Ana Cachola

  • A Guerra como modo de ver: visualidade bélica na arte contemporânea portuguesa

O presente projecto de investigação tem como objectivo problematizar a presença da visualidade bélica na arte contemporânea visual, produzida por artistas portugueses, com especial enfoque para os artistas que começam a expor a partir da década de 1980. Neste sentido, pretende-se analisar de que modo as obras produzidas por estes artistas interrogam a relação mutuamente constitutiva entre visualidade e  conflitos bélicos e activam instrumentos de cristalização, celebração, crítica e impugnação da imagética de guerra. A visualidade bélica na arte contemporânea será discutida a partir de três categorias operativas - a)Dentro de campo (de batalha); b) Espectáculo-terror/Terror-espectáculo; c) Olhares predatórios – que reflectem situações de conflito e insinuam condições de convívio. A investigação será desenvolvida ao longo de três anos e conjugará a investigação académica, a prática curatorial e a actividade editorial, de forma a envolver todos os agentes presentes no processo de reflexão crítica e visual sobre a problemática em discussão.

 



Maria Sequeira Mendes 

  • 'On Flattery'

Though flattery was once a popular topic, nowadays interest on the subject appears to have decreased, as the meager number of publications indicates. I suspect, however, that the theme strives in volumes about lobbying and political influence. Flattery articulates the difficult problem of wishing to be more by seeming less, i.e. reducing oneself, blending in or imitating others through the use of advice, compliment or critique. Flatterers debase themselves in order to find favor, acting on ambition, revenge or seeking gratification, and favoring their personal interests over those of others. Though this term of art is often referred to in a negative sense, I will claim that it requires a degree of expertise, and maintain that flattery represents the ability to show 1) something which does not exist and 2) more than what exists. In order to do so, I will distinguish flattery's four branches: sycophancy, obsequiousness, fawning and adulation, to then uphold that these rely on a tripartite structure, which includes the flatterer, the flattered and an audience. I will draw from the comedies of Aristophanes, Eupolis and Plautus, and focus on the early modern stage, particularly on plays by Shakespeare. Other authors such as Dante, Diderot, or Dickens will equally be summoned to treat particular problems. This will allow me to return to the way sycophants were hired to introduce laws and decrees in the polis and to redefine flattery as a comprehensive, and up to date, term of art.