Meu corpo, minha arte: (des) construção de imaginários através da poética.

Abstract

The present work investigates poetics as a means (dis) constructor of imaginaries. The research question is about the contributions of Contemporary Art to the (self) recognition and (self) acceptance of subjects. The justification stems from the reflection that an expanded understanding of the historical-social context is needed, in order to then demand improvements in order to improve reality. This research arises from personal discomfort in the face of the wave of prejudice, discrimination and lack of opportunities for non-standard people. The aim is to stimulate reflections based on the artivist poetic production, having as specific objectives: to investigate the representations of the body historically; problematize the configuration of “beauty standards”; carry out a discussion about the narrative power of Contemporary Art; dissertation on autobiographical poetic research, creating the virtual exhibition entitled “Liberte-se”; analyze the responses obtained from the exposure mediation surveys; as well as interviewing five artists (Amora Ju, Be Leite, Mariana Corteze, Mirna Gonçalves and Priscilla Lampazzi) who produce artivist works, in order to verify their motivations and relations with the public. The research also addresses issues about bodies, fat body, sexuality and gender, highlighting reflections on the Visual Arts and society, and how the representativeness of the diversity of contemporary identities makes a difference in the values of the imagination. The theoretical basis has Denise Bernuzzi Sant’anna (2005) and Naomi Wolf (2018) in relation to the socio-historical context of representations of bodies; Michel Maffesoli (2008) and Gilbert Durand (1993; 1997; 2001) to conceptualize imagery and symbol; Juremir Machado da Silva (2006) to complement the concept of the imaginary, taking the imaginary technologies to the contemporary era; John Dewey (2010) to approach the works as possible aesthetic experiences; Félix Guattari and Suely Rolnik (1996) to discuss artistic objects with a political transgression bias as micropolitical actions; Félix Guattari (2011) with the concept of ecosophy and; Maria-Christine Josso (1991; 2004; 2007) intertwining the formation of the subject with the productions, as well as approaching the productions as part of an autobiographical poetic research. The main result of the research was the confirmation that visual works contribute to the identification of spectators, as well as their self-acceptance, based on the meanings and reflections instigated by the productions, in order to provide visibility. Therefore, it is possible to state that, by promoting a new construction of values and behaviors about itself, the visual arts can stimulate ethical-aesthetic articulations of deconstruction of the imaginaries, helping to break excluding moral and social values and the re-signification of values more inclusive.