Coabitar incertezas: prática artística como ativadora de escutas da natureza

Abstract

The contemporary scenario is profoundly marked by complex ecological and environmental crises that disorient living and permeate a daily life of uncertainties. Such crises, frequently attributed to more than a century of burning fossil fuels and the disordered and unsustainable use of energy and soil, exacerbate disasters and inequalities, affecting fragile ecosystems and vulnerable populations. Faced with these uncertainties, the fracture that separates nature and culture fails to adequately address ecological challenges and, even less so, the possibilities of a future that does not imply further depletion of the planet's resources. Confronted with this reality, the urgent need to reimagine and relearn humanity's relationship with nature, overcoming the historical-cultural dichotomy that conceives it as an infinite resource, becomes apparent. In this context, contemporary art emerges as a fertile field and an interdisciplinary practice capable of producing sensitive knowledge and subjectivities. This study investigates these questions by exploring intersections between human sciences, art, and ecologies, problematizing ways to activate “nature listenings” in times of uncertainties and ecological emergencies from artistic practices, with the objective of examining an artistic practice by this artist-researcher as a possibility to activate “nature listenings”. Methodologically, the research path is guided by the invented term “nature listenings” as a web of concepts and an ethicalpolitical-artistic stance. It is characterized as a qualitative investigation that combines investigative-bibliographic research procedures with the analysis of the creation processes of the work “Cheia”, using cartography as a form of reflective interpretation. The results achieved demonstrate that artistic practices have the capacity to make visible sensitive, symbolic, and critical dimensions of the relationships between nature and culture. The art work “Cheia” exemplifies how an artistic endeavor can be an act of interdisciplinary research, functioning as a poetic protest and an activation of listenings with ecological concerns. In its final considerations, the dissertation reiterates the relevance of interdisciplinarity in the construction of plural knowledge, reinforcing that art opens avenues to sensitize and propose regenerative practices, even in contexts marked by uncertainty, inequality, and environmental destruction.