Caroline Pires Ting

This study explores the connections between time, travel, and creative acts such as painting and poetry, highlighting the similarities that unite these themes. It also focuses on the relationships between the East and the West in regards to these subjects, and posits that travel can be understood as an active form of meditation. The study argues that the meaning of wanderings can be found by learning to make them conscious, and that there has been a deep reflection on time, consciousness, and mobility since ancient times.

Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a famous drawing by Artaud, Le Théâtre de la cruauté [The Theatre of Cruelty], highlights the striking convergences between the two artists. Through their pictorial works, both of them renew over the centuries the funerary and mythical symbolism of death, inherited from the macabre scenes of medieval paintings, but also from ancient times. Studying the references to theatrical iconography in Bruegel’s painting, where carnival and crudity of death reinforce each other, allows us to deepen the meaning of these resonances. For the two artists, form and poetic momentum meet so that representation, as a structure common to painting and theatre, fixes a moment of the world, while animating that moment to infinity, thanks to signs conceived as « true hieroglyphs » (Artaud), a problem that Michel Foucault associated with the strongest truth that the experience of madness carries.

Edvard Munch (Løten, 1863 — Ekely, 1944), Antonin Artaud (Marseille 1896–Paris 1948): deux artistes bouleversés par des conditions de santé fragile et par des crises nerveuses. Une relation s’instaure entre eux. Chacun, de manière particulière, invite le spectateur à réviser son rapport avec la mort, la mélancolie et les forces de la nature. Tantôt cette relation s’exprime dans les écrits personnels d’Artaud ; tantôt elle apparaît dans le rapprochement que nous pouvons faire entre les oeuvres graphiques d’Artaud, qui mettent en exergue l’influence qui a exercé le peintre norvégien dans sa démarche artistique. Plus tard, l’approximation d’Artaud à la peinture devient plus évidente. Lui-même, non seulement poète et homme de théâtre, est aussi dessinateur et, comme témoigne nombre de ses documents écrits, porte une grande appréciation par l’art d’El Greco, Bosch, Lucas de Leyde, Bruegel et Goya. Cette étude comparative vise analyser le processus d’intertextualité qui accompagne Artaud tout au long de sa vie et qui commence précocement, quand il observe et traduit les références recueillies d’après d’autres artistes. Avec ceux-ci, il est possible de tracer une correspondance, non seulement artistique, mais aussi biographique avec Artaud. Ce projet présente des contributions pour la critique littéraire d'Antonin Artaud. Même si d'autres études ont fait le rapport entre son œuvre et la peinture, et celle d’Edward Munch, il y n’existe aucune étude plus détaillé autour du sujet.

Um exemplar do livro intitulado Notas sobre a arte chinesa, publicado pelo colecionador José Vicente Jorge em 1940 e reeditado em 1995 pelo Instituto Cultural de Macau, encontra-se no acervo do Real Gabinete Português de Leitura, o qual pretendemos explorar. Apontamos a obra de um colecionador como ponto de partida para a observação de seu papel como mediador linguístico e cultural. A escolha das obras que compõem seu catálogo de objetos artísticos fornece uma descrição cronológica da arte chinesa e das suas principais produções em cada dinastia. Ademais, analisaremos as obras de um pintor atuante em Macau na época em que Jorge escrevera suas Notas. Assim, veremos de que maneira a obra pictórica de Fausto Sampaio insere-se na tradição naturalista de pintura que, desde meados do século XIX, procura fixar em telas a diversidade dos costumes nacionais. Sampaio vem a ser testemunha ocular do Império ultramarino português. Estudaremos como suas imagens foram instrumentalizadas com fins políticos, desempenhando um papel na construção de uma identidade nacional continuamente evocada pela propaganda do Estado Novo.