Corpo-tecelão: Urdume aberto às tramas experimentais

Abstract

The objective of this dissertation is to present the research, developments and experiences of Corpo-tecelão and its invented vocabulary, to fictionalize tearlogia, the fictional science of those who weave themselves. 1. Make reflexotrama. 2. Investigate the layers of the tissue, the provocations and crossings that happen in the mind called tecitarmento. 3. The tramarbolismo within us, which settle. 4. They are repeated and renewed in molecitura. 5. From the torsions are constituted the thickness of the enerfios over the years. New words, textures, tools of the textile language to carry out the investigation of what the thread can do in the contemporary world and in dialogue with other fields. The work is divided into three stages: weaving, weaving, finishing. As with weaving, we begin with the presentation of the words works, inspired by the artist Grada Kilomba. In addition to the invented vocabulary, Brazilian artists are invited to assemble the research warp: Cildo Meireles, Edith Derdyk, Janaina Melo, Hélio Oiticica, Lygia Clarck, Ernesto Neto and Ana Maria Maiolino. Artists' works are selected to explain and exemplify the idea of an open warp to experimental plots. The next step of the plot develops with the authors Michel de Certeau, Emanuele Coccia, Renato Cohen, Guiles Deleuze e Félix Guattari, Vilém Flusser, Michel Foucault, Merlin Sheldrake, Tim Ingold, Rosane Preciosa, Richard Schechner, Diana Taylor, and Mariana Guimarães. Artists and references collaborate in the foundation and woven materiality of the proposed concepts from the body that weaves in performance, documenting the weaving from within the craft. It weaves itself and the other, in the same fabric