EU, YAYOI KUSAMA, QUE RETRATEI MINHA OBSESSÃO, MINHA DESPERSONALIZAÇÃO E MINHAS FOBIAS: por uma análise do discurso das imagens da loucura

Abstract

Based on the parameters that the French Foucaultian Discourse Analysis establishes for the nature (s) of "power" (2010), truths "demonstrated /event" (2006), "self techniques" and "governmentality" (2006) and "Parrhesia" (2002), we intend, with the present dissertation, also to support to the concepts of "discursive memory", "inter-iconicity", of Courtine (2013), and of "indicative paradigm" Ginzburg (1989) show the fabrication of the historical subject "mad-artist", to consider Yayoi Kusama (1929-); artist who proclaims to be the "Supreme Priestess of the balls" and that says to paint like subject of its work the own madness. We propose this made from the archegenealogical scansion of imagery/verbal utterances of this artist, chosen as analysis material of this work, which: Obsession by sex and food (1966) and Self-obliteration of Kusama (1967). Faced with the theoretical base waved, we aim: (i) to analyze the discursive struggle whose productions of sense (re)produce a subjectivity built around the Kusama subject; now an artist-infamous, sometimes an artist-celebrity; (ii) examine utterances/indices referred to the interpretation of madness fabricated by the subject Kusama, materialized (or not) in their works, reading them in their historical immersion that can attest (or not) such madness, as the powers of artistic establishment; (iii) to scan verbal and non-verbal statements that form the analysis material of this work by means of the Foucaultian archaeological contribution, adding to the process Ginzburg's (2014) "indicative paradigm" methodology; (iv) to develop an analysis of the visualities under the concepts of "discursive memory" and "inter-iconicity" formulated by Courtine (2013), thus bringing together Kusama's life and work from its operative force in social memory, of the image of the historical subject "mad-artist" in the establishment of the collective memory, currently. We conclude, in the light of the results of the proposed analysis, that the Kusama subject is fabricated as a consequence of subjectivating/objectivating processes resulting from the clash between powers and discursive knowledge of the establishment/medical devices, as well as the "mad-artist" form emerges there too as a result of parrhesia, the courageous/dangerous care of self in this confection of the self.