ABSTRACT
Fernanda Gomes has stood out in the national art scene for presenting a work not very docile to the system that contains it. Our intention here is to demonstrate how her work (as a matter of fact, her exhibitions-works), largely permeated by small perceptions and exhaustive attention, formulates a singular reception strategy–distinct from the fugacity of today’s attention and the intensive discursiveness of the contemporary art field. The hypothesis of a singular reception is supported by the constant refusal to assign names to works and exhibitions (constantly titled with her own name, more by insufficiency than intention), the insistence on dismissing the power of curatorial discursive interferences, without thereby supplementing the semantic field of the work with its own subjectivity and life.
KEYWORDS
Fernanda Gomes; Reception; Time; Silence