A prática da apropriação: arte e vida na produção de Jac Leirner

Abstract

In the second half of the 20th century art underwent profound changes: little by little, contemporary art took the place of modern art. Although it still needs a more precise definition, the art of our time presents the following characteristics: abdication of aesthetic standards, acceptance of the multitude of styles, forms, practices and programs, interdisciplinary, polyphony, contamination of languages and interlacement with life. As the artists of today feel free to do what they want, for any purpose they wish for or even without any purpose, contemporary art takes many forms and names. Among the numerous possibilities of the contemporary art, it is analyzed in this research the practice of appropriation, which involves at least three procedures: the possession of everyday objects or preexisting images; the use of these objects and images in the creation of artistic works; and the displacement of those works to the specialized space of museums, galleries and cultural centers. The objective of the research is to investigate how the possession, use and displacement of preexisting images and, especially, everyday objects contribute to the convergence between the sphere of art and the sphere of life. To accomplish this objective, it is provided a definition for the practice of appropriation and it is made an historical review, showing that this practice arose in the beginning of the 20th century and was consolidated in the second half of that same century, concurrently with the advent of contemporary art, having been adopted throughout all this time by different art movements – cubism, surrealism, pop art, minimalism, new realism, povera art, appropriationism – and artists – Pablo Picasso, Marcel Duchamp, Kurt Schwitters, Jasper Johns, Robert Rauschenberg, Andy Warhol, Joseph Beuys, among others. In addition, it is inquired how the appropriation overthrew some concepts that were rooted in the fine arts since the Renaissance, such as originality, authenticity, gesture and authorship. Finally, it is analyzed the production of Jac Leirner, Brazilian artist that since the beginning of her career in the 1980’s dedicated herself to the practice of appropriation, focusing on three of her works: The hundred (1986), Lung (1987) and Nice to meet you (a, b, c) (1997). Each work was created from the appropriation and accumulation of a distinct element: bank notes, cigarette packs and visiting cards. Besides the practice of appropriation, these three works share the interlacement between art and life