Monomanias - auto-narrativas e auto-ficções: estudo sobre as manias do eu como sintoma civilizacional e seu reflexo nas artes plásticas : Monomanias - auto narratives and auto-fictions: study on the manias of the self as a civilizational symptom and their reflection in contemporay art

A palavra monomania provém do grego monos que se traduz por "um" e mania que significa "mania". O emprego do termo em psiquiatria deve-se a Esquirol e mais tarde a Pierre Janet. Contudo, o uso da palavra não se circunscreve ao campo da psiquiatria, o conceito de monomania é também usado para definir as denominadas "manias do eu". Nos dias de hoje, a subjectividade, a particularidade de cada indivíduo apartou-se da noção de Homem como um todo objectivo. A massificação gerou a sociedade do narcisismo. A World Wide Web permitiu ao sujeito dar a conhecer ao mundo a sua individualidade. O sujeito é livre de se mostrar, de se fazer ouvir, de contar as suas histórias e principalmente a sua própria. À semelhança do nosso quotidiano, podemos encontrar na arte contemporânea propostas artísticas que se prendem com o conceito de monomania, como o exemplo das mitologias individuais, auto-narrativas e auto-ficções de Sophie Calle: "de vivre sa vie pour faire ceuvre et de faire ceuvre pour vivre sa vie." ABSTRACT: Etymologically, "monomania" originates from the Greek words "monos" and "mania". The former refers to the notion of "one" and the latter to "mania". The term's introduction in the field of psychiatry is attributed first to Esquirol and later Pierre Janet. Usage of the word isn’t, however, exclusive to psychiatric jargon: the concept of monomania is also used to define so called "manias of the self’. Today, the subjectivity and specificity of each individual have distanced themselves from the notion of Man as an objective whole. Massification has led to a society of narcissism. The World Wide Web has allowed the subject to make her individuality known to the world at large. The subject is free to exhibit herself, make herself heard, tell her stories, and especially her own. ln a way similar to daily life, we find agendas in contemporary art that approach the concept of monomania, such as the personal mythologies, self-narratives and selffictions of Sophie Calle: "de vivre sa vie pour faire oeuvre et de faire oeuvre pour vivre sa vie."

Albert Camus and Damien Hirst: Always looking on the absurd side of life

The aim of this text is to consider the notions of life and art, revealed in Camus’s texts, mainly The Myth of Sisyphus (published in French in 1942) and The Rebel (1951), and extrapolate them to the present state of contemporary art by analysing a few artworks by Damien Hirst, the richest living artist, a modern Sisyphus in the self-awareness he manifests towards the incongruity of his work. Always looking on the absurd side of life dwells on the inevitability of life and art, accepting the fact, according to Camus’s words, that: the impossible remains impossible. Instead of denying the meaningless and finding some form of redemption, both French writer and British artist have embraced this potential and have used the absurd as a form of conveying meaning to their art. Hirst’s artworks that will be referred in this text include the series: The Physical Impossibility of Death in the Mind of Someone Living (1991); Mother and Child Divided (1993); For the Love of God (2007) and For Heaven’s Sake (2008).