Pintores contemporâneos como Mark Tansey e Michaël Borremans incluem a fotografia e o filme em suas práticas artísticas refletindo, em território partilhado e de modo autorreferencial, a inegável mediação tecnológica no qual nos vemos submersos. Este artigo tem como objetivo analisar de que forma, nesse cruzamento de linguagens, instaura-se um espaço de reflexão.

Contemporary painters like Mark Tansey and Michaël Borremans include photography and film in their artistic practices, reflecting, in shared territory and in a self-referential style, the undeniable technological mediation in which we see ourselves submerged. This article aims to analyze, inside this crossroads of languages, how a space for reflection is established.Keywords: Painting. Photography. Film. Self-reference. Representation. INTRODUCTIONAs we know, during the 20 th century, photography was increasingly present inside painters' studios, and today, even though it is becoming a commonplace practice, it still seems to expand and question the art of painting. Contemporary painters like Mark Tansey (1949, San Jose, California) and Michaël Borremans (1963, Geraardsbergen, Belgium) include photography and film in their artistic practices, reflecting, in shared territory, the undeniable technological mediation in which we see ourselves submerged.It would be possible to say that these artists are part of a post Gerard Richter generation. They are artists who question painting by their ability to produce images of images, however, their work does not show any concern of hyper-realistic nature, in the same way Americans do. These painters are more concerned with translating the material qualities into painting or with the conventions of the means of technical reproduction than with the aspect of likelihood of the images. From my point of view, for Borremans and Tansey, it is not about doing a picture with the hand, but to determine a kind of shared territory where we find a confluence of conventions, which seek to demonstrate and maintain the expressive force of the materiality of painting. A shared territory founded and fueled, most times, by self-referential procedures.The notion of shared territory should be understood here as not only a zone of crossing languages, but rather as a reflective space in which the artist puts into question the very language that it uses, discussing the mechanisms of representation and the status of the image.When, in shared territory, do photography or film become part of the process of creation of the painter? What new kind of questions they bring to painting? And the dialogue between these means would raise which kind of questions? MARK TANSEY: A SYSTEM OF OPPOSITIONSThe self-referentiality of art, the awareness of the limits of painting and, Tansey uses a traditional system of representation to discuss the production of images and the possible interrelation of the various means of reproduction of these. Through a subtractive method, adding oil and pigment to the canvas, he brings out images by scraping these substances until he regains the brightness of the white support. As the artist says, the presence of monochromatism in his At first, I was attracted to the monochromatism -black and whitebecause everything I liked was in it, from reproductions of Michelangelo to scientific illustration and photos of the Life magazine.This simple, but versatile syntax, was sh...