Name: ELTON RIBEIRO PINHEIRO
Publication date: 25/11/2016
Advisor:
Name |
Role |
|---|---|
| ANGELA MARIA GRANDO BEZERRA | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ANGELA MARIA GRANDO BEZERRA | Advisor * |
Summary: This research studies the listening to the sound space found in the work of Brazilian artist Cildo Meireles. In order to do that, it investigates the use of sound in the artist's work and its emission in six specific works, namely: Mebs/Caraxia (1970-71), Sal sem carne (1975), Rio Oir (1976-2011), being the main medium the object vinyl record, Babel (2001-2006), Liverbeatlespool (2004) in which the object radio is responsible for emitting either sound or a memorial and historical insertion of a sound, and Através (1983-1989), WHERE the viewer is the one responsible for emitting sound as one walks through the installation. It describes each of the works critically considering the existence of a sound space and researches the fruition of the viewer in the encounter with the works. It shows a contact point with the use of the vinyl record, establishing similarities and differences of musical listening and listening to
sounds. It articulates sound, as physical effect, with the sound fields of the work of Meireles, relating to the elaborations, to the images, to the fictional characters or to the the history that the artist uses in his production. The research moves towards the listening, leading to the accuracy of such listening, considering a proposition for a sound that demands an authorial listening.
Key Words: Cildo Meireles, contemporary art, sound, listening, space.
