A performance do falso e a coleção do ilícito: fétiches, mercado - e museus

Resultado de pesquisa

Resumo

This article discusses the displayed fake paintings (belonging to the Portuguese Judiciary Police Museum) at the 'CCC' exhibition (Collecting, Collections and Concepts… Guimarães, 2012) and the issue of forgeries in general, from a comprehensive semiotic point of view.
The text begins by defending that the distinguishing mark of these fakes is not their aesthetical quality, but their semiotic charge as 'criminal objects', linked to mythical themes of transgression and restoration of order, revitalized in contemporary times by crime fiction in an exuberant and 'transvisually' (Bolter and Grusin 2000) contaminating way.
The text then focuses on the fakes as fetishes, at different levels, that flourish in the propitious environment of financial speculation, glamor, and “hysterization of attention” (Brandt 2004) of contemporary art. Finally, the text maintains that the ‘musealization’ of the fakes took place above all through rehabilitation rituals that, following the most traditional museological ideals, grant them pedagogical values and objectives. In the end, the text concludes that malgré tout, the new expurgated and musealized fakes maintained their inherent atavistic ambiguity, which confers them as much vivid as controversial fascination.
Título traduzido da contribuiçãoThe Performance of the Fake and the Collection of the Illicit: Fetishes, Market - and Museums
Idioma originalPortuguese
Título da publicação do anfitriãoCollecting, Collections and Concepts - Uma viagem iconoclasta por coleções de coisas em forma de assim
EditoresPaulo Mendes, Sandra Vieira Jürgens
Local da publicaçãoGuimarães
EditoraFundação Cidade de Guimarães / IN.TRANSIT Editions.
EdiçãoMendes, Paulo, and Jürgens, Sandra Vieira
Estado da publicaçãoPublicado - 2013

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