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“Para mim, eu meto o telescópio ao contrário, é olhar para dentro”. O experimentalismo etnográfico de António Aragão
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Abstract(s)
A influência das ideias importadas
por António Aragão na génese da PO.EX é inegável. Com efeito, a partir do contacto com os
neo-vanguardistas italianos, Aragão dá início, em
Portugal, a um processo de dessacralização da
arte, enquanto campo de possibilidades, nas relações semióticas e simbióticas com a tecnologia
e com a sociedade. Não obstante a sua aparente
lógica centrípeta, o movimento protagonizado por
Aragão é outro, o de uma espiral entrópica, porventura compatível com uma “metodologia que
trate antes de equacionar o homem global segundo uma tensão dialéctica” (1985: 179), ou com a
de um telescópio virado ao contrário”, expressão
a que recorre num documentário produzido pela
RTP (1994). Nesse registo videográfico, manifestando fascínio pelos progressos científicos na
área da genética, Aragão refere-se a um “olhar
para dentro. Porém, num processo de retroação
positiva, não deixa de, literalmente, apontar para
o interior: os seus próprios genes. Ou seja, as
raízes que carregam a terra onde nasceu. Nesse
sentido, outras pontes poderão ser estabelecidas
entre o trabalho de investigação e um trabalho de
criação etnográfica que resultou na publicação de
vários estudos dedicados à história e património
da ilha da Madeira, mas também numa série de
desenhos e aguarelas menos (re)conhecidas no
âmbito do seu percurso artístico.
Indo mais longe, e considerando a sua vastíssima obra literária e poemográfica, é possível
encontrar rastros de “intervenção e movimento”
entre o interesse etnográfico e a prática experimental no campo literário/artístico. Neste texto,
procuraremos identificar e relacionar alguns desses sinais de experimentalismo etnográfico na
obra teórica, literária e artística de António Aragão.
The influence of the ideas imported by António Aragão in the genesis of PO.EX is undeniable. Indeed, from the contact with the Italian neo-vanguardists, Aragão began, in Portugal, a process of desacralization of art, as a field of possibilities, in semiotic and symbiotic relationships with technology and society. Notwithstanding its apparent centripetal logic, the movement carried out by Aragão is another, that of an entropic spiral, eventually more compatible with the idea of “a telescope turned upside down”, an expression Aragão used in a documentary produced by RTP (1994). In this videographic record, Aragão refers to an “inward look”, while literally pointing to his inwards: his own genes. That is, the roots that carry the land where he was born. In this sense, other bridges can be established between the re search work and a work of etnography based art that resulted in the publication of several studies dedicated to the history and heritage of the island of Madeira, but also in a series of drawings and watercolors perhaps less known in the scope of his artistic experimental career. Going further, and considering his vast literary and poemographic work, it is possible to find traces of “intervention and movement” between his interest in etnography his experimental practice in the literary/artis tic field. In this text, we seek to identify and relate some of these signs of ethnographic experimentalism in the theoretical, literary and artistic work of António Aragão.
The influence of the ideas imported by António Aragão in the genesis of PO.EX is undeniable. Indeed, from the contact with the Italian neo-vanguardists, Aragão began, in Portugal, a process of desacralization of art, as a field of possibilities, in semiotic and symbiotic relationships with technology and society. Notwithstanding its apparent centripetal logic, the movement carried out by Aragão is another, that of an entropic spiral, eventually more compatible with the idea of “a telescope turned upside down”, an expression Aragão used in a documentary produced by RTP (1994). In this videographic record, Aragão refers to an “inward look”, while literally pointing to his inwards: his own genes. That is, the roots that carry the land where he was born. In this sense, other bridges can be established between the re search work and a work of etnography based art that resulted in the publication of several studies dedicated to the history and heritage of the island of Madeira, but also in a series of drawings and watercolors perhaps less known in the scope of his artistic experimental career. Going further, and considering his vast literary and poemographic work, it is possible to find traces of “intervention and movement” between his interest in etnography his experimental practice in the literary/artis tic field. In this text, we seek to identify and relate some of these signs of ethnographic experimentalism in the theoretical, literary and artistic work of António Aragão.
Description
Keywords
António Aragão PO.EX. Experimentalismo Etnografia de base artística Um buraco na boca Experimentalism Arts-based etnography . Faculdade de Artes e Humanidades
Citation
Publisher
UMa-CIERL/CMF/IA