Fernanda Gomes: Eloquence of Silence
DOI:
https://doi.org/10.11606/issn.2178-0447.ars.2023.208151Keywords:
Fernanda Gomes, Reception, Time, SilenceAbstract
Fernanda Gomes has stood out in the national art scene for presenting a work not very docile to the system that contains it. Our intention here is to demonstrate how her work (as a matter of fact, her exhibitions-works), largely permeated by small perceptions and exhaustive attention, formulates a singular reception strategy–distinct from the fugacity of today’s attention and the intensive discursiveness of the contemporary art field. The hypothesis of a singular reception is supported by the constant refusal to assign names to works and exhibitions (constantly titled with her own name, more by insufficiency than intention), the insistence on dismissing the power of curatorial discursive interferences, without thereby supplementing the semantic field of the work with its own subjectivity and life.
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GOMES, Fernanda. Uma coisa completa a outra (entrevista) In BARTHOLOMEU, Cezar; TAVORA, Maria Luísa (org.). Arte & Ensaios, n. 31, Rio de Janeiro, Programa de Pós-Graduação em Artes Visuais/ Escola de Belas Artes, UFRJ, junho 2016, p. 8-27.
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JAMESON, Frederic. Pós-modernismo, a lógica cultural do capitalismo tardio. São Paulo: Ática, 1997.
MERLEAU-PONTY, Maurice. A linguagem indireta e as vozes do silêncio. In O olho e o espírito. São Paulo: Cosac & Naify, 2003, p. 57-122.
MERLEAU-PONTY, Maurice. A prosa do mundo. São Paulo: Cosac & Naify, 2002.
VENANCIO FILHO, Paulo. Lugares In RAMOS, Maria (org.). Fernanda Gomes (catálogo de exposição). Porto: Fundação de Serralves, 2006, p. 133-140.
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