Os objetos não vivem eternamente: desafios na exposição de Arte Cinética a partir da obra de Miguel Palma

This dissertation is an analysis of the problems associated with the exhibition of Kinetic Art, based on three works by Miguel Palma (1964-). The key issue is the movement of these works and how this dynamic interferes with their exposure and conservation. For this reason, the greatest difficulty of curators and conservators in these situations is related to their conceptual dematerialization, which contradicts the "traditional" perspective of this area that is not prepared for the complexities of Contemporary Art, which results in the creation of strategies that may compromise the existence of these works. From an introductory study of the characteristics of Kinetic Art and Destructive Art, we draw a general picture of the obstacles that museum professionals face when these works are exhibited. The (non)existence of documentary records issue is one of the most frequent problems in these situations, leading to a fatal lack of knowledge about their parts, mainly due to their material and conceptual heterogeneity. At the same time, the challenge of their installation is due to the ephemerality of the components as a result of their friction and consequent wear and the multiplicity of materials, some of which are difficult to purchase and replace. In this sense, the creation of documentation about these works is one of the current major concerns, that must be carried out in close collaboration between cultural institutions and artists. The contact with these problems arose due to the participation in the assembly of the exhibition (Still) Modern Discomfort in the Museu Coleção Berardo. During this period, the monitoring of the works allowed the creation of a "logbook" in which we illustrated the dynamics and problems that occurred. Through the study of three works by this artist - Valor (2002), Peneira (2000) and Plataforma (2008) - together with the characteristics of Kinetic Art and Destructive Art, we propose a reflection on the dynamics of movement in Contemporary Art