Corpo performativo: relações com objetos vestíveis

Abstract

This research in visual poetics addresses the experiments carried out in Pelotas-RS, Brazil, during and after the pandemic, in which my body performs as an agent of performative actions in search of potential encounters between bodies and objects around the house, initially, objects related to personal consumption and, later, used in assemblages that emerge from the notion of corporal packaging, a concept which lead me through the first stage of my creative process in this art research, developing performances and photoperformances, in actions that seek to: incorporate my body with other bodies, through wearable objects. These are constructed from reused and repurposed materials like knitwear and second-hand clothes, which become the means by which I can enhance tactile interactions and possible encounters, tensioning limits between my body, other bodies, objects and the spaces around me. The wearable object is a second skin that attempts to operate a connection [or link], a means of investigating tactile contact, performative interactions between the bodies-wearable objects-and-spatial surroundings. Procedures with “sleeve gestures” emerge, embraces, acts of manual drawing on the street. These actions seem to incorporate the surroundings into the body or test the limits of contact between my body and other bodies. Although these may be objects or subjects (people), there is always a form of contact investigated through an embrace or gestures of entering sleeves of the stretchable knit material of a wearable object, as in Roupagem, 2019, a production that signals later performative actions, like a wearable object that I display in the corner, framing the potential encounter with other bodies and with their architectural surroundings, as in Elo (Link) de 2022. “Sleeve gestures” mark a possible encounter between bodies, establishing links with people and objects, in reciprocal performative relationships, in spaces where the body is between walls, spaces of possible contact, almost wearable, demarcated by limits, walls or by shadows casted by walls outdoors (wall as shadow is more penetrable by the action of my body). The desire for a tactile encounter finds limits: my performative body triggers the desire to incorporate itself into other wearable bodies. In the text, I discuss referential artists such as Lygia Clark and her proposal O Eu e o Tu, and performative actions in Hélio Oiticica, Bruce Nauman, as well as Hundertwasser's concept of five skins, as well as the clothes/latex multiples of the Brazilian artist Helena Kanaan. I address issues of performance and photography in Maria Beatriz de Medeiros, in the French philosopher Maurice Merleau-Ponty, in the Brazilian critic and poet Ferreira Gullar and the poetic quality of a corner in French philosopher Gaston Bachelard