Quando é arte? Algumas considerações sobre “modos de fazer mundos” pela performance artística

Abstract

The discussion about what art is is broad, exhaustive, and inconclusive in the uniqueness of its definition, and this breadth demonstrates the scope of its vastness in the line that runs from creation to perception. In this sense, our main objective is to delimit Goodman's proposal on the role of art in the essay When is it art?, included in the work Ways of Making Worlds, drawing a methodological parallel with Noéli Ramme's perspective on the importance of the public in the construction of aesthetic work, in the article Installation: a concept in Goodman's philosophy. In this excerpt, the focus will be on analyzing when the object becomes an aesthetic symbol, whether its aesthetic function is intrinsic to the object (a thesis defended by formalists and pu-rists in art), the symptoms of the aesthetic in the individualization of aesthetic objects, and the role of the public in this individualization. Through two authorial performances and the syste-matic collection of participants' reports, Goodman and Ramme's aesthetic and philosophical perspective was found to be the most correct. From these results, we can conclude that the aesthetic function of objects and the individualization of aesthetic objects occurs through aes-thetic language at the moment of interaction with the audience. It follows that aesthetic objects are not pre-existing or dependent on the subjectivity of the artist or the public. The public and artists are participants in a community of speakers who construct the aesthetic object from a system of symbols or aesthetic language. The collective construction of aesthetic objects is fol-lowed by the equally collective construction of versions of the world, which invalidates forma-list and purist theses about art and the role of art.