Objetos de emoções: objetos de amor, tecidos afetivos, peles...

Abstract

In the "Age of Aesthetics", an object acquired the status of "work of art" from a particular kind of experience lived by the spectator: the aesthetic experience. After the end of art, Arthur Danto points out that what makes an object be considered art is not visual, but conceptual. The difference cannot be sensible because it cannot be aesthetic. However, if we consider what Suely Rolnik points out about Lygia Clark's Structuring of the Self, as a reinvention of the aesthetic experience that had disappeared from the universe of Art, how can we revive aesthetic experience within the context of an “Art Post-historical”, in which the artist is also a philosopher and the works, events? For Brian Massumi (2011), the relational engagement of the work gives it a political value as necessary and immediate as the aesthetic dimension. Sara Ahmed (2010) argues the emotion is what supports or preserves the connection between ideas, values and objects. The emotions would be born in the midst of an experience in which the object is disassociated and the emotions are the forces of encounter. Aesthetic experience is an activist philosophy: a becoming. Become happy. Here – of course – the happiness understood more as pleasure acquired, sometimes even with the contact with the pain and with the own bare experience, as proposed by Lygia Clark in his Structuring of the Self.