The poetics of discourse

From artistic intention to spectator's perception in the artist's

point of view
Rita Macedo, Hlia Maral, Andreia Nogueira & Antnio M. Duarte
Abstract
The purpose of this paper is to examine the artistic intentions towards the
audience as well as the artists representation of their reactions. Considering the
matter and the inherent subjectivity of discourse, the employed methodology joins
conservation and psychology. It crosses borders and hopes to expand knowledge,
which is essential to foster informed procedures in conservation practice. In this
paper a dynamic view of conservation is proposed. nlike the traditional
conservation philosophy, this perspective promotes the artwork!s trajectory and
considers change as part of the work. "or this purpose, a case study will be used,
addressing the #ortuguese artist "rancisco Tropa and his work A Assembleia de
Euclides $%&&'(%&)&*.
It was confirmed that spectatorship is greatly included in the artistic intent. It
also became clear that the results of this discourse analysis opened a field that
re+uires an empirical addressing of the problem of spectatorship in what concerns
the audience and the artwork itself. ,evertheless, this dialog demonstrated the
importance of an interdisciplinary view and explored the methodologies we think
one should resort to in further empirical studies.
Keywords: performance, spectatorship, perception, artistic intention,
precariousness, ephemeral, conservation, psychology of art
*****
1. Introduction
-lthough fifty years have passed since the beginning of the trend of art
demateriali.ation, museums worldwide are not yet adapted to the contemporary art
reality. This becomes critical when considering complex artworks, such as
performances or installations, which challenge the perennial character of traditional
objects.
These artistic forms raise some issues regarding the conservation of artworks. It
is not possible to rely solely on the materiality of the works to properly conserve
them whereas they are meant to change. - shift was suggested from the traditional
theory of conservation, based on the material properties of an object, to a
contemporary one that acknowledges different perspectives and considers concept
and artistic intention as essential. /ith these new theories, the importance of a
flexible and systematic documentation, produced by conservators in straight
cooperation with artists, was created.
Te !oetics o" discourse
__________________________________________________________________
_
Considered a manager of change,
1
the conservator needs to let the long-
accepted certainties fall apart. By accommodating the transient and the
ephemeral nature of complex artworks, and by accepting that such artworks do
not exist in a single state but rather undertake a trajectory. e-interpretation is
viewed as a radical but yet valid option.
!nevitably, this perspective raises "uestions in terms of authenticity# where is
the line drawn between the conservator$s perspective and the artist$s intentions%
&hich are the publics$ reactions to those changes% 'lso, if complex artworks only
exist when experienced by the spectator, then this issue should be addressed in a
conservation view. (hese pertinent "uestions are not recent. )everal authors
describe the need of studying publics, claiming the multiplicity of experiences and
authenticities that are exploited by these artworks#
&hen the artwork leaves the studio, others take over the artist$s
responsibility by presenting, selling and storing the artwork. (he
function of the work may change. *ow does the conveyance to
the public take place% +,- &hat impression does the artwork
make on the public at these different stages and does this still
agree with the artist$s intention%
.
)urprisingly, though its claimed relevance, a lack of conservation literature
regarding this subject is recogni/able. !n fact, the wider approach to audience
reactions comes from psychology, which considers that artist0s intention and
artist0s representations of audience perceptions are fundamental aspects of art
creation.
egarding intentionality, in Art and Illusion, 1ombrich +1233- suggests that
4what a painter in"uires into is not the nature of the physical world but the nature
of our reactions to it0.
5
6ikewise, it is considered that painters have an intuitive knowledge of their
audience0s cognitive reactions, and use it to obtain the aesthetic effects they
intend.
!n fact, 7onald proposes that art can be conceptuali/ed as a specific kind of
cognitive engineering 4intended to influence the minds of an audience0.
8
9amely,
artists construct representations aimed to influence people0s views, mostly
through control of their attention. !n order to reach this influence the artist must
anticipate his or her audiences0 reactions, an idea that suggests that the artist
creates also on the basis of a personal theory of publics0 psychology.
'lthough psychology of art is mainly involved in pictorial art studies, new
hori/ons emerge with the study of complex artworks. :or this study it is necessary
Rita Macedo, Hlia Maral, Andreia Nogueira & Antnio M. Duarte
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to acknowledge three entities# the artworks, the artist, and the audience. !n this
context, the aim of this paper is solely to examine the artistic intentions towards
the audience as well as the artist0s representation of their reactions. (his study of
artistic intention is essential for the conservation field but, unfortunately, it is far
from its documentation and method optimi/ation. (his analysis will thus join
conservation and psychology in the development of a new approach. (his
interdisciplinary approach applies "ualitative methodologies to artist0s interviews
and their analysis. (he purposed method of analysis, which is based in narrative
methods, will then be discussed in its application in the conservation field. &ith
this purpose, the ;ortuguese artist :rancisco (ropa0s case was studied.
2. Francisco Tropa and A Assembleia de Euclides
"rancisco Tropa $b.)123, 4isbon* is considered one of the most important
#ortuguese artists of his generation. 5ince the beginning of his career, he has
dedicated himself to reflect the role of the artist and the nature of the creative
process. 6is artworks exist somewhere between !er"ormance and installation, in
which he invites the spectator to become part of the artwork. ,otably, his artworks
evoke moments, stories, situations or references that fre+uently imply the
construction of complex visual devices, strongly allegorical, which is re+uired
from the spectator an endless web of interpretation. The artist states that he only
creates em!ty containers designed to be filled by the spectator!s own experiences.
6is works are almost indecipherable enigmas, whose interpretation drives the
viewers through immensely different and unpredictable perspectives.
-. A Assembleia de Euclidess project $%&&'(%&)&*
This project comprises six relatively autonomous moments7installations
'
. In the
artist conceptuali.ation of the work, all these moments exist simultaneously. They
occur inside an imaginary cube, whose interior is revealed by folding it of its sides.
The core of this project is based on the first three installations. The majority of
Tropa!s artworks, currently part of museums collections, are autonomous works
inherited from these installations $#ide Image )*.
The first one presents two different worlds, a scenario of the beach and the
forest. sually a performance by the artist7actor occurs. The !ersona walks up the
ramp, climbs onto the bicycle and pedals. /hile he accelerates and stops, a mime
theatre gradually comes into existence. -fterwards, the cyclist gets into a deep
trance and his head is decapitated. 8uring this process, photos are taken and
revealed. -t the same time, in the antechamber of the exhibition space, a
decapitated $ody
%
is presented as a portrait of the experience of trance, and the
skeleton is represented apart from its Head
&
.
In the second exhibition, photos taken in the first one are presented. Then,
before plunging into a deep trance, the cyclist passes through the 'entry
(
and has
three visions9 :enus, the mask and the skull. 6owever, when he encounters two
Te !oetics o" discourse
__________________________________________________________________
_
)olicemen
*
, trance is abruptly interrupted and his head returns to its initial position.
In a last impulse, the cyclist finds the Tem!le o" Allegories
+,
and -rotto
++
.
"inally, the third exhibition is also configured as a scenic space, a stage where
an event occurs. -gain, this performance culminates with the production of an
image, which is projected through a camera obscura. - female figure ;presumably
from the spectators< turns on the film projector and the first film, -iant
+.
, is
projected. Then, she takes her clothes off. =eanwhile, the second film, 'nail
+/
, is
projected. -fterwards, she walks to her pedestal and a line of light divides her body
in light and shade, while the image of her lighted side of the body is projected
inverted and enlarged onto the wall.
This project is a challenge regarding its conservation, due to its magic and
enigmatic atmosphere. 8ue to the slight uncooperativeness from the artist, who
intended to preserve the enigmatic +uality of his work, the challenge was slightly
enhanced. -s mentioned by "aria $%&&2* the artist rarely explains his works,
because they have a particular language, which cannot be rationally explained.
)>

Instead they refer to sensory experiences witnessed by the spectators.
Rita Macedo, Hlia Maral, Andreia Nogueira & Antnio M. Duarte
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Image 1 ? @xamples of the artworks from Te Assembly o" Euclids project, which
are divided by two different collections.
)'
. !ethods
-. 8ata gathering
The artist participated in a semi(structured interview. The interview was
developed as a free and fluent dialogue, guided according to artists answers and
interventions, despite the existence of a previously constructed interview script.
The script was designed for a teme interview, covering a specific group of works
$present in two different collections9 5erralves! =useum of Contemporary art and
Caixa Aeral de 8epBsitos "oundation ( 0ulturgest*, in which the central theme was
Te Assembly o" Euclids project. 5everal works were discussed9 Te Assembly o"
Euclid 1ead and body2, Te Assembly o" Euclid 1'entry, )olicemen, Tem!le o"
Allegories, -rotto2, -iant and 'nail.
"rom open to closed +uestions, the approached topics regarded both
psychological variables and conservation issues. 5pecific focused psychological
variables were artists intentions and representation of his audiences reactions.
Cegarding conservation the explored issues were the creative process, meaning of
Te !oetics o" discourse
__________________________________________________________________
_
techni+ues, materials and e+uipment, production context, conveyance, deterioration
and the artists position towards reinterpretation or other conservation strategies.
The interview was conducted in the artists studio by three interviewers9
-ndreia ,ogueira, 6Dlia =arEal and Cita =acedo. It was recorded in audio and
video and was fully transcribed considering both verbal and non(verbal language.
F. 8ata analysis of psychological variables
8ata analysis was conducted according to a +ualitative research paradigm.
-nalysis involved reading the interview answers and identifying themes that
referred to the variables of interest, which we will discuss later $i.e. artistss
intention toward the work and artists representation of audience reactions*. Two
analysts verified the identified themes independently and they agreed in 32G of the
cases. Identified themes were then described on a narrative comprehensive
summary, illustrated by interview +uotes, in order to depict an integrated and
comprehensive image of the artists representations. Inspired on a
phenomenological(ideographic approach this summary does not intent to be neutral
or exact.
)2
". #onstructin$ narratives of perception
The spectators! role has been considered indispensable for the construction and
understanding of contemporary art. "ollowing Hves =ichaud!s perspective,
installations and performances remain in evanescence, gaseous state until they are
experienced by the spectator.
)I
This fact becomes particularly clear in installation
art where the subject needs to enter the artwork to make it exist.
-. ,arrating experiences
In this case, "rancisco Tropa is giving audiences the opportunity of solving
problems. -s he mentions, J$...* the purpose of things remaining like this ;in the
installation< is that you have to make an effort to discover the reason why.
)3
"or
this purpose, he reveals an awareness of a high degree of intentionality9 J$K* if I!m
the one doing it... I kind of know what I want to do, and what I!m, in fact, doing.
)1

6e actually proposes riddles, such as Jdivide the concrete cube by a marble
pyramid. /hat!s leftL That!s the +uestion, indicating that the objects meaning is
the result9 Jthe true art object is the result, so, what we have here is a calculation for
the audience to make.
%&
In this context, he actually considers the spectators reception as part of the
construction of the artwork!s meaning and he demonstrates a strong intentionality
in pursuing this goal. 5pectators interpretations inevitably will reflect a collision
between the author and the 3ter. In this particular case, hori.ons collide when
spectators enter "rancisco Tropa!s works and change them with their experience.
Rita Macedo, Hlia Maral, Andreia Nogueira & Antnio M. Duarte
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6e ends by considering spectators participation as vital for the works meaning,
mentioning that, the art object itself only exists when makes someone stop9
"or me, the artwork must be the most important thing. It needs to
make someone stop. Fefore that, there!s no work of art. If
someone passes through and doesn!t stop, there!s no artwork.
%)
This view is correlated with the artists representation of the audience has
having an active role in making meaning out of his installation, while cognitively
processing it and relating it with previous knowledge. -s a matter of fact,
according to "rancisco Tropa the spectator Jneeds to think and to look for certain
references that, sometimes, are not instantaneous.
%%
6is representation of the
audience reactions suggest that their experience needs a sense of being curated9
"rancisco Tropa $"T*9 It is meant to be ;through senses< that one
reads and thinks the artworks.
6Dlia =arEal $6=*9 5o, in that case, the intended experience is
not instantaneousK
"T9 ,o.
6=9 8oes it need to be reflected uponL
"T9 Mf courseN Hou cant even see everything in a single turn.
=aybe one day... I dont even know if thats good or not. I dont
know.
%O
-lso, he thinks that spectators engage in these games and, in the process, create
meanings by relating and experiencing the works. This characteristic suggests the
idea that, as previously mentioned, this artist also creates on the basis of a !ersonal
theory of the audience psychology. Fy stating that he constructs Jreaction
machines,
%>
he makes his point clear. 5o, considering his discourse, it is possible
to assume that he wants the spectator to be a performer in his work and that, in his
representation, the audience will begin to do so. ,evertheless, he adds that their
participation and performance is circumscribed to their minds, as his works do not
involve any kind of manipulation.
F. The relational paradigm and its conse+uences in conservation practice
Fy analysing his discourse towards the work, one may assume that his vision is
similar to the one expressed by the performer @leonora "abiPo. 5he considers
spectators perceptions $reactions, experiences* as relational as they depend on the
work, the subject and the context. In fact, she states the spectator becomes part of
the work by being Ja highly influential witness and, in many cases, a factual
collaborator $co(laborer* $sic* of an inclusive and porous event.
%'
Considering
Te !oetics o" discourse
__________________________________________________________________
_
Tropas discourse, relations are a key subject in his work, not only in its broad
term, but also considering spectatorship issues.
-s previously stated, this project has six independent works all relating to each
other. In fact, Tropa expresses those relations in the use of materials, techni+ues
and colours. -ccording to him, it is part of the audiences role to interpret the
works in their relationship towards each other.
It is possible to conclude that conservation is needed in order to maintain those
relationships and to respect the artistic intention. -lso, it is part of the audiences
role to discover those relations. Fut how can the conservator deal with such a
complex relational project, which is fragmented in different collectionsL In this
perspective the conservator itself becomes a performer. These works will change
with time and in every re(installation, as the audiences reactions will also change.
In fact, the artist himself also changes his works in every re(installation.
This acknowledgement of the conservator as a performer transforms the
practice of conservation by endowing it with the liberty to perform uni+ue and
unrepeatable acts which may have a significant impact upon the artworks
outcome. 6owever, this problem is extremely complex, and presents more
+uestions than answers. There is a need for empirical studies that address this
subject. -fter all, in spectator(dependent works, how does the audience react to
themL -nd does changing this works alter the core of their intentionalityL
C. =ethodological Considerations
-s mentioned above the documentation of the artist!s intention regarding
spectator!s perception is crucial to the conservation of contemporary art. 6owever,
this subject raises +uestions9 6ow can we document this intentionL /hat
methodologies should we useL
Mnce researchers assume their subjective role as spectators themselves, there
are more advantages in using a phenomenological(ideographic approach. In fact,
considering that each spectator has nothing but is own representation of reality and
that each reality is not communicable towards one another, the spectator is a
performer, therefore researchers are so as well. - method that does not consider it
cannot be applied on this occasion. Mn the other hand, considering that this kind of
artworks J;are< against repetition in a broad subjective sense, being Jagainst
automatic modes of behaviour and working Jagainst habit, a narrative method
guarantees their conceptual and practical flexibility.
%2
Fy taking the shape of
ethnographic narratives, this stories J;have< an imaginative component
indispensable for the organi.ation of the ;this< documental data.
%I
In this sense
researchers become storytellers.
Mne advantage of telling stories is that it allows subjective considerations by
the one who is reading the narrative. This promotes an engagement and an empathy
Rita Macedo, Hlia Maral, Andreia Nogueira & Antnio M. Duarte
000000000000000000000000000000000000000000000000000000000000000000
between the subject who tells and the subjects who reads, allowing a grasp of the
artists idiosyncratic perceptions and a earing of his voice, meanings and feelings.
In a hermeneutical point of view, this engagement becomes necessary for
creating meanings and interpretations9
The reader must have an extremely active participation in the
storyQ narrative is a matter of engaging tellers and listeners,
writers and readers, not only in imaginative terms, but also in a
creative sense.
%3

"inally, this interdisciplinary approach showed several advantages in studying
publics with methodological tools from psychology. In fact, content analysis
methodologies will be used in further empirical studies addressing the spectators
experiences. -ctually, being the core of "rancisco Tropas work, should this subject
not also be documentedL
%. Further &esearch
8ue to time limitations, other discourse variables such as references, learning,
creative process and exhibition and intangible features could not be address in this
paper. In further studies, these components will be analysed and disseminated.
In terms of a theoretical analysis, it was confirmed that spectatorship is greatly
included in the artistic intent. It also became clear that the results of this discourse
analysis open a field that re+uires an empirical addressing of the problem of
spectatorship in terms of the audience and the artwork itself. ,evertheless, this
dialog demonstrated the importance of an interdisciplinary view in this study, and
provided the methodologies one should resort to in further empirical studies.
=ethodologically speaking, narrative methods were applied in order to allow a
greater subjectivity to the discourse. This approach embraces a phenomenological(
ideographic view that considers researchers as subjective individuals that are
closed in their own perspectives. This absence of intersubjectivity and the
acknowledgement of that imply that readers and spectators are allowed to have
their own views.
'otes
1
1
<ivian van )aa/e, Doing Artworks. A study into the Presentation and Conservation of Installation Artworks
+;h7 (hesis. 'msterdam# =v', .>>2-, ??.
.
.
(atja )cholte et al. +ed.-, The Artist Interview: or Conservation and Presentation of Contemporary Art !
"uidelines and Practice +*eijningen# @ap )am Books, .>1.-, 5..
5
5
1ombrich, Arnst, Art and illusion # a study in the psychology of pictorial representation +Bxford# ;haidon
;ress, 1223-, 88.
8
8
7onald, C., 4'rt and cognitive evolution0, in The artful mind # Cognitive science and the riddle of human
creativity, ed. C. (urner +9ew Dork# Bxford =niversity ;ress, .>>E-, 8.
?
?
(hese moments are entitled# A Assem$leia de %uclides +(he 'ssembly of Auclid-, .>>?F & Transe do Ciclista
+(he Cyclist$s (rance-, .>>EF A 'arca do (eio +(he Cark of the Breast-, .>>EF (im )*o +Des 9o-, .>>EF A
Assem$leia de %uclides +inal,, .>>GF and "igante +1iant-, .>1>.
E
E
The Assem$ly of %uclid +$ody-, .>>8. 'natomy skeleton, lime, eucalyptus branches and various grasses, linen
and sisal rope, display case +glass and iron-.
3
3
The Assem$ly of %uclid +head,, .>>8. Bron/e skull, compacted sand, iron moulding box, display case +glass and
iron-.
G
G
The Assem$ly of %uclid +(entry,, .>>E. !ron easels, bamboo canes, figure painted in lime on glass, mirror,
projector, black flannel.
2
2
The Assem$ly of %uclid +Policemen,, .>>E. !ron easels, canes and bamboo +door-F compacted sand, wood and
bell shapes in limewashed ceramic +policemen-.
1>
1
The Assem$ly of %uclid +Temple of Allegories,, .>>E. &ooden platform, compacted sand base, copper
structure, steel cable, lead, tin can, wrist watch.
11
1
The Assem$ly of %uclid +"rotto,, .>>E. 6ight projection, glass ampoule.
1.
1
"iant, .>>E. 1E mm film, colour, no sound, 1>$5>$$.
15
1
(nail, .>>E. 1E mm film, colour, no sound, 1.$5>$$.
18
1
9uno :aria, 47e una visiHn otra0, in Caminos. Arte Contempor-neo Portugu.s: Colecci/n Cai0a "eral de
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12
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Rita Macedo +;h7- is 'ssistant ;rofessor of Contemporary 'rt *istory at the 7epartment of Conservation and
estoration, =niversidade 9ova de 6isboa, :aculdade de CiVncias e (ecnologia. )he is a member of the research
group on Cuseum )tudies of !*' of =niversidade 9ova de 6isboa. ;resently, she is the coordinator of the
;ortuguese section of !9CC' !beroamerica.
Hlia Maral graduated in Conservation-restoration at :aculdade de CiVncias e (ecnologia, =niversidade 9ova
de 6isboa. )he is now finishing her C;hil in Conservation and estoration and her thesis$s theme verses on an
ethnographical approach to the study of installation art and methodologies to its documentation.
Andreia Nogueira is finishing her Caster 7egree in Conservation and estoration at :aculdade de CiVncias e
(ecnologia, =niversidade 9ova de 6isboa, and she is colaborating as a researcher in the investigation project
W7ocumentaQOo de 'rte ContemporXneaY +Contemporary 'rt 7ocumentation-. *er Casters dissertation is
based on the preservation of the work by the ;ortuguese artist :rancisco (ropa.
Antnio Duarte +;h7- teaches ;sychology of 6earning, Aducational ;sychology, ;sychology of 'rt and esearch
Cethodology at the :aculty of ;sychology +=niversity of 6isbon-. *e researches on Aducational ;sychology,
with emphasis in 'cademic 6earning and ;sychology of 'rt.