ranciére, J., 2010 “The politics of Aesthetichs, translated by Gabriel Rockhill).

Supervision
Juan Carlos Meana Martínez (supervisor) and Fernando José Pereira (co-supervisor)

More info

• 3713-9005-DE33