Lygia Clark e Merleau-Ponty : paralelos / Lygia Clark and Merleau-Ponty : parallels




This text has the main purpose to show some important aspects about two works: from one of the most important brazilian plastic artists in the 20th century Lygia Clark (1920-1988), and one of the principal phenomenological thinking developer, the french philosopher Maurice Merleau-Ponty (1908-1961). There is an historical context at first, because Merleau-Ponty ideas came up to brazilian artists by Mário Pedrosa (1900-1981) and Ferreira Gullar (1930 - ) for example, and they were the interlocutors from these thoughts with Lygia Clark. Emphasizing the ideas of Merleau-Ponty critics to the Gestalt theory, used by Gullar in his Manifest Neoconcreto ? 1959 (Lygia had participated in this movement). The first parallel to be established between both works was the proximity from Clark work to the Italian Umberto Eco (1932-), in his work ?Opera Aperta?, besides the way Ponty develop this point, because he says that the world and the visible are not alienated. Other two concepts relating to the main point: work in movement and structure. The second parallel between Merleau-Ponty e Lygia Clark is the relevance and the idea of process. Both of them proposed that making is more important than the result. Because of it, they have works that changes in a constant way, using the new to be alive. Finally, the interaction between man and object, that uses body and world to build themselves, finalizing the positivist idea of two worlds: inside and outside. Lygia and Ponty understands that the entire cannot be divided into parts, because we loose it in this way. Using the phenomenological reference as a work methodology


fenomenologia brazilian art phenomenology arte brasileira

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