Vídeo-escultura: a materialidade escultórica em diálogo com os multimeios

The main concepts that concern the practice of sculpture and video in artistic production may immediately presuppose a distance between these two media, but from a deeper study it is possible to understand that both are related in theory and in practice. However, this convergence is relatively recent in the History of Art, it is possible to mention the Dadaist experiences of the 1920s, but it was only after the diffusion of television and the popularization of the portable video camera, from the 1960s, that artists such as Wolf Vostell and Nam June Paik began to incorporate the audiovisual medium into their artistic creations. The present article has, precisely, the objective of understanding this process of incorporation of video in sculptural matter and vice versa, thus, this Master's Thesis has as its general objective to define the concept of Video-Sculpture for contemporary artistic production. In addition to this, it branches into other specific objectives, which aim to understand the historical context in which Video-Sculpture appears in the History of Art, examine the pioneering artists in this field, document the production of contemporary works of art that fall into this category and finally present my practical work on the topic. In an increasingly virtual world where physical presence is less and less relevant, it is important and necessary to document the works that establish the association between sculptural materiality and the impermanence of the constantly expanding audiovisual field, thus defining a hybrid field in which contemporary art questions in which world one actually wants to be in. Such works are here defined by Video-Sculptur