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1
Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.
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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
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Underhill, Helen P. V. "Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.
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Shojai, Kaveh Darya <1995>. "Contemporary Iranian Art: Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15423.
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Contemporary Iranian Art has recently become a new entry in International art markets, a condition possibly derived from the current political situation. Both Christie's and Sotheby's, two of the most important auction houses in the world, have introduced specialist departments dedicated to Iranian Contemporary Art, as early as 2007, within their Modern & Contemporary Middle Eastern Art departments. Increasing interest in contemporary Iranian art can be traced by its exponential economic growth in such markets. The aim of this thesis is to investigate and observe the changes in the reception of contemporary Iranian art, how this effects the production and reception of the art and artists themselves, mainly through the effect of the entrance of Iranian contemporary art in international art markets, ownership and exhibitions, either through personal collections or galleries, focusing on Iranian contemporary art. Specifically because of the peculiar political situation of the country itself, the problems of censorship and anti-Western sentiments, Iranian art arises as an oddity in the Middle East, where artists and galleries are, as of recent times, trying to regain their own space and create art that can reflect a new national identity, signalling a reclaiming of Iran and negative aspects associated with the country.
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Bader, Vilma. "Hysterical attributes in the production and subjects of art work." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12073.
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Perhaps no other disorder known to man has been more misunderstood than hysteria. Approaches to hysteria have tended to use outmoded models drawn from ancient medicine, relegating it as an exclusively female medical category. Within contemporary medicine approaches to hysteria have been further hindered by polemical arguments that it is exclusively or almost exclusively a female disorder and whether its causes are psychological or physiological, mind or organic. This paper takes a considered approach to hysteria and situates it as a universal condition that integrates both male and female, mind and body, medical and non medical. Its investigation over cross disciplinary territory gives us valuable insight into the causes of hysteria, its impact in a social context, its considerable role in the creative field and its attributes in the production and subjects of art work. Through my own work and the visual artists Annette Messager, Hanne Darboven, Lygia Clark, Hélio Oiticica, Lygia Pape; the writer Marguerite Duras; and the poet Stéphane Mallarmé, I interrogate the modern hysteric’s pain and numbness. Mallarmé believed that the essence of poetry was to use words to filter out our over supply of words by creating silence around them. The paradoxical strategy of expressing silence through the deployment of language, as opposed to silence as absence, highlights the devaluation and credibility of language or more precisely, inauthentic language. My thesis proposes a possible alternative language in art, for art’s dilemmas and strategies as well as to ease the pain and numbness of the modern day hysteric. This non-verbal language is based on a constant flow of energy, an ever-present activity of thinking and feeling, an ongoing process that takes place across time and space whereas the inside/outside, mind/body, either/or, I/other, artist/viewer become inseparable.
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Maier, Johannes. "Embeddedness as condition and strategy in contemporary art and cultural production." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6516/.
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This thesis examines the concept of ‘embeddedness’ as condition and strategy in contemporary art and cultural production. Identifying embeddedness as a motif of contextual proximity and a strategy in contemporary art, the thesis proposes immediacy to be the result of intrinsic mediation. The project’s main concern is how embeddedness is contextualised by the current conditions that authors and cultural producers engage with. The primary question is whether and how embeddedness can convey a critical relation to the mediation that it undertakes. These concerns inform and arise from my work as an artist, and my participation in events, some of which I organise. The project claims that embeddedness in art is a critical condition and an editorial concept or a strategic plan that can be set up by the artist. The investigation begins by looking at conditions of embeddedness by focusing on concepts of subjectivity and by elaborating strategies that I call ‘auto-direction’. For example, concepts of subjectivity are taken up in relation to Richard Serra’s video Boomerang (1974), in which the performer Nancy Holt reflects on her own spoken words, which are fed back with a short delay via microphone and headphones into her ears. Auto-direction, introduced with the example of Steven Spielberg’s initiative of a video diary exchange project between Israeli and Palestinian children, describes the activity of the producer, who self-directs his situated presence. Taking up idioms of embeddedness from artists like Phil Collins, Christian Jankowski and Erik van Lieshout the project examines embeddedness through a comparative analysis between contemporary art, visual culture, media theory, sociology, art theory, psychoanalysis and philosophy. These practices lead to an identification of embeddedness as an author’s immanent exposure, a claim taken up through analysis of theoretical texts and literature by Rosalind Krauss, Jacques Lacan, Jacques Derrida, Gregory Bateson, Hal Foster, Bernard Williams and Alfred North Whitehead.
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Lindström, Matilda. "Contemporary Art as a Catalyst for Social Change : Public Art and Art Production in a Community of Practice." Thesis, Linköpings universitet, Avdelningen för Kultur, samhälle, mediegestaltning – KSM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-113465.
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This master thesis contextualise, and discuss the contemporary art as a catalyst for change, and raises social issues through art production in the urban district Nima. Perspectives of "community", and "community of practice" affiliates with examples of placed based art, mainly mural paintings performed in the urban landscape of the community, in the stigmatised community Nima, an area in Ghana’s capital Accra. The study has identified an artistic climate that is emerging from within the community, where artists have created a system for various forms of arts education. The artistic climate is a process of social practice, and this study further discuss the interaction of people in the process of art production, which provides both local, and global perspectives of art. Issues of representation, especially who is in the position to represent others, and how others are in fact represented are discussed and analysed as well as the terminology of “African art”.
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Rollman, Louise. "Curating the city: Unpacking contemporary art production and spatial politics in Brisbane." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123515/1/Louise%20Rollman%20Thesis.pdf.
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Contemporary art and exhibition-making is increasingly deployed in the urban development and marketing of cities for political-economic benefit, yet the examination of the aesthetic and cultural aspects of urban life is curiously limited. In probing the unique political conditions of Brisbane, Australia, this thesis contrasts two periods — 1985-1988 and 2012-2015 — in order to more fully understand the critical pressures impacting upon the production of contemporary aesthetic projects. While drawing upon Henri Lefebvre's right to the city, and insisting upon a right to imagine the city, this thesis concludes that a consistent re-articulation of critical pressure, which anticipates oppositional positions, is necessary.
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Couret, Magali. "La production de l'œuvre publique d'art contemporain." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010256/document.
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L'art contemporain se veut transgressif, c'est un art fugitif dont on garde trace dans ses souvenirs, grâce à des photographies et des protocoles conservés dans les archives des institutions et prêts à être «réactivés». Située à la frontière de plusieurs domaines de création et confrontée à une forte dématérialisation, l'œuvre d'art contemporain déroute le juriste. Aujourd'hui, elle ne résulte plus du travail d'un artiste agissant seul dans son atelier, mais d'équipes réunissant les talents de multiples professions qui fragmentent sa réalisation en plusieurs phases. De fait, la scénographie ou le procédé artistique l'emportent souvent sur l'œuvre elle-même. Ce procédé prend le nom de «production» d'art. C'est pourquoi l'art contemporain constitue un objet d'étude complexe en droit, lequel s'attache encore trop à la forme de l'œuvre plutôt qu'à ses modes de création. La production artistique contemporaine est un domaine où les usages et les coutumes naissent au gré de pratiques efficientes, et prennent petit à petit le pas sur le droit. Dès lors, un fossé se creuse entre les professionnels de l 'art contemporain et le droit, ce qui a tendance à induire la coexistence de pratiques divergentes et d'interprétations diverses des coutumes établies, ainsi que le chevauchement de la coutume et de la législation, sans que des directives d'application de l'une ou l'autre ne soient adoptées. La question à laquelle nous tentons donc de répondre dans cette thèse est celle de savoir comment réduire cet écart entre la pratique des professionnels de la création contemporaine et le droit afin d'apporter sécurité juridique à la production artistique, et plus particulièrement au sein de la commande publique<br>Contemporary art transgress, it is a fugitive art, which we remember thanks to our memories, to photographs and protocols owned by institutions, ready to be revived. The contemporary work of art is dematerialized and located in-between many fields of creation. That is why legal experts have troubles understanding it. Nowadays, a sole artist does not make the work of art anymore. Although, it is the result of the work of a team, gathering multiples professionals, who divide the creation of the work of art up in many phases. That phenomenon is called « production of art». Thus, contemporary art is a complex subject for the law, which is still focused on the form and materials constituting the work of art, instead of being focused on the ways it is produced. The artistic production is regulated by customs, which tend progressively to take advantage on the law. In fact, this creates divergent practices and interpretations of the rules. Plus, the law and the customs sometimes tend to overlap, and no one knows which one should be applied. The question we try to answer in this thesis is how is it possible to reduce the gap between the professional practices and the law, in pursuing the goal to bring legal security in the artistic production, and most specifically, in the field of public call for artists
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Matsinhe, Sebastiao Filipe. "The production of local art for a global cultural market in contemporary Mozambique." Thesis, University of the Western Cape, 2012. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4062_1363774738.
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<p>This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists &ndash<br>painters and sculptors &ndash<br>and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 &ndash<br>1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists&rsquo<br>life histories, <br>especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art <br>producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local, <br>personal influence and that of the patrons.</p>
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Adendorff, Delaida Adéle. "The princess in the veld : curating liminality in contemporary South African female art production." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63007.
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I aim to showcase post-African female identity through the exhibition, The princess in
the veld. The exhibition displays selected works produced by South African women
artists, underpinned by the proposed curatorial framework. This curatorial approach
is feminist, and may allow for a liminal reading of local female identity. I premise my
theorised curatorial framework liminally, in-between binary oppositions. This position
allows for a feminist position and/or reading of female identities that simultaneously
allude to, and reject a so-called local (essentialised) women’s art production within
the ambit of global, Western dominated feminism. I argue that, for such a display to
be successful, an alternative curatorial space is needed. For this purpose, I introduce
the notion of heterotopia, a counter-space, to renegotiate binaries and to render
identity formations temporarily in-between prevailing norms. This heterotopic
counter-curatorial space is realised through an exhibition that employs the medium of
video, rather than conventional exhibition media installed in real space.
An exploration of specified key local and international survey exhibitions
foregrounding women’s concerns from the 1980s onwards, serves to inform my
theorised curatorial framework. The research embarks on an investigation of a recent
large-scale exhibition hosted in France, to gain an understanding of the pitfalls
prevalent in curating an exhibition of artwork produced by women. From a feminist
standpoint, I critically analyse this display to suggest more inclusive alternative
curatorial strategies to shift the conventionally Western approach followed by this
curator.
The revisionist, feminist, re-reading of certain South African curated exhibitions from
both the apartheid and post-apartheid periods proposes a feminist trajectory that
follows the shaping of local women’s identities, which remain deeply inscribed in this
country’s politics and histories. This section of the survey underlines local post-
African female identity as liminal and in flux, through the investigation of seminal
exhibitions and artworks produced by South African women. I argue that this liminal
account allows for an inclusive and extended understanding of women, while
explicating the South African multicultural dispensation wherein the post-African
woman operates.<br>Thesis (DPhil)--University of Pretoria, 2017.<br>National Research Foundation<br>University of Pretoria<br>Visual Arts<br>DPhil<br>Unrestricted
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Luther, Anne-Katrin. "Collecting contemporary art : a visual analysis of a qualitative investigation into patterns of collecting and production." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9885/.
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The dissertation presents a cultural analysis of contemporary art collecting and art production with an illustration of patterns that overlap in collecting and art production practices in contemporary art. The illustrated visual network shows how institutions, local context, social strategies and prestige overlap in their influences on art production as a cause for collecting contemporary art. Economic exchange, reputation, a perception of time, and the personal and emotional understanding of objects and material are four patterns that illustrate reasons for collecting contemporary art in conclusion. This analysis is based on a visualisation of the structured field data that was generated in a participatory field study in the New York art world, consisting of semi-structured interviews between 2013 – 2015. Limitations in usability and interface design, and the need for a sufficient visualisation tool for qualitative data analysis, drew the focus of this study to the development of a new data visualisation software. After a peer-reviewed process, the software Entity Mapper was selected for use in this thesis to visually analyse the collected and structured data. The analysis takes location, size, hierarchy and movement of the structured data in the visual map into consideration for concluding theoretical statements.
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Gallagher, Meghan M. "Claiming Images: The Production and Preservation of Desire in Richard Prince's Re-Photography." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/679.
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This thesis explores the re-photography of contemporary artist, Richard Prince. Using Lacanian theories of the gaze and of the drive cycle, it attempts to establish desire as the central theme of Prince's work. It looks primarily at the Cowboys, Girlfriends, and New Portraits, in order to combat the dominant perception of Prince's work as critical commentary on contemporary consumer culture.
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Baracchini, Leïla Gaelle. "Quand l'art vient à D'kar : émergence et production d'un art san contemporain." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0026.
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Quel(s) discours une ethnologie peut-elle porter sur des objets d’art ? Qu’est-ce qu’une sociologie de l’art appliquée à une production artistique "non-occidentale" ? Ou plus précisément encore comment faire une ethnologie d’un art san contemporain ? Partant de ces questionnements, cette thèse ouvre à une réflexion sur les opérations nécessaires à la création d’un art san contemporain et sur les conditions et les enjeux d’une expression ethnographique sur l’expression d’autrui en contexte postcolonial.Basée sur une ethnographie du Kuru Art Project, seul atelier d’art san contemporain en activité au moment de cette étude, cette thèse retrace les réseaux de relations qui participent, ou ont participé, à l’émergence puis à l’existence de ce projet d’art à D’kar, un village du district de Ghanzi (Botswana). Au travers de l’étude des mouvements circulatoires inhérents à la création et à la diffusion d’un art san contemporain, Quand l’art vient à D’kar raconte l’histoire complexe de l’introduction du concept d’art à D’kar et de la transformation de ces peintures et gravures en un mouvement artistique désigné dès 1991 sous le nom d’art san contemporain. En empruntant des outils théoriques et méthodologiques issus de la sociologie de l’art, de la sociologie de la traduction et de la socio-anthropologie du développement, ce travail s’attache à décrire les pratiques et les discours engagés dans la production quotidienne d’un art san contemporain, au travers d’une analyse : des modalités et des effets de l’introduction du concept d’art à D’kar (sous l’angle du transfert de connaissance) ; du passage du non-art à l’art (au travers du concept d’artification) ; et des conditions quotidiennes entourant la production individuelle de ces objets (par le biais du suivi d’une trajectoire artistique particulière). Enfin, cette thèse développe une réflexion sur les manières d’élaborer une ethnographie qui tienne compte des asymétries dans les moyens d’expression et qui, ce faisant, essaie en même temps de contourner ces structures relationnelles. Elle invite ainsi à repenser l’écriture, en menant une réflexion sur les enjeux et les modalités de production d’un discours non seulement sur l’image, mais aussi sur l’image de l’Autre en contexte postcolonial et plus précisément sur cette catégorie d’objets particuliers circulant sous le nom d’art san contemporain<br>How to address artworks anthropologically? What can a sociological approach on art bring to the comprehension of “non-western” artistic productions? Or more precisely, what does it mean to investigate contemporary San art? Proceeding from these questions, this PhD thesis offers a reflection on the processes involved in the creation of contemporary San art, and on the issues inherent to developing an anthropological expression about the expression of Others in a postcolonial context.Based on an ethnographic study of the Kuru Art Project – the only existing contemporary San art project at the time of the study – this PhD thesis retraces the networks of relations involved, or having been involved, in the emergence and existence of an art project in D’kar, a small village of the Ghanzi District (Botswana). Through analysing the circulatory movements inherent to the creation and diffusion of contemporary San art, When art comes to D’kar tells the complex story of how the concept of art was introduced in D’kar and of how these paintings and engravings were transformed in an art movement known since 1991 as contemporary San art.Using theoretical and methodological tools provided by: the sociology of art, the sociology of translation and the socio-anthropology of development, this work seeks to describe the practices and discourses involved in the everyday production of contemporary San art. This is done through an analysis of: the modalities and effects following the introduction of the concept of “art” in D’kar (in terms of knowledge transfer); the passage from non-art to art (through the concept of artification); and the everyday conditions surrounding the individual production of these objects (via the day-to-day study of a specific artistic trajectory).At last, this dissertation exposes a reflection on the way to develop an ethnography that takes into account the asymmetry existing in terms of means of expression. Through a reflection on the modalities and issues of discourses production, it tries to bypass these relationship patterns, inviting to rethink the ways of writing about images and the Others in a postcolonial context, and more precisely about this very specific type of objects circulating under the name of contemporary San art
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Ledur, Rejane Reckziegel. "Arte contemporânea e produção de sentidos no ensino da arte : a experiência estética dos alunos na Bienal do Mercosul sob o olhar da semiótica discursiva." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/83257.
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A tese tem por finalidade problematizar a produção de sentido na arte contemporânea. O foco de investigação está voltado para as experiências estéticas dos alunos em saídas pedagógicas à 8ª Bienal do Mercosul. A pesquisa caracteriza-se por uma abordagem qualitativa que busca compreender os significados atribuídos pelos sujeitos às suas experiências. Fundamenta-se no conceito de experiência de John Dewey, encontrando, na semiótica discursiva de A. J. Greimas, o referencial teórico-metodológico para a análise da significação. O estudo discute os desafios da educação atual, a partir do olhar e da experiência com a arte contemporânea no contexto escolar. Para isso, enfatizam-se as abordagens de Thierry de Duve e Ana Mae Barbosa, ao problematizar o ensino da arte, e fundamentam-se, as reflexões sobre a arte contemporânea, nas teorias de Arthur Danto, Anne Cauquelin e Nicolas Bourriaud. A pesquisa envolve as experiências estéticas de alunos das séries finais do Ensino Fundamental de três escolas da Rede Municipal de Canoas/RS, que são analisadas tendo como referência os regimes de sentido e interação propostos por Eric Landowski. Ao considerar a interação com a arte contemporânea como uma experiência sensível e inteligível, observou-se a recorrência de sentidos específicos apoiados em princípios fundamentais da experiência estética com a arte contemporânea. A compreensão construída em torno da percepção dos sentidos, produzidos pelos alunos na interação com a arte contemporânea, foi representada por meio do “quadrado semiótico”. Nesse esquema, salientam-se os regimes de contemplação, interrogação, significação e percepção, como resultantes da apreensão estética da arte contemporânea.<br>This thesis aims to problematize the meaning production in contemporary art. It is based on an investigation that used the esthetic experiences of students in their pedagogical visits to the 8th Mercosul Biennial. The research is characterized by a qualitative approach that intends to comprehend the meanings that are assigned to the experiences by each subject. The theoretical support is the John Dewey concept of experience, finding in the discursive semiotics of A. J. Greimas the theoretical and methodological source to the meaning analysis. The study discusses the challenges of present day education, considering the ability to see and the experience with contemporary art at the school context. In order to do this, since it is problematized the teaching of art, there is an emphasis on the approaches developed by Thierry de Duve and Ana Mae Barbosa, and to comprehend contemporary art, it is taken the support of Arthur Danto, Anne Cauquelin e Nicolas Bourriaud theoretical ideas. The research takes the experiences from students in final grades of Elementary Education from three public schools assisted by the city of Canoas/RS/Brazil. These experiences were analyzed using the modes of meaning and interaction that were presented by Eric Landowski. As the interaction with contemporary art was considered as a sensible and intelligible experience, it was observed the recurrence of specific meanings grounded in basic principles from the esthetic experience with contemporary art. The comprehension built around the perception of meanings, which were produced by the students in the interaction with contemporary art, was represented using the semiotic square. In this scheme, modes of contemplation, questioning, meaning and perception were pointed out as a result of contemporary art apprehension.
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Acord, Sophia Krzys. "Beyond the code : unpacking tacit knowledge and embodied cognition in the practical action of curating contemporary art." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/89473.
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Re-evaluating classic work in the sociology of the visual arts, this Ph.D. thesis explores the tacit and practical bases of artistic mediation with reference to curatorial exhibition making in contemporary art. Data presented here derive from a visual microethnographic study of the exhibition-making process in two elite European centres for contemporary art (London’s Institute of Contemporary Art and ARC/Musée D’Art Moderne de la ville de Paris), combined with an additional thirty-five interviews with other curatorial professionals. By focusing on the visual dimensions of curatorial work, this thesis uses a case study in the sociology of art to think more broadly about aesthetic materials as active mediators of action, or actants in the sense of actor-network theory. Drawing on work in the sociology of education, communication studies, and the sociologies of science and technology, this research explores how the material, embodied, and situated interactions between curators, objects, and environments are constructed and understood in reflexive relation to more explicitly cognitive and verbal representations, interpretations, and accounts. In planning and installing an exhibition of contemporary art, curators frame artworks and build meaning based on the material and conceptual resources at hand. The plans made by curators when preparing an exhibition and composing textual documentation are altered and elaborated during the installation of contemporary art in the physical presence of the artworks and gallery space. The disjuncture between curatorial plans and these situated actions has consequences for the public presentation and comprehension of the final exhibition. In documenting these processes as they take shape in real time and in relation to material objects, the body, and the built environment, this work aims to contribute to the on-going developments and debates that centre on the creation of a ‘strong’ cultural sociology and to extend core sociological thinking on the social structures and bases of action.
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Tuomaala, Outi. "INTERNATIONALIZATION OF CONTEMPORARY ART : Case studies of three Finnish artists who have exhibited in Sweden." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104625.
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This thesis examines the internationalization of Finnish contemporary artists. The focus is on their exhibitions at contemporary art institutions in Sweden, covering the period 2004–2013. The aim is to investigate what makes these exhibitions to materialize. The main question is: How do different actors, networks, collaborations, and the field of artistic production look like when art is exported for exhibition purposes from Finland to Sweden? Pierre Bourdieu’s field theory and the Uppsala internationalization process model are used as the theoretical framework. Information is collected via interviews with three Finnish artists and three Swedish curators. The main result is that the artists do not actively impact the internationalization process themselves. Rather, the internationalization occurs through an international network of professionals, some acting on behalf of the artists, and some acting in their own interests. The main driving factor for internationalization is that the Finnish art market is small. Consequently, young contemporary artists are oriented internationally. For internationalization to occur, the artists must be available to foreign curators through the international networks. Finland is aware of this and promotes international art contacts through the foundation Frame Visual Art Finland. Important contact surfaces, where curators can learn about the artists, are art events, like European art biennials.
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CODIGNOLA, FEDERICA. "Mercato dell'arte e prodotto artistico contemporaneo." Doctoral thesis, Università degli Studi di Milano - Bicocca, 2006. http://hdl.handle.net/10281/46013.
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The author agrees with the current hypothesis, namely, that the contemporary art market can be examined from an economic perspective, by using analytical instruments that are typical of the management and marketing sciences. It is a fact that the evolution of the artist-as-artisan towards the artist-as-creator is based upon the concept of the non-retribution of the creative act. (The latter is described as the artist's intimate expression.) This fact, however, does not prevent the result of such a creative act from becoming the object of a monetary exchange and being assigned a price tag. The author then accepts that, when compared to other products, the artistic product is unique due to the subjectivity of its value. In this framework, she examines the laws regulating the contemporary art market and the behavioral patterns of its actors -- the creative, production, and exchange levels, the promotion of the artists' activity, the networks of often conflicting individuals and institutions. Still, she is well aware that, far from being stable, the contemporary art market is still deeply influenced by evolving mechanisms that aim towards an overall simplification. The typical features of the contemporary art market significantly enrich the scope of the management and marketing sciences. Their analytical instruments, however, remain of fundamental value even for the contemporary art market, in spite of the fact that they normally take for granted homogeneous market conditions which are not so in the contemporary market. The author concludes that any examination of the contemporary art market must focus on its special features and be wary of concepts and frameworks normally used for manufactured products (efficacy, competition, well-being). According to the authors, these special features are the results of values and criteria that are peculiar but not irrational, of subjective but not arbitrary judgments, and of irregular but non incomprehensible dynamics. The author also examines how globalization influences the contemporary art market. She singles out phenomena such as democratization, superimposition, enlargement, and approximation as the more evident results of such an interaction. By well using the analytical instruments of the management and marketing sciences, the author shows the innovative dimensions of the contemporary art market and identifies its institutional and organizational needs. Finally, the author points to the ways in which the contemporary art market tries to enlarge its scope by reaching out to new consumers.
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Dernbach, Rafael Karl. "Anticipatory realism : constructions of futures and regimes of prediction in contemporary post-cinematic art." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289021.
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This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad's theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki's application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a 'turn towards the future' in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?
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Scott, Mary Katherine. "Representation and art production among the contemporary Maya : form, meaning and value of the artesanías from the Puuc region of Yucatán, Mexico." Thesis, University of East Anglia, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588760.
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The steady rise in tourism in Yucatan beginning in the 1960s has made producing and selling handicrafts a profitable industry and an appealing alternative to other lines of work. The exotic or timeless image of the Maya presented by the tourism industry and popular media sources has influenced the kinds of artistic objects that are produced and sold within Yucatan. Recognising this, artisans create pieces that will appeal to tourists' perceptions of what constitutes authentic Maya culture. Similar situations exist all over the world in indigenous communities that have experienced a sharp rise in tourism in the last fifty years. This has provided an endless array of case studies for anthropologists interested in studying the effects of globalisation and the tourism industry in indigenous areas. In addition to the growing interest in tourism as an anthropological, sociological, economic, and artistic phenomenon has been a greater concern with studying the objects produced in zones of cross-cultural encounter, and the ways in which they are exchanged and consumed by tourists. This PhD thesis discusses tourist art production among the contemporary Maya in the Puuc region of Yucatan, Mexico. Working within tourist art studies as my broader field of scholarly enquiry, I analyse artesanias, a kind of tourist art, for my specific case study. The thesis focuses on representation in Puuc artesanias, and specifically the ideas that are expressed via their form, meaning and value in the context of the Puuc region tourism industry, the vehicle that makes commercial handicraft production possible and viable. The thesis analysis explores how the form and presentation of an object affect its meaning for different actors or agents involved in its production and consumption. The research addresses the way value systems are constructed and how they influence what we consider beautiful, meaningful, or worthy of being purchased or collected. Finally, it examines how the tourism industry affects the creativity, livelihood and identity of Maya artisans who are caught between the tensions of modernity and tradition inherent in any post-colonial society.
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Maddock, Daniel. "REFRAMING CINEMATOGRAPHY: Interpreting Cinematography in an Emerging Virtual Practice." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380997.
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Many of the current discussions around the practice of cinematography focus on the extension or disruption of the art form as it is increasingly practiced in the realm of the virtual. Since Avatar (Cameron 2009) won the Oscar for Best Cinematography at the Academy of Motion Picture Arts and Sciences Awards, a significant number of the nominated and winning live-action feature films in this category have been characterised by a heavy component of virtual images rather than images produced by a camera. Although cinema has a history that spans over a century, computer-generated imagery (CGI) has only been present in this form since the early 1990s. Moreover, CGI has only become substantial in many critics’ views as a disruption to the practice and singular authorship of cinematography since the release of Avatar (Cameron 2009), with films such as Life of Pi (Lee 2012) and Gravity (Cuarón 2013) seen as exemplifying this trend.
The objective of this research is to investigate the current definition of cinematography and to interpret the practice of the contemporary art form. This process of investigation is driven by a self-reflexive analysis of my studio projects that have been challenged, shaped, and developed by the work and experience of other film practitioners—specifically, cinematographers and cinema theorists—whose ideas relate closely to the problem at hand.
This written component of my doctoral research comprises a wide-ranging analysis of the history of cinematography, with a particular focus on the evolution of virtual image production. I achieve this by comparing and contrasting the work of early cinematographers with that of contemporary cinematographers. Following this, I make comparisons between current leading examples of virtual cinematography in the discipline. Traditional and ‘new’ virtual practices of cinematography are considered through the prism of concepts proposed by theorists such as Jean Baudrillard in the 1980s and Charles Peirce in the nineteenth century and specifically Stephen Prince’s own writings about Peirce’s ideas in the 1990s. Contemporary academic thinkers such as Scott McQuire, Stephen Prince, and Patrick Keating, among many others were also instrumental in constructing this thesis.
I conclude the discussion with my application of the latest methodological virtual cinematographic processes to several of my projects where I fulfilled the role of cinematographer. Emerging from this research is a new and holistic understanding of the practice of cinematography and a contemporary definition of the art form. This research has shaped my own professional practice of cinematography by formulating a methodology of ‘cinematic verisimilitude’ which I apply to image-making for cinema with the camera and the computer.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Griffith Film School<br>Arts, Education and Law<br>Full Text
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Kapelusz, Anyssa. "Usages du dispositif au théâtre. Fabrique et expérience d'un art contemporain." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030170.
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Cette recherche est consacrée à l’évolution de la représentation théâtrale immédiatement contemporaine, à l’aune de mutations induites par un ensemble de croisements interartistiques, intermédiaux et, plus largement, interdisciplinaires. Elle est fondée sur l’analyse d’un corpus de créations mixtes et récentes, qui opèrent un recentrement sur leurs dispositifs, c'est-à-dire un agencement matériel, spatialement installé et multimédiatique. Généralement immersifs, ces derniers provoquent, chez le spectateur, une expérience esthétique individualisée de l’ordre de l’activation physique, de la participation ou de la mise en jeu. Par tropisme langagier, ces créations sont fréquemment désignées comme des "dispositifs", terme qui émerge dès lors que les spécificités théâtrales se voient déplacées, sous l’effet d’hybridations multiples. La thèse s’élabore dans un double mouvement : elle distingue différents usages du "dispositif", dans les discours théâtraux, qui traduisent, à plusieurs niveaux, une mise en tension du dispositif théâtral, alors considéré comme un cadre de référence ; conjointement, la recherche examine ce qui "fait dispositif" au sein de ces pratiques, observant l’articulation entre organisation matérielle et expérience esthétique, au cours de l’évènement. Mêlant étude des discours et approche esthétique, la thèse considère le dispositif sous l’angle d’une dynamique de la variation, et comme le signe d’un repositionnement théorique, focalisé sur enjeux relationnels à l’oeuvre dans ces propositions artistiques<br>This Ph.D. dissertation examines the evolution of the theatrical performance – in its most immediately contemporary state – in light of the mutations engendered by a variety of inter-artistic, intermediary and interdisciplinary exchanges. The study is founded on the analysis of a corpus of recent productions that effectuate a conscious re-centering of their own dispositif: namely through establishing a multi-media and spatially-installed material layout. Often immersive, these productions provoke an individualized aesthetic experience in the spectator, materializing in different kinds of physical activation, participation, or direct involvement. By tropism, these creations are frequently designated as "dispositifs", a term that is often applied when the theatrical specificities of a production are displaced, especially after having undergone multiple hybridations. The dissertation proceeds in a double trajectory. First, it distinguishes different uses of "dispositif" in theatrical discourses, which translates on multiple levels into placing the theatrical apparatus under question – much in contrast to theater as a frame of reference. In parallel, the study examines what at the heart of these creative practices actually constructs "dispositif", thus observing the articulation between material organization and aesthetic experience that occurs during the course of the theater event. Mixing the study of discourses and aesthetic approaches, this dissertation considers the dispositif as a dynamic of variation and as the sign of a theoretical repositioning, focusing on the relational positions highlighted in the art work by these different artistic propositions
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Souliotou, Anastasia Zoé. "Art en réseaux : la structure des réseaux comme une nouvelle matrice pour la production des œuvres artistiques." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080121.
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La problématique de ce doctorat est : comment la structure des réseaux constitue une nouvelle matrice pour la production d’oeuvres artistiques. Pour répondre à cette question, nous commencerons en étudiant l’évolution de la notion de « réseau » de l’antiquité jusqu’à aujourd’hui ; les théories des réseaux concernant leur structure et/ou leur dynamique. Ensuite nous présenterons les applications –de la notion ou des théories de réseaux– tant dans les sciences que dans l’art. Nous listerons et nous analyserons huit types de réseaux et puis nous mentionnerons des oeuvres artistiques qui ont été inspirées par ces types de réseaux et/ou qui utilisent certains (types de) réseaux comme matrice pour leur création. Nous proposerons le projet Lignes Imaginaires, un modèle 3D qui se fonde sur la conception d’un métro de lignes imaginaires, voire de lignes dynamiques et/ou paradoxales qui sont en mouvement, apparaissent/disparaissent, créent de l’infrastructure supplémentaire. L’analyse du métro Lignes Imaginaires dévoile l'importance de la géographie et de la spatialité des réseaux, tandis que leur représentation graphique topologique reste insuffisante pour la représentation précise et pour la compréhension de leur structure (paradoxale). En outre, l’innovation du métro Lignes Imaginaires est que son infrastructure est dynamique et auto-organisée, contrairement aux métros traditionnels où les lignes et leurs itinéraires sont fixes. L’objectif du projet artistique Lignes Imaginaires est de visualiser un concept en créant un métro hors du commun qui pourrait aussi proposer des formes alternatives des réseaux de transports dans le contexte urbain<br>This thesis examines and shows ways in which the structure of networks can provide a new matrix for the production of artworks. In order to answer this question we start by studying: the evolution of the term ‘network’ from the ancient times up to nowadays; the theories that refer to network structure or network dynamics. Then we present the applications of these theories into both art and science. We list and analyze eight different types of networks and then we feature artworks which have been inspired by these network types or have used the network structure of a certain type as a matrix for art making. We propose the Imaginary Lines project, a three-dimensional network model which is based on the concept of a metro composed of imaginary lines. More precisely Imaginary Lines metro network encompasses seven paradoxical lines which move, (dis)appear and produce supplementary infrastructure. The Imaginary Lines metro unveils the importance of geography and spatiality, in contrast with topological network graphic representations, which remain insufficient, in terms of utmost accuracy in representation and comprehension of network structure. Additionally, the Imaginary Lines network innovation lays in its infrastructure dynamics as well as in its self-organisation. The objective of the Imaginary Lines artistic project is to visualise a concept by creating an unusual metro, which goes beyond traditional fixed-route transport networks and can support alternative forms of urban transport development
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Sneddon, Andrew Graeme. "Confusions of meaning in the concept of place : an investigation into the role place occupies in influencing the production and reception of the artwork." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31517.
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This practice-led research examines ideas surrounding the interpretation of place; the representation and experience of place are explored in my practice and throughout the thesis. The practice and thesis develop an interdependent relationship where one informs the other and each provides a critical platform whereby existing beliefs are brought into question and new ideas emerge. During the research period the practice is tested against different circumstances in a variety of situations and novel responses are generated. The thesis critically analyses approaches to interpreting place through a number of formats and a variety of sources. Both practice and theory are examined through peer-reviewed conference papers, artist-in-residence programmes and publications allowing new ideas to be explored and scrutinized by the academy. A working method that recognizes the importance and usefulness of serendipity and sagacity is established, bringing together my practice and the theoretical scope of the research. My primary focus is to understand and develop critical responses to the experience and representation of place within the realm of contemporary art practice. The work of W.G. Sebald and the secondary literature surrounding his work plays a significant role in providing ways of dealing with the entanglement of knowledge. Period Drama is both the name of an artwork and the name I have given to a conference paper. Both explore the convoluted and complex methods involved in realizing a site-specific work that challenges fiercely-held beliefs about place. My intention throughout the research has been to examine a variety of approaches that explore the representation and experience of place within contemporary art practice. Prominent within this examination has been the highlighting of the need to belong to a particular place and the sense of displacement generated when this need to belong is challenged or the nature of this connection is questioned.
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Millhouse, Llewellyn David. "Fantasy in Public." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380458.
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This thesis consists of artworks and an exegesis in response to the question: How can the appeal of advertising narratives aimed at contemporary Australian youth culture be scrutinised through restaging narrative content? The exegesis will be structured around a chronological reflection on studio outcomes, interspersing evaluation of exhibited works with relevant theoretical frameworks and significant practices within this field of research. In response to the dense implicit ideological content of narrative in advertising and the historical field of cultural texts responding to consumer capitalism, the central argument of this exegesis will formulate a practical research methodology that enacts sustained scrutiny of an advertisement’s narrative appeal. In working towards a research methodology, this exegesis will assess the potential of appropriative art production to critically respond to contemporary youth-oriented advertising. Taking into account the pervasiveness of oppositional and ironically complicit narratives within contemporary advertising culture, this research will use a method of appropriation as over-identification to restage advertising narratives that relate to my personal experience, my identity and the values of my community.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Serraille, Guillaume. "Le verre et l’art contemporain : l’exemple de la production italienne. Essai de contribution à l’étude des arts du verre.- Essai de contribution à l’étude des arts du verre." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20011.
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L’identification et la définition des acteurs du verre italien actuel est complexe dans la mesure où leur situation est paradoxale : ils sont à la fois emblématiques et relativement absents dans l’art du verre « libre » actuel. Ce « mouvement » qui prit son essor dans le courant des années soixante aux États-Unis expérimenta à la fois de nouvelles pratiques et formes sculpturales, ainsi que des structures plus petites et plus souples que le traditionnel atelier-manufacture. En outre, cette révolution du Studio Glass Movement se produit aux prémices d’une postmodernité durant laquelle les arts sont eux aussi en pleine mutation, ce qui rend d’autant plus épineuse l’étude des relations qu’entretiennent l’industrie ou l’artisanat du verre avec les arts.Une première partie intitulée « Environnement et histoire, la question du modèle » constitue une approche historique suivant un fil chronologique. Elle décrit les évolutions techniques du verre ainsi que les développements particuliers à Venise et Murano. Elle permet en outre de caractériser les différents acteurs : manufactures et maestri, artisans, designers et plasticiens.La deuxième partie est consacrée aux œuvres et artefacts, leurs environnements économiques et matériels. Le propos se porte d’abord sur l’évolution des différentes productions (objets usuels, sculptures, etc.) d’un point de vue typologique et stylistique. Leur réception critique est étudiée, ainsi que leurs modes de diffusion depuis les boutiques de souvenirs à Venise jusqu’aux grandes expositions, qu’elles soient spécialisées ou non.La troisième et dernière partie (« Ontologie du verre : principes esthétiques et exigences métaphysiques ») interroge la place de l’artisanat et de la tradition du verre dans la postmodernité. Elle pose la question du matériau et de ses pratiques d’un point de vue esthétique et phénoménologique, ce qui renvoie aux conditions et moyens de sa fabrication<br>The identification and definition of the actors of the contemporary Italian glass is complex insofar as their situation is paradoxical: they are both iconic and relatively setback from “free” glass art. This "movement" that took off in the course of the sixties in the United States experimented with both new practices and sculptural forms, as well as smaller and more flexible workshops than the traditional factory. In addition, the Studio Glass Movement’s revolution occurs at the beginnings of postmodernism in which the arts are also changing, making more difficult the study of the relationship between glass crafts and industries with the arts.The first part entitled "Environment and history, the issue of model" is a historical approach in chronological thread. It describes the technical developments of the glass as well as its specific developments in Venice and Murano. It also allows to characterize the different actors: factories and maestri, craftsmen, designers and artists.The second part is devoted to works and artifacts, economic and physical environments. At first, it approach the evolution of various productions (everyday objects, sculptures, etc..) with a typological and stylistic point of view. Their critical reception is studied, as well as their terms of sales from Venice’s souvenir shops to large exhibitions, specialized or not.The third and last part ("Glass ontology: aesthetic principles and metaphysical requirements") deals with the role of craft and tradition of glass in postmodernity. It also concerns the question of the material and its practices with an aesthetical and phenomenological point of view, which refers to the conditions and resources of production
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Araujo, Yone Corrêa de. "Memória e gênese = singularidade e ressignificação na construção de uma poética visual." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284908.
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Orientador: Ivanir Cozeniosque Silva<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-16T23:04:33Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: O trabalho que aqui se apresenta percorreu o caminho de análise de um processo criativo, com reflexão teórica e pesquisa sobre a identificação, apropriação e transformação do material utilizado para a produção de uma obra realizada em 1993. O material analisado foi o bambu e o fio de algodão, que, sendo extraídos da terra, nos remetem à origem e à primitividade. A idéia é investigar sobre a história da produção artística desde a matéria prima bruta até a matéria prima elaborada, percebendo a singularidade do processo, estabelecendo e reconhecendo elementos que sustentaram essa produção. A partir dessa análise, foi proposta uma nova produção artística, que também remete à origem, porém, não mais à origem primeva, mas à origem mnemônica e genealógica, tendo como discussão a memória, o espaço, tempo e arte contemporânea<br>Abstract: The present study went through the analysis way of a creative process, with the theoretical consideration and the research about identification, appropriation and transformation of the material used to produce a work of art performed in 1993. The analyzed materials were the bamboo and the cotton string, and because are extracted from earth send us to the origin and the primitivity. The purpose is to investigate about the artistic production history from de rude raw material to the sophisticated raw material, understanding the singularity of the process, establishing and recognizing the elements that supported this production. From this analysis, was purposed a new artistic production, that also send us to the origin, however, don't send to the early origin, but to the mnemonic and the genealogical origin, based on the memory, space, time and contemporary art discussion<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Michelkevičė, Lina. "Dalyvavimo praktikos Lietuvos šiuolaikiniame mene: analizės kriterijų ir vertinimo problema." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_155322-88180.
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Disertacijoje analizuojama problematika, susijusi su šiuolaikinio meno praktikomis, kai menininkas ar kuratorius, siekdamas įgyvendinti savo kūrybinį sumanymą, meno projekte kaip medžiagą pasitelkia žmones. Tokie projektai paprastai išeina už estetinio lauko ribų: jie nebe reprezentuoja socialinę ar politinę tikrovę, bet ją atlieka. Todėl disertacijoje siekiama suformuoti koncepcinį modelį, kuris leistų kelti ir analizuoti dalyvaujamojo meno, kaip lygiagrečiai estetinėje ir socialinėje sferoje egzistuojančios praktikos, problemas. Modelis pagrindžiamas ir išplėtojamas remiantis pirmiausia klasikinės gamybos ir veiksmo (poiēsis ir praxis) skirties permąstymu ir pamatine prielaida, kad šiuolaikinė gamyba vis labiau panėšėja į veiksmą (Paolo Virno, Giorgio Agambenas). Teigiama, kad dalyvavimo praktikos bene aiškiausiai išreiškia šią gamybos ir veiksmo dialektiką šiuolaikiniame mene. Į vieną tinklą susiejus skirtingas filosofines koncepcijas (šnekos, taktikos, kasdienių praktikų, performatyvumo, kartotės), suformuojamas modelis, kuris pritaikomas dalyvavimo praktikų Lietuvos šiuolaikiniame mene analizei. Parodoma, kaip žvelgiant per gamybos ir veiksmo prizmę išryškėja tam tikros bendros su dalyvavimu susijusios problemos (pvz., dokumentacijos, meno įvykio ir meno kūrinio, darbo ir pramogos santykio ir kt.). Drauge koncepcinis modelis padeda atskleisti kiekvieno paskiro projekto specifiką, kvestionuoti kai kurias įsigalėjusias meno kritikos nuostatas, išryškinti naujus aspektus.<br>The dissertation deals with issues of those art practices, where an artist or a curator employs people as a project material so as to realize his/her creative purpose. Projects like this commonly expand beyond the aesthetic field: instead of representing social or political reality, they actually perform it. Therefore the dissertation aims at constructing a conceptual model that would enable the analysis of the problems around participatory art, as a practice operating both in aesthetic and social fields. The model is based primarily on rethinking of the classical divide between production and action (poiēsis and praxis) and the principle premise that contemporary production is increasingly becoming akin to action (Paolo Virno, Giorgio Agamben). The dissertation suggests that participatory practices are the clearest evidence of this dialectics between production and action in contemporary art. The model constructed of diverse philosophical concepts (idle talk, tactics, everyday practices, performativity, iteration) is employed for analysis of participatory art practices in Lithuania, which shows how looking through the prism of production and action foregrounds certain problems, general to participatory art (e.g. those of documentation, relation between art event and artwork, labor and entertainment, etc.). At the same time it proves to be a handy tool that helps to highlight peculiarities of a particular project, to question certain established prejudices, and to unveil new... [to full text]
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May, Adrian. "Lignes, an intellectual revue : twenty-five years of politics, philosophy, art and literature." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/251334.
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The thesis takes the French revue Lignes (1987-present) as its object of study to provide a new account of French intellectual culture over the last twenty-five years. Whilst there are now many studies covering the role of such revues throughout the twentieth-century, the majority of such monographs extend no further than the mid-1980s: the major novelty of this thesis is extending these accounts up until the present moment. It is largely assumed that a reaction against the Marxist and structuralist theories of the 1960s and 1970s led to embrace of liberalism and an intellectual drift to the right in France from the 1980s onwards: whilst largely supporting this account, the thesis attempts to nuance this narrative of the fate of the intellectual left in the following years by showing the persistence of what can be called a politicised 'French theory' in Lignes, and a returning left-wing militancy in recent years. In doing so, it will both reveal under-studied aspects of well-known thinkers, such as Jean-Luc Nancy, Jacques Rancière and Alain Badiou, as their thought develops through their participation in a collaborative, periodical publication, and introduce lesser known thinkers who have not received an extended readership in Anglophone spheres. Lignes also argues for the continued persistence and relevance of the thought of a previous generation of thinkers, notably Georges Bataille, Maurice Blanchot and Dionys Mascolo, and the thesis concludes by examining the potential role 'French Theory' could still have in France. Furthermore, as revues provide a unique nexus of intellectual, cultural, social and political concerns, the thesis also provides a unique history of France from the fall of the Berlin Wall to the 2007 financial crisis and the Arab Spring. Much of the thesis is concerned with contextualising intellectual debates within a period characterised by the moralisation of discourses, a return of religion, the global installation of neo-liberalism and the eruption of immigration as a controversial European issue. From a relatively theoretical and politically stable position to the left of the Parti socialiste, Lignes therefore provides a privileged vantage point for the mutations in French social and cultural life throughout the period.
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Veiga, Luana Marchiori. "Poética da esquiva: modos como a arte colabora para a produção da subjetividade que escapamàs sociedades de controle." Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/749.
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Previous issue date: 2008-11-30<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This study investigates ways in which Art can collaborate to create singular modes of existence, in the context of technological social-cultural transformations that eliminates singularities and promotes indifference and anesthesia. Adiagnosis ofthe context in which artistic production takes place nowadays is outlined, highlighting the wild implementation of electronic surveillance equipment problem, justified by the increase of urban violence. This diagnosis shows that information and communication technologies, together with surveillance systems allows to retrieve the individuais behavior profiles, from the data provided to the systems in their daily movement. Those profiles are used to control the consumption, through each day more individualized marketing strategies, and also forthe State control, detecting deviations in data pattern. This is the context of the society of control, as described by philosopher Gilles Deleuze, which succeeds the disciplinary society, defined by philosopher Michel Foucault. Changes in subjectivity's figure in modern and post-modern period are outlined: from a fixed identity, able to interpret the worid and to produce new features; to multiple identities, chosen among pret' a'porter models, who appropriates and produces detournment in previous productions. The hypothesis presented is that subjectivities are produced in a relationship between the individual and the objects that surround him. These objects function as devices to processes of subjectivation. Art is considered a device, since, as ali otherobjects, participates in processes ofsubjectivation when someone relates to it. Art as a device has the potential to produce subjectivities that escape from society of control's modulations. The net is presented as a metaphor to understand several contemporary processes, from interpersonal relations, creative processes, and even the formation of consciousness. Some contemporary creative processes exemplifythe metaphorofthe neto Artists and cultural producers are shown as orchestrators of meanings ma de by recombining everything that was once produced, proposing with their appropriations new directions. Appropriation and detournment as a creative strategy is highlighted in professional artists', beginners', collectives' and non-artists' works. Environments in which creative freedom still exists are described. Those are sites where situations, objects or people who do not usually coexist can be found side by side, in which there is creative freedom, as long as they keep unnoticed in control systems. Invisibility is concluded to be the strategy to escape from information and surveillance systems, preserving creative freedom and the possibility to produce ethical and aesthetic subjectivities. In order to do so, one should control the data retrieved by those systems, so thatthis data are unremarkable from the ordinary information flow<br>O presente trabalho investiga meios como a arte pode colaborar para criar maneiras de existir singulares, no contexto das transformações sócio-culturais e tecnológicas, que promovem a indiferenciação e a anestesia, eliminando as singularidades. É esboçado um diagnóstico do contexto em que a produção artística se realiza nos dias de hoje, destacando-se o problema da implementação desenfreada de aparelhos eletrônicos de vigilância, justificado pelo aumento da violência urbana. Através desse diagnóstico é possivel verificar que as tecnologias de informação e comunicação, associadas aos sistemas de vigilância, permitem produzir perfis de comportamento de cada indivíduo, a partir dos dados fomecidos aos sistemas em sua movimentação cotidiana. Esses perfis são usados para o controle em prol do consumo, como estratégias de marketing cada dia mais personalizadas, e também para o controle do Estado que detecta desvios no padrão dos dados. Esse é o contexto das sociedades de controle descritas por GUIes Deleuze, que sucedem as sociedades disciplinares definidas por Michel Foucault. Também são apontadas mudanças na figura da subjetividade na modemidade e na pós-modemidade: de uma identidade fixa, interpretadora do mU,Qdo e produtora de novidades, para identidades múltiplas, escolhidas dentre modelos prontos para usar (prêt-à¬porter) que se apropria e rearticula produções anteriores. É apresentada a hipótese de que as subjetividades são produzidas a partir da relação de um indivíduo com os objetos que o cercam, que funcionam como dispositivos para os processos de subjetivação. A arte é considerada um dispositivo, já que, como todos os outros objetos, participa de processos de subjetivação quando um indivíduo se relaciona com ela. A arte como dispositivo contêm a potência de produzir subjetividades que escapam às modulações das sociedades de controle. A rede é apresentada como metáfora para a compreensão de diversas estruturas atuais, desde as relações interpessoais, os processos criativos, até mesmo a formação das consciências, e é exemplificada nos processos criativos contemporâneos. Os artistas e produtores culturais são apresentados como orquestradores de sentidos que se apropriam de tudo o que já foi produzido, recombinando e propondo novos sentidos. A apropriação e o desvio como estratégia de criação são apontados em exemplos de artistas profissionais, iniciantes, coletivos e não-artistas. São descritos ambientes nos quais existiria uma certa liberdade criativa e a suspensão da ordem hierárquica, por algum tempo. Sítios que permitiriam a coexistência de situações, objetos ou pessoas que não costumam se encontrar em outros lugares, e que permitem a liberdade criativa enquanto passam despercebidos pelo controle. Conclui-se que é necessário permanecer invisível aos sistemas de informação e vigilância, para manter a liberdade criativa e a possibilidade de produzir subjetividades éticas e estéticas que escapam às modulações da sociedade de controle. Para isso é necessário controlar os dados que são fornecidos a esses sistemas de forma a não se destacardo fluxo de dados cotidiano
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Moraes, Marcos Jose Santos de. "Residência artistíca: ambientes de formação, criação e difusão." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-29042010-093532/.
Full textAbstract:
Essa tese discute o potencial das residências artísticas como ambientes de formação, criação e difusão, defendendo a compreensão de sua atuação, como forma ampliada de atender a uma necessidade de repensar os processos de ensino e aprendizagem em artes visuais, na contemporaneidade. Apresenta como objeto de estudo o Programa de residência artística da Fundação Armando Alvares Penteado FAAP, na Cité Internationale des Arts, em Paris e a criação e implantação da Residência Artística FAAP, em São Paulo, e seu respectivo programa de residência artística, para compreendê-los como plataformas atuantes na dimensão desses processos de formação artística.<br>This thesis discusses the potential of artistic residences as an environment for education, creation and diffusion, as it defends the understanding of their role as an expanded way to cater to the need of rethinking teaching and learning processes in the visual arts in a contemporary context. The object of study presented in this thesis is the artistic residence program of the Fundação Armando Alvares Penteado - FAAP at the Cité Internationale des Arts, in Paris, and the foundation of FAAPs artistic residence in São Paulo, with its respective artistic residence program, holding both these residences as thresholds that work in the scope of artistic education processes.
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Teixeira, Vitor Hugo Lima. "Solos mestiços : ciência, arte contemporânea e cinema." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/5976.
Full textAbstract:
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Considering that science becomes increasingly science of events, in this study we follow
interconnections between fields of knowledge that are produced by processuality,
exchanges, interferences, mixing, unknown. One of these fields is Social Psychology.
Specifically the social psychology that is not interested in dealing with concepts or objects
already built, but with concepts and objects to appear. Here we conducted an
experimentation, a composition between science, art and subjectivity production. We have
no interest in formats, predetermined models, but in the production that occurs between;
the elements are destroyed and recreated during the presentations of them. It is an output
that is less form and more performance. It produces the research/researcher in the
process itself, using experiments, experiences, artistic images, to produce
deterritorializations, to find escape routes in order to support the research/researcher.
Thus, the engagement with the research problem guided by the thought of the difference
is permeated by the strangeness of new position in which the researcher puts himself: the
distance of evident, modern certainties, a disruption of truisms, where the researcher
"dichotomic-kaleidoscopic-mosaic" remove the homogeneities, causes disruptions, gives
up the generalizations and totalizations, and enters routes that have little to do with
representation and more with creation. The soils that compose this study are necessarily
associated: art-philosophy-science: it is crossbred soils. These consist of a space-time
that provides opportunity to the tensions and intersections between fields of knowledge.
Therefore, the crossbred soils are made of a producing strain land, an ideal place for
exchanges between different areas. Through concomitant interferences between these
fields occur the possibility of new scenarios, contradicting the supposed scientific unit that
epistemology and modern philosophy pursued during the twentieth century. This
dissertation does not intend to create concepts, but to convey flows of ideas regarding the
production of thoughts and practices that enable interferences between fields of
knowledge. On this direction we tried to point out artistic productions that break the idea of
concepts, objects and subjects naturalized and dichotomized. An example of this
miscegenation occurs in the relationship between contemporary art and cinema. These
fields are increasingly converging to places of interference and creations between-areas,
in the network. The plot that this research focuses is the one involving the aesthetic
experience that the participant of the hybrid contemporary art exhibition spaces/projection
is immersed on the artistic/digital works. Following this idea, we spied several meetingsmismatch-
reunions between science, art/cinema and philosophy. The mixture, the
miscegenation, is therefore the strong point of this research, which criticizes itself and
expands not only through the lens enabled by deleuze-guattarian ethical-aesthetic
paradigm and the literature that relates ARTIST-WORK-PARTICIPANT, but also through
Julio Cortázar, the Free Jazz, holes, stairs, Cosmococas, Tekpix, HermetoPascoal,
mangaba juice, 30 years old, Cildo Meireles, MIMO, and other wandering support that
emerged as intercessors for the development of the researcher as a producer of thought
and practices that put into play these relationships.<br>Considerando que a ciência torna-se cada vez mais ciência dos acontecimentos, neste
estudo perseguimos encontros entre campos do conhecimento que se produzem através
da processualidade, das trocas, das interferências, da mistura, do não sabido. Um desses
campos é a Psicologia Social. Trata-se de uma psicologia social que não se debruça
sobre conceitos ou objetos já constituídos, mas que aposta em conceitos e objetos por
vir. Aqui realizamos uma experimentação, uma composição entre ciência, arte e
produção de subjetividade. Nada de formatos, de modelos predeterminados, mas a
produção ocorre entre, os elementos se destroem e se recriam durante as
apresentações. Trata-se de uma produção que é menos forma e mais performance.
Produz a pesquisa/pesquisador em processo, utilizando experimentações, vivências,
imagens artísticas, para produzirem desterritorializações, para apontarem linhas de fuga
em prol da pesquisa/pesquisador. Deste modo, o envolvimento com a problemática da
pesquisa pautada pelo pensamento da diferença é permeado de estranhamentos pela
nova posição em que o pesquisador se coloca: o distanciamento do que é evidente, das
certezas modernas, uma distância e perturbação das obviedades, onde o pesquisador
―bifurcado-caleidoscópico-mosaico‖ descola as homogeneidades, provoca rupturas, abre
mão das generalizações e totalizações, e adentra rotas que pouco tem de representação
e mais tem de criação. Os solos que compõem este estudo estão necessariamente
associados: arte-filosofia-ciência: trata-se de solos mestiços. Estes consistem em um
espaço-tempo que oportuniza tensões e cruzamentos entre campos do conhecimento.
Portanto, os solos mestiços constituem-se em um terreno produtor de tensões, um local
propício ao intercâmbio entre distintas áreas, que através de interferências concomitantes
entre elas possibilitam produções de novos cenários mistos, contrariando, deste modo, a
suposta unidade científica que a epistemologia e filosofia modernas perseguiram durante
o século XX. Esta dissertação não tem a pretensão de criar conceitos, mas de transmitir
fluxos de ideias voltadas para produções de pensamentos e práticas que possibilitem
interferências entre campos do conhecimento, apontando principalmente produções
artísticas que rompem a ideia de conceitos, objetos e sujeitos naturalizados e
dicotomizados. Um exemplo desta mestiçagem ocorre nas relações entre arte
contemporânea e cinema. Esses campos passam cada vez mais a convergirem para
lugares de interferências e criações entre-áreas, em rede. A trama que esta pesquisa se
debruça é a que envolve as experiências estéticas a que o participador dos híbridos
espaços artísticos contemporâneos de exposição/projeção está imerso diante das obras
artísticas/digitais. Deste modo espiamos diversos encontros-desencontros-reencontros
entre a ciência, a arte/cinema e a filosofia. A mistura, a mestiçagem, é, portanto o ponto
forte desta pesquisa, que se critica e amplia não somente através das lentes viabilizadas
pelo paradigma ético-estético deleuzo-guattariano e pela literatura que relaciona
ARTISTA-OBRA-PARTICIPADOR, mas também através de Julio Cortázar, do Free Jazz,
buracos, escadas, Cosmococas, Tekpix, Hermeto Pascoal, suco de mangaba, 30 anos,
Cildo Meireles, MIMO, entre outros apoios errantes que surgiram como intercessores
para o desenvolvimento do pesquisador, enquanto produtor de pensamento e de práticas
que coloquem em jogo estas relações
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Fourgeaud, Nicolas. "La performance au miroir des médiations. Enjeux théoriques et critiques." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030057.
Full textAbstract:
À l’orée des années soixante, la performance a cherché à imposer un art de l’action éphémère que n’entraverait aucun type de médiation, qu’il soit symbolique (la distance acteur/spectateur), technique (les médias), ou même linguistique (le langage, les signes). Enjeu de nombreux débats entre les années 1960 et 1990, ces tentatives ont trouvé de multiples formulations théoriques s’appuyant sur les outils du poststructuralisme en particulier, mais aussi sur des cadres de pensée différents, directement hérités du modernisme de Greenberg. On explore ici les étapes et enjeux de ce croisement, jusqu’à la rupture apportée dans les années 1990 et 2000 où les débats théoriques, toujours dirigés par des schémas poststructuralistes, redonnèrent une place centrale aux médiations, tout particulièrement au document. Or, la figure importante de la pratique artistique qu’est devenu le document depuis les années soixante s’avère mettre en question l’ontologie traditionnelle de la performance, orientée sur l’événement, autant que son épistémologie, qui valorise l’expérience directe. La prise en compte des dimensions instrumentales et artistiques du document nous conduit à réviser la poïétique traditionnelle de la performance et les théories de la communication qui lui sont liées, et à repenser par là même l’opposition entre objet et événement qui fonde la définition de la performance. C’est ainsi qu’on interroge le rapport de celle-ci à l’inscription, pour la redéfinir comme un art irréductible à son contexte d’exécution et travaillé en profondeur par la reproduction et la représentation, au travers notamment de l’étude de certaines figures exemplaires, Allan Kaprow, Chris Burden ou Tino Sehgal<br>On the edge of the 1960’s, performance looked after imposing an art of ephemeral action that no kind of mediation would impede, be it symbolic (the distance between actor and spectator), technical (the medias), or even linguistical (language, signs). Those attempts led to numerous discussions between the 1960’s and the 1990’s, and have found numerous theoretical formulations using particularly the tools of poststructuralism, but also frames of thought directly inherited from Greenberg modernism. We explore here the stages and issues of this cross-over until the break of the 1990’s and 2000’s where the theoretical debates, always using poststructuralist schemes, gave a central role to mediations, particularly to the document. Documents have become an important figure of artistic practice since the 1960’s and turned out to question the traditional ontology of performance, based on the event, as well as its epistemology that promotes live experience. We try to consider the instrumental and artistic dimensions of the document ; this leads us to revise the traditional poetics of performance and theories of communication that are related to it, and to consider anew the opposition between object and event on which the definition of performance is based. Thus, we question the links between performance and inscription, redefined as an art that is irreducible to its context of execution and worked in depth by reproduction and representation, through the study of certain figureheads : Allan Kaprow, Chris Burden or Tino Sehgal
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Kafetzi, Eleni. "Interdisciplinarité en représentation théâtrale. Éléments du Musical dans le spectacle interdisciplinaire contemporain." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA046.
Full textAbstract:
L’interdisciplinarité est une pratique largement employée dans le spectacle vivant contemporain. Que l'on aborde le concept de coopération ou celui d’intégration, il s’agit d’une procédure de fusion qui, dans le cas des arts du spectacle, se concrétise par la croisée des disciplines artistiques entre elles, avec d’autres sciences, ou d’autres arts. Dans la scène théâtrale l’interdisciplinarité se présente sous plusieurs formes. La présente étude se concentre sur les spectacles contemporains mariant théâtre, musique et danse et leur relation avec le genre interdisciplinaire par excellence que représente le Musical. Ce dernier est par nature un genre hybride, car il combine plusieurs arts en une seule entité. Ces arts doivent à la fois maintenir leurs intégrités propres et se combiner pour former une unicité organique. Malgré sa complexité, il réussit à être un genre à part entière qui a influencé d’autres genres, ainsi que plusieurs essais artistiques contemporains. En tant que genre autonome, il possède des lois de fonctionnement, des signes récurrents, des règles esthétiques. Nous avons choisi de traiter cinq spectacles interartistiques afin d’en dégager les caractéristiques du genre et parallèlement d’ordonner ces singularités. Notre recherche s’établie sur Out Loud de STOMP, Tubes du BLUE MAN GROUP, Perseus d’ithakArts, Elektra Fragments mise en scène par Michael HACKETT et 2, mise en scène par Dimitris PAPAIOANNOU. Ces spectacles qui échappent à toute catégorisation, présentent des similarités avec le Musical. Cette thèse se focalise ainsi sur la recherche des éléments du genre au sein de ces spectacles et propose un choix de conventions qui définissent le Musical<br>Interdisciplinarity is a widely employed practice in the contemporary arts scene. Whether the term refers to the collaboration or notion of integrating different disciplines, we can infer to a process of fusion, which in the field of the performing arts, takes numerous forms. This dissertation focuses on contemporary inter-artistic performances that combine theatre, music and dance, and their relation to the interdisciplinary genre of Musicals. Musical Theatre is by definition a hybrid entity, combining different artistic expressions. The latter, are at all times maintain their separated integrity, while they must be fused in such a way in order to form an organic unity. Despite its complexity, Musical Theatre manages to be a genre in itself, which in turn has influenced other genres, including many contemporary experimental performances. Thus, as an autonomous form of expression, it possesses laws of operation, technical characteristics and aesthetic rules that defines it. The purpose of this research is to identify elements and influences of Musical Theatre within five contemporary interdisciplinary shows, while tracing the theoretical aspects and conventions that determine this genre. The examined shows are Out Loud by STOMP, Tubes by the BLUE MAN GROUP, Perseus by ithakArts, Elektra Fragments directed by Michael HACKETT and 2, directed by Dimitris PAPAIOANNOU. These autonomous fusion works defy categorization; however, they share fundamental characteristics with Musicals
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Gregoris, Sílvia Regina. "Revista Zupi Design e a comunicação visual na contemporaneidade (2006-2010)." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/2071.
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Previous issue date: 2012-08-17<br>This study aims to understand and evaluate the intellectual and graphical production that is illustrated in the Hoods Zupi Design Magazine in its contemporary (2006-2010). To analyze its significance and representativeness as a contemporary artistic production deals with such issues as the object of analysis: theme to be historicized and treating them as a source, which subsidizes research through the supporting documentation provided by them. Some questions, coming from our professional activities with students of first semesters of undergraduate course in Advertising search for answers through questionnaires to investigate whether the journal might be used as a strategy for teaching and learning in the classroom. Using issues of the journal as a motivating material, were performed analyzes and interpretations with three groups of discipline Drawing I. The study of Zupi Design Magazine within a relatively short period of existence has privileged themes as: points of convergence between the editorial project and artistic achievements, the coherence between the covers of graphic expression and the speech presented by its authors and the receipt of the journal for their readership. Our theoretical framework is provided by means of dialogue between scholars of Cultural History, which supports us. The preparation of tables allowed a detailed survey of the aspects to which we propose to study: the use of the magazine as a strategic support in Drawing course in Advertising.<br>Este trabalho tem por objetivo conhecer e avaliar a produção intelectual e gráfica presente nas ilustrações das capas da Revista Zupi Design em sua contemporaneidade (2006-2010). Para analisar seu significado e representatividade enquanto produção artística contemporânea trata as edições como objeto de análise: tema a ser historicizado e também como fonte, que subsidia a pesquisa por meio do suporte documental por elas fornecido. Algumas questões, vindas de nossa atuação profissional com alunos de primeiros semestres da graduação em curso de Publicidade, buscaram respostas por intermédio de questionários, com o objetivo de investigar se o periódico pode vir a ser utilizado como estratégia de ensino-aprendizagem em sala de aula. Usando como material motivador as edições do periódico, foram realizadas análises e interpretações junto a três turmas da disciplina Desenho I. O estudo da Revista Zupi Design dentro de um período relativamente curto de existência privilegiou como temas: pontos de convergência entre o projeto editorial e as realizações artísticas; a coerência entre a expressão gráfica das capas e o discurso apresentado por seus autores e a recepção do periódico por seu público leitor. Nosso referencial teórico é fornecido por intermédio de diálogos entre estudiosos da História Cultural, que nos dá suporte. A elaboração de tabelas permitiu um levantamento minucioso dos aspectos aos quais nos propusemos estudar: a utilização do periódico como suporte estratégico em aulas de Desenho no curso Publicidade.
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Cousin, Marion. "L'Auteur en scène. Analyse d'un geste théâtral et dramaturgie du texte né de la scène." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030158.
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Cette thèse de doctorat en études théâtrales présente la pratique d'artistes que nous nommons auteurs en scène, et propose des outils pour l'analyse dramaturgique des textes qui naissent de celle-ci. Émergeant au tournant du XXIe siècle, et affranchis du débat sur la primauté du texte ou de la scène, les auteurs en scène réunissent les fonctions d'auteur et de metteur en scène, mais ne se contentent pas de les cumuler, il les enchevêtrent jusqu'à les rendre indissociables, jusqu'à ce qu'elles forment une seule activité. Ils conçoivent ensemble écriture textuelle et écriture scénique, mettant en cause la séparation des deux temps de la création théâtrale. Cependant, loin de nier la double existence artistique du théâtre, comme livre et comme spectacle, les auteurs en scène publient leurs pièces, leur accordant la possibilité de survivre à l'événement scénique, et permettant à d'autres artistes de s'en emparer. Identifiant l'empreinte laissée par la création originale sur ces textes, et interrogeant les conditions de leur devenir scénique, cette thèse définit le geste des auteurs en scène, et met en évidence les spécificités dramaturgiques des textes nés de leur pratique. Elle analyse comment la redéfinition de la relation entre le texte et la scène qu'ils opèrent engendre de nouvelles formes textuelles, dont les fondations dramaturgiques – l'espace, le temps, la fiction, l'énonciation et le personnage – sont entièrement structurées par la représentation. Le corpus principal de cette étude se compose d’œuvres de Rodrigo García, Jan Lauwers, Angélica Liddell, et Joël Pommerat<br>This doctoral thesis in theatrical studies presents the practice of artists that we choose to call on-stage authors, and offers tools for the dramaturgical analysis of the texts it produces. Appeared at the turn of the 21st century, and freed from the debate on the primacy of text or of stage, the on-stage authors mingle the roles of author and stage director together into a single activity. They compose in a sole movement the text and the performance, thus invalidating the idea of theatre as a two-step art form. However, those artists do not deny the double artistic realization of theatre, as book or as performance. As they publish their texts, they give them the possibility to live beyond the performance and let other artists appropriate them. Revealing signs of the original creative process remaining on those texts, and questioning the conditions of their direction by others, this study defines the action of the on-stage authors, and emphasizes the dramaturgic properties of the texts produced by their practice. It reveals the way redefining the relationship between the text and the stage produces new textual forms dramaturgically based – regarding space, time, fiction, enunciation and the character – on the performance. The main corpus of this study is made of works of Rodrigo García, Jan Lauwers, Angélica Liddell, and Joël Pommerat
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Cambron, Maxence. "De la remembrance théâtrale : poétique et politique de la mémoire dans la création scénique contemporaine en Europe (François Tanguy, Christoph Marthaler, Maguy Marin)." Thesis, Artois, 2016. http://www.theses.fr/2016ARTO0011.
Full textAbstract:
Sous l’intitulé « remembrance théâtrale », la thèse se propose d’examiner la présence du passé ainsi que les usages de l’Histoire et de la mémoire dans la création scénique contemporaine en Europe. Quel regard les artistes de la scène contemporaine portent-ils sur le passé ? Quelle lecture nous donnent-ils de l’Histoire et dans quelle perspective ? Comment, et à quelles fins, intègrent-ils ce passé dans leur processus d’écriture scénique ? En quoi la scène et ses possibilités artistiques sont-elles propices à l’exploration de la mémoire ? Quel rôle ces artistes délèguent-ils au spectateur dans l’établissement du sens de cette exploration ? L’analyse s’appuiera sur trois créations récentes de Maguy Marin (Description d’un combat), Christoph Marthaler (Papperlapapp) et François Tanguy (Onzième). A travers l’exemple de ces formes scéniques apparentées au « spectre postdramatique » (Christian Biet, Christophe Triau) ainsi qu’à la constellation des « écritures du plateau » (Bruno Tackels), dans lesquelles se manifestent les pratiques de la fragmentation, de la citation, de la trace et de l’archive, de la déconstruction et de l’assemblage, il s’agira de saisir les spécificités esthétiques qui découlent de ces explorations du temps depuis la scène en interrogeant à la fois les modalités de leur mise en œuvre, les conditions de leur réception et les visées de leur présentation. Selon une approche esthétique s’appuyant notamment sur la philosophie de l’Histoire de Walter Benjamin, la thèse envisage donc de déployer tout à la fois une poïétique, une poétique ainsi qu’une politique de la remémoration dans les arts du spectacle de ces quinze dernières années<br>Under the heading "theatrical remembrance," this thesis sets out to examine the relation of modern theatre to the past and the uses of history and memory in contemporary stage creation in Europe. It examines how artists of the contemporary scene relate to the past asking the questions : What conception do they give us of history and from what perspective? How and for what purpose, do they integrate the past in their scenic writing process? In what way is the scene and its artistic possibilities conducive to the exploration of memory? What roles do artists delegate to their audience in determining the meaning of their artistic expression? The analysis is based on three recent creations by Maguy Marin (Description d'un combat), Christoph Marthaler (Papperlapapp) and François Tanguy (Onzième). Through these examples of scenic forms, affiliated to the "post-dramatic spectrum" (Christian Biet, Christophe Triau), as well as the contribution of Les écritures de plateau by Bruno Tackels, in which the practices of fragmentation, the quote, the trace, the archive; of dismantling and of assembly, appear. Through the use of the aesthetic characteristics resulting from these explorations of the past on the stage, and the questioning of the modalities of their implementation, the conditions of their reception and the purposes of their presentation and in accordance with an aesthetic approach based in particular on the philosophy of History by Walter Benjamin, the thesis plans to develop a poetics and politics of remembrance in the performing arts of the last fifteen years
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Fernandes, Marta Sofia Bento Pires. "Biografia e Autobiografia Universal (Para um Modelo de Análise dos Rituais de Produção e Consumo na Arte Multimédia)." Master's thesis, Faculdade de Belas Artes da Universidade do Porto, 2007. http://hdl.handle.net/10216/10917.
Full textAbstract:
Mestrado em Arte Multimédia<br>Biografia e Autobiografia Universal: para um modelo de análise dos rituais de produção
e consumo na arte multimédia trata do estudo e análise de formas alternativas
que questionam o modo como criamos a nossa memória cultural colectiva por meio de
objectos e rituais.
O campo de investigação aqui exposto permanece distinto da História ou Crítica da
arte. A abordagem aos rituais é realizada pelo do ponto de vista sócio-cultural, ambicionando
reconhecer um modelo de profusão cultural.
Inicialmente, é analisado o papel da memória na construção de conteúdos culturais.
Com esse intuito, é discutida a validade de dispositivos externos, como a hermenêutica
e os rituais nessa construção. Abordando temas gerais como a Memória, Cultura e
Linguagem estabelecem-se dicotomias entre Hermenêutica e Rituais, Texto e Imagem,
de modo a perceber uma evolução dos rituais tradicionais para rituais contemporâneos
em actividades artísticas.
É questionado, nos rituais contemporâneos, o seu potencial de, como manifestações
performativas, que se centram no indivíduo, constituírem o formato privilegiado para
uma linguagem transversal, independente de religiões, nacionalidade, ou grupo.
Sendo a investigação desenvolvida no âmbito do Mestrado em Arte Multimédia,
avançou-se por uma análise de propostas artísticas que discutem a amplitude dos conceitos
de multimédia e performance. A presença do subtítulo Para um modelo de análise
dos rituais de produção e consumo na arte multimédia representa um enquadramento
da dinâmica presente nos rituais contemporâneos em manifestações de trabalho artístico
de tendência biográfica e autobiográfica.
A reflexão sobre o modelo de interpretação e análise é realizada perante o corpo de
trabalho das artistas: Tracey Emin, Mona Hatoum e Morgan O Hara, procurando indagar
se os seus trabalhos têm a capacidade de se caracterizarem como dispositivos de
memória.<br>Universal Biography and Autobiography: for a model of analysis of the rituals of
production and consumption in multimedia art regards the study and analysis of alternative
forms of questioning how we create our collective cultural memory through
objects and rituals.
The field of investigation here shown stands apart from areas of History or Art criticism.
The approach to rituals is made from the Socio-cultural view point, aspiring to
recognize a model of cultural profusion.
Foremost, the role of memory in the construction of cultural content is here analyzed.
With that intent, the validity between external devices, such as hermeneutics and
rituals, is discussed on that construction. Approaching broad themes such as Memory,
Culture, Language, dichotomies between Hermeneutics and Rituals, Text and Image are
established to understand an evolution from traditional rituals to contemporary ones in
artistic activity.
It is questioned and suggested that contemporary rituals, with their potential of being
performative manifestations that centre on the individual, constitute a privileged format
for a transverse language, independent of religion, nationality or group.
Being the investigation developed in the scope of the Master in Multimedia Art, an
analysis of artistic proposals was followed, that discusses the breadth of the multimedia
and performance concepts. The presence of the sub-heading For a model of analysis
of the rituals of production and consumption in multimedia art , represents a framing
of the dynamic which is present on contemporary rituals in biographical and autobiographical
artistic work.
Pondering about the model of interpretation and analyses is made in the presence of
the body of work of the artist: Tracey Emin, Mona Hatoum and Morgan O Hara, seeking
to inquest if their work can be characterized as a memory agent.
39
Fernandes, Marta Sofia Bento Pires. "Biografia e Autobiografia Universal (Para um Modelo de Análise dos Rituais de Produção e Consumo na Arte Multimédia)." Dissertação, Faculdade de Belas Artes da Universidade do Porto, 2007. http://hdl.handle.net/10216/10917.
Full textAbstract:
Mestrado em Arte Multimédia<br>Biografia e Autobiografia Universal: para um modelo de análise dos rituais de produção
e consumo na arte multimédia trata do estudo e análise de formas alternativas
que questionam o modo como criamos a nossa memória cultural colectiva por meio de
objectos e rituais.
O campo de investigação aqui exposto permanece distinto da História ou Crítica da
arte. A abordagem aos rituais é realizada pelo do ponto de vista sócio-cultural, ambicionando
reconhecer um modelo de profusão cultural.
Inicialmente, é analisado o papel da memória na construção de conteúdos culturais.
Com esse intuito, é discutida a validade de dispositivos externos, como a hermenêutica
e os rituais nessa construção. Abordando temas gerais como a Memória, Cultura e
Linguagem estabelecem-se dicotomias entre Hermenêutica e Rituais, Texto e Imagem,
de modo a perceber uma evolução dos rituais tradicionais para rituais contemporâneos
em actividades artísticas.
É questionado, nos rituais contemporâneos, o seu potencial de, como manifestações
performativas, que se centram no indivíduo, constituírem o formato privilegiado para
uma linguagem transversal, independente de religiões, nacionalidade, ou grupo.
Sendo a investigação desenvolvida no âmbito do Mestrado em Arte Multimédia,
avançou-se por uma análise de propostas artísticas que discutem a amplitude dos conceitos
de multimédia e performance. A presença do subtítulo Para um modelo de análise
dos rituais de produção e consumo na arte multimédia representa um enquadramento
da dinâmica presente nos rituais contemporâneos em manifestações de trabalho artístico
de tendência biográfica e autobiográfica.
A reflexão sobre o modelo de interpretação e análise é realizada perante o corpo de
trabalho das artistas: Tracey Emin, Mona Hatoum e Morgan O Hara, procurando indagar
se os seus trabalhos têm a capacidade de se caracterizarem como dispositivos de
memória.<br>Universal Biography and Autobiography: for a model of analysis of the rituals of
production and consumption in multimedia art regards the study and analysis of alternative
forms of questioning how we create our collective cultural memory through
objects and rituals.
The field of investigation here shown stands apart from areas of History or Art criticism.
The approach to rituals is made from the Socio-cultural view point, aspiring to
recognize a model of cultural profusion.
Foremost, the role of memory in the construction of cultural content is here analyzed.
With that intent, the validity between external devices, such as hermeneutics and
rituals, is discussed on that construction. Approaching broad themes such as Memory,
Culture, Language, dichotomies between Hermeneutics and Rituals, Text and Image are
established to understand an evolution from traditional rituals to contemporary ones in
artistic activity.
It is questioned and suggested that contemporary rituals, with their potential of being
performative manifestations that centre on the individual, constitute a privileged format
for a transverse language, independent of religion, nationality or group.
Being the investigation developed in the scope of the Master in Multimedia Art, an
analysis of artistic proposals was followed, that discusses the breadth of the multimedia
and performance concepts. The presence of the sub-heading For a model of analysis
of the rituals of production and consumption in multimedia art , represents a framing
of the dynamic which is present on contemporary rituals in biographical and autobiographical
artistic work.
Pondering about the model of interpretation and analyses is made in the presence of
the body of work of the artist: Tracey Emin, Mona Hatoum and Morgan O Hara, seeking
to inquest if their work can be characterized as a memory agent.
40
Fritz, Vivian. "Danse et nouvelles technologies vers d'inédites écritures chorégraphiques." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC001/document.
Full textAbstract:
Les avancées technologiques, principalement au niveau des télécommunications, interrogent les formes de relation et les transferts d’informations dans le monde actuel. La danse contemporaine, affectée par l’usage des technologies sur la scène (image vidéo, internet, logiciel), voit se modifier les manières de chorégraphier. Si les éléments de base de la création chorégraphique, à savoir le corps dansant, l’espace scénique et le temps de la danse, sont transgressés par l’usage des technologies de la télécommunication (téléprésence), comment les chorégraphes pensent-ils et écrivent-ils la danse en incluant ces nouveaux paramètres ? Que peut perdre ou gagner la danse ? Assistons-nous à l’éveil d’une nouvelle danse, ou à l’émergence d’un autre art ? La redéfinition du corps dansant, en interaction avec son espace et son temps, se trouve au centre de cette recherche. Un projet pratique sous forme d’un laboratoire de création chorégraphique multidisciplinaire, Seuil-Lab, est proposé comme méthodologie de travail pour l’analyse théorique de cette recherche<br>Technological advances, especially in telecommunications, call into question relationship modes and information transfers in today’s world. Contemporary dance has been affected by the use of technologies on stage (image, video, internet, software), which has modified choreographic practices. If the basic elements of choreographic creation - namely the dancing body, scenic space and dance time – are infringed upon by the use of technology and telecommunication (telepresence), how can choreographers think and write including these new parameters ? What can dance gain or lose ? Are we witnessing the dawn of a new dance, or the surfacing of a new art ? The redefinition of the dancing body, which interacts with its space and time, is at the core of this research. As a working methodology for the theoretical analysis of this research, we propose Seuil-Lab, a hands-on project in the form of a multidisciplinary choreographic creation lab
41
Brito, Isa Marcia Bandeira de. "Movimento de Arte Contemporânea de Moçambique MUVART: 2004 a 2010." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29052012-162146/.
Full textAbstract:
O objetivo do presente trabalho é apresentar o Movimento de Arte Contemporânea de Moçambique, MUVART, no período compreendido entre 2004 e 2010, especificamente em sua cidade capital Maputo. Este título foi dado a um grupo formado em sua maioria por jovens artistas moçambicanos e seus fundadores foram Anésia Manjate, Carmem Muianga, Gemuce, Jorge Dias, Ivan Serra, Marcos Muthewuye, Mudaulane, Lourenço Cossa, Vânia Lemos, Quentin Lambert e Xavier MBeve. Inicialmente, situamos a arte africana e a arte africana contemporânea, tendo em vista a construção de um cenário de apreciação da arte em Moçambique. Os marcos escolhidos foram os séculos XVII e o século XVIII. Com base no Movimento de Arte Contemporânea de Moçambique, MUVART, revela-se o contexto histórico das relações entre a arte tradicional e a arte contemporânea moçambicana. A presença de quatro grupos étnicos fixados no território e de três artistas da geração anterior à analisada na presente pesquisa possibilita a introdução ao tema.Atenção especial é dada a uma atividade desenvolvida pelo grupo, a Bienal Expo- Arte Contemporânea, pontuada nas edições de 2004, 2006, 2008 e 2010. Amplia-se o debate com a interlocução de outros artistas convidados na referida exposição que, embora não fazendo parte do grupo original, dialogam com as linguagens contemporâneas. Recupera-se a história individual de cada artista e a história do grupo, sugerindo leituras do cenário da arte contemporânea em Moçambique, suas definições e a projeção na produção estética dos próprios artistas, a compreensão e a apreciação do público especializado. A terceira parte consiste na apresentação dos artistas fundadores do Movimento de Arte Contemporânea de Moçambique, MUVART, com ênfase nos trabalhos inseridos na Bienal Expo-Arte Contemporânea. Torna-se imprescindível atrelar à narrativa momentos históricos de suma importância para Moçambique que irão influenciar a arte moçambicana, considerando que a arte moçambicana começa a ganhar autoria paulatinamente, na concepção moderna de obra e autor, uma vez que na arte tradicional esta noção está imersa no seio da comunidade.Todavia,ideologicamente, esta produção autoral é intrinsecamente identificada com os ideais colonizadores, ou seja, deixa de ser exclusivamente uma produção conectada a um grupo específico para refletir os desejos externos a estas comunidades. A implicação destes movimentos irá desaguar na etapa posterior denominada pós-revolução, influenciando, no nosso caso específico, a sociedade moçambicana e consequentemente o percurso da geração seguinte, jovens artistas que já nasceram sob os auspícios da paz e que trazem como lastro esta história a ser contada e recontada.<br>The present work has the purpose to introduce Contemporary Art Movement of Mozambique, MUVART, between the period of 2004 and 2010, specifically in its capital city of Maputo. This title was given to a group mostly formed by young artists of Mozambique and its founders were Anésia Manjate, Carmem Muianga, Gemuce,Jorge Dias, Ivan Serra, Marcos Muthewuye, Mudaulane, Lourenço Cossa, Vânia Lemos, Quentin Lambert e Xavier MBeve. At first, the African art and the contemporary art are placed, bearing in mind a scenery, constructed of art appreciation in Mozambique.Landmarks of the seventeenth and the eighteenth century were chosen. Based on Contemporary Art Movement, MUVART, the historical context between the traditional art and the Mozambicans contemporary art,is revealed. The presence of four ethnical groups in the territory and three artists from previous generation being analyzed in the present research, made possible the introduction to this subject. Special attention is given to the groups developed activity, the Biennial Contemporary Expo-Art, scored in 2004, 2006, 2008 and 2010 editions. The discussion increases when other invited artists in the mentioned exposition dialogue in a contemporary manner with the original group, although they did not belong to it. Each artists individual history and the groups history are recovered, suggesting readings of the contemporary art scene in Mozambique, their definitions and the projection of the artists own aesthetics production, the comprehension and appreciation of the specialized public. The third part consists of the artists founders of the Contemporary Art Movement of Mozambiques presentation, MUVART, emphasizing the works presented in the Biennial Contemporary Expo-Art. It becomes strictly necessary to tie up historical moments of great importance to Mozambique to the narrative that will influence the Mozambican art, considering that it starts to gain gradually its authorship, in the conception of modern work and author, once the idea of traditional art is immersed within the pale of the community. Although, ideologically, this authorial sort of production is intrinsically identified with the colonizers ideals, meaning, no longer an exclusive production connected to a specific group reflecting external desires to these communities. The implication of these movements will flow into a later stage, called post-revolution, influencing, in our specific case, the Mozambican society and consequently the course of the next generation, young artists who were born under the auspices of peace, bringing as ballast this story to be told and retold.
42
Brinker, Virginie. "Le génocide des tutsi au Rwanda dans les productions littéraires et cinématogaphiques : construction, transmission et médiatisation de la mémoire face aux enjeux contemporains de la représentation de l’événement." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040105.
Full textAbstract:
Des auteurs africains subsahariens francophones de l’opération « Rwanda : écrire par devoir de mémoire », au réalisateur haïtien Raoul Peck, en passant par nombre d’auteurs belges ou québécois, le génocide des Tutsi du Rwanda est devenu, en une quinzaine d’années, un véritable objet de création littéraire et cinématographique, et le centre d’œuvres qui construisent, perpétuent mais aussi questionnent sans fin sa mémoire. En effet, souvent considéré comme le premier génocide « télévisé », une mémoire médiatique du génocide de 1994 préexiste à ce travail de l’écriture et a contribué à « informer » les cadres collectifs de sa représentation, une représentation souvent tronquée et partielle. Il s’agit donc de questionner, d’un point de vue éthique et esthétique, les rapports à la construction et à la transmission de la mémoire que peuvent entretenir la littérature et les images médiatiques. Il s’agit surtout de produire une théorie littéraire de la transmission résolument contemporaine, de mettre à jour une poétique de la transmission propre à la littérature et à ses enjeux dans notre monde de l’image, en prenant le génocide des Tutsi au Rwanda comme champ d’analyse emblématique. Cette théorie met à jour deux concepts majeurs : la médiation et la passation de la mémoire dans leurs enjeux éthiques, esthétiques et proprement stylistiques. C’est ainsi en se faisant agent de la traversée de l’espace, du temps, des frontières entre auteur et lecteur, autrui et moi, visible et invisible, conscience et inconscient, c’est-à-dire passeur, que le médiateur-scripteur parachève l’entreprise de transmission et redonne à la littérature sa place de choix dans la société contemporaine<br>For at least the last fifteen years, the Tutsi genocide which happened in Rwanda triggered a wide array of literary and cinematographic works, ranging from the francophone African Sub-Saharan writers who took part in the initiative “Rwanda: writing out of the duty of remembrance” to the Haitian director Raoul Peck and numerous authors from Belgium and Quebec. All these works construct, transmit and also endlessly challenge the memory of the genocide. Indeed, the genocide in Rwanda being often considered as the first “TV live” genocide, the media-staged memory of the 1994 events comes before the literary work and has greatly impacted the collective framing of its – often biased and partial – depiction. Subsequently it matters to question, from an ethical and aesthetical point of view, the dynamics of memory construction and transmission which are at stake between literature and images from the media. More importantly, it matters to define a contemporary literary theory of transmission that particularly addresses the poetics of literary transmission at the age of the media ineluctability: the case of the Tutsi genocide in Rwanda will help articulate this theory. The latter relies on two major concepts: the mediation and the passation of memory from ethical, aesthetic and stylistic perspectives. By building a bridge crossing space and time, beyond the frontier between authorship and readership, the other and I, the visible and the invisible, consciousness and unconsciousness, by becoming a passeur, the mediator and scriptwriter brings his contribution to the project of transmission and associates literature with a mission of its own in the throes of current issues
43
Huang, Hui-Yu, and 黃慧瑜. "Contemporary Art is Beyond Art─The Cultual Production of Urban Renewal in Taiwan." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/qs7592.
Full textAbstract:
碩士<br>國立臺北藝術大學<br>藝術跨域研究所<br>101<br>In recent years, the activities of the redevelopment of space in the Taipei metropolitan area, including the urban development policies of urban planning and urban renewal, have been intensely conducted, and the target of policies has been redirected to the financial-oriented investment market from the already saturated housing market. The rise of large-scale urban planning and urban renewal cases has extremely tremendous impacts on the cultural diversity, environment and the right to housing of the Great Taipei Area. Since 2010, with great capital, the real estate enterprises in the Great Taipei Area have occupied the advantages of land ownership and policies and have further monopolized the cultural resources and cultural production in the urban renewal area. Through the appropriation and occupation of local assets, the structure of business and political relations that takes real estate enterprises as the mainstay has converted the local culture into the consumer culture that meets the expectations of “gentrification” in the process of renewal, and thereby realizing the elimination of the existing local culture.
Artists with a higher arts education background have utilized the cultural resources released from the structure of urban renewal, including the subsidies, studios and exhibition spaces for art creators, to wander around the flowing spaces such as short-term art villages, performances and festivals in the planned sites of development, engaging in the transformation of the city’s cultural atmosphere. Nonetheless, artists and the universities of the arts that cultivate these artists must begin to face up to the emerging issues: the structure of arts funding sources has started to show its destructivity in other social and environmental aspects. At the same time, artists must also begin to reflect on why most artworks become only the makeup of urban renewal. In addition, the issues of whether artworks could demonstrate more positive energy against the inequalities in society or become a key that could reduce the elimination problem in society must be taken into reflection as well.
44
Burger, Maria Anna Consiglio. "Transformation within personal and public realms through contemporary artmaking processes." Thesis, 2012. http://hdl.handle.net/10210/5247.
Full textAbstract:
M.Tech.<br>My research explores how process, i.e. the physical means of material production, can embody and conceptually signify transformation within personal and public realms. My practical work draws on multiple material sources which I subject to various physical processes in order to produce alteration. These material processes function as metaphors for processes of self-exploration. In my theoretical argument, I propose speculative connections between my sense of liberation (experienced in the processes of artmaking and through my adoption of instability, dissolution, hybridity and open-endedness as working strategies) and certain socio-political transformations that have occurred in the past decade. Cultural effects of postcolonialism such as hybridity and otherness are used as reference points in my theoretical text, in which I foreground personal narrative as integral to my research design. Ways in which the contemporary South African artist, Penny Siopis similarly engages autobiography as subject matter and working strategy, are explored and interwoven into my discussion.
45
Purdie, Jocelyn. "The neighbourhood imaginary : considerations of local art production in unconventional spaces." Thesis, 2008. http://hdl.handle.net/1974/1051.
Full textAbstract:
This thesis examines contemporary art projects that are installed in unconventional sites
in urban neighbourhoods. Using the conceptual framework of the neighbourhood
imaginary, I propose that these local art practices utilize neighbourhood spaces to engage
with nation, identity and citizenship practices within the contemporary discourse of
globalization. The three art projects I investigate address different aspects of
neighbourhood. Cuban artist René Francisco Rodriguez’s (René Francisco) project, El
Patio de Nin, foregrounds the citizen in an urban neighbourhood. His project merges
creativity and pedagogy with social service, and blurs the boundaries between art and life
in order to comment on social conditions and citizenship practices. The Legacy of Joseph
Wagenbach (2006), by Toronto artist Iris Häussler, uses a home in an urban
neighbourhood as a physical space in which to create an imaginary life to explore aspects
of community, human behaviour and social values. The Swamp Ward Window, a
Kingston-based curatorial project, takes advantage of the intimacy of the private home
and the immediacy of the street to present artworks that explore the interface between
public and private and everyday life in the community.
Cornelius Castoriadis argues that the social imaginary emerges when the subconscious,
the symbolic and action interact, not merely to reflect the outside world, but to create new
meanings from which social change is possible. In my analysis, the neighbourhood
imaginary resonates with the social imaginary, functioning as a conceptual laboratory for
artists to experiment with the different meanings associated with neighbourhood,
community and citizenship. I propose that a reengagement with the local, as part of a
iii
global discourse, provides an opportunity to examine art projects that manifest in
neighbourhoods. And, while taking place in different socio-political circumstances, the
shared condition of locality, I argue, provides a window through which the three projects
envision linkages between aesthetic practices and public life. Finally, in order to
critically consider local artistic practices in relation to globalization and the
commodification of culture, this thesis engages those discourses of globalization that see
culture as integral in new global economies.<br>Thesis (Master, Art History) -- Queen's University, 2008-02-29 13:04:52.207
46
Jia, Jia. "Remaking China dolls : imitation and visual rhetoric in contemporary Chinese cultural production /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3242882.
Full textAbstract:
Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4025. Adviser: David Desser. Includes bibliographical references (leaves 226-230) Available on microfilm from Pro Quest Information and Learning.
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Pinheiro, Teresa Sousa Veloso da Costa. "The exhibition as knowledge production." Master's thesis, 2017. http://hdl.handle.net/10400.14/29377.
Full textAbstract:
A exposição de arte contemporânea, desde o seu aparecimento no contexto museológico e
curatorial, tem sofrido diversas alterações de carácter social, político e económico,
influenciadas pelo período histórico e artístico onde se inserem. A figura do curador,
igualmente em constante transformação, tem vindo a assumir um papel de mediador que
estabelece e fortalece as relações entre os artistas, o público, os profissionais dos museus e
outras instituições culturais. Recentemente, este conjunto de mudanças contribuiu para um
diluir de fronteiras institucionais entre profissões, departamentos e disciplinas, que resultou
na elaboração de projectos curatoriais baseados no trabalho colaborativo e em rede. É
enquanto efeito destas inovações que a presente dissertação pretende estudar a exposição
como produção de conhecimento. A análise dos projectos Academy (2004-2006), The New
Model: An Inquiry (2011-2015) e Under the Clouds: From Paranoia to the Digital
Sublime (2015), que tiveram lugar no contexto europeu dos últimos quinze anos, é o ponto
de partida para uma reflexão sobre a exposição e a dimensão curatorial enquanto
instrumentos de comunicação, colaboração e mediação.<br>The exhibition of contemporary art, since its emergence within the museological and
curatorial context, has experienced social, political and economic changes influenced by
the historical and artistic in which they are inserted. The figure of the curator, equally in
constant transformation, has come to play a mediating role that establishes and reinforces
the relationships between artists, audience, museum professionals and other cultural
institutions. Recently, this set of changes contributed to the dilution of institutional
boundaries between professions, departments and subjects, which resulted in the
elaboration of curatorial projects based on collaboration and networking. It is as an effect
of these innovations that the present dissertation intends to study the exhibition as
knowledge production. The analysis of the curatorial projects Academy (2004-2006), The
New Model: An Inquiry (2011-2015) and Under the Clouds: From Paranoia to the Digital
Sublime (2015), which took place in the European context of the last fifteen years, is the
starting point for the study of the exhibition and the curatorial as instruments of
communication, collaboration and mediation
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Tseng, Chien-Lin, and 曾建霖. "Production Mechanism in Contemporary Art Museums— A Study based on the New Media Department of Centre Georges Pompidou." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/n3ckpu.
Full textAbstract:
碩士<br>國立臺北藝術大學<br>藝術行政與管理研究所<br>98<br>Reliance on technology to create artworks is a growing trend on the development of contemporary art. The rise of new media art to create artworks is considered one of the reference indicators that signal that trend. Consequently, a response mechanism set up in art museums on addressing the demand in digital techniques hence emerges. Given that the built mechanism of new media art in Taiwan is relatively young compared with its foreign counterparts, this study will therefore use the New Media Department of Centre Georges Pompidou in France as the base of extended thinking. The New Media Department of Centre Georges Pompidou was founded on rich art resources as France was both socially and historically tumultuous. With the Centre as the thinking basis, this study may bring forth a more comprehensive research precondition than a view generated from a pure art museum in new media art. In other words, this study does not directly verify or inspect the model of new media art mechanism and on how it currently works, however, it aims to sort out the tangled aspects involved in new media art mechanism, and invite renewed debate and critical thinking over the mechanism of art museums and the production of artworks.
This study is centered on the development positioning of the New Media Department of Centre Georges Pompidou and supported by the following three issues: (1) The logical nature of production mechanism; (2) The Alienation of production mechanism; (3) Strategic analysis of production mechanism. Each issue extends itself towards related aspects for further discussions. Contents are summarized as follows:
On the issue of the “logical nature of production mechanism,” the study gradually clarifies that an art museum functions to display the interpretations of artworks. Through contradicting controversies often found in new media artworks and the concept of classic traditional collections, this study shall on the one hand shed light to how the New Media Department of Centre Georges Pompidou practices multi-track collections, and on the other, stress the equal importance rooted in both productions and classic collections. On the issue of the “alienation of production mechanism,” the context of how the art ecology or environment grows institutionalized incrementally is studied. It also traces back on the transitional sphere of influence created by salon-styled exhibitions and modernism. Going forward, it brings us to heart-searching and self-criticism which may be critical at a time when faced with the development of new media art. On “strategic analysis of production mechanism,” the model of commission-based productions employed by the New Media Department of Centre Georges Pompidou is analyzed strategically on hypothesis basis and how this model has brought forth the anticipated benefits for Centre Georges Pompidou in terms of its operations as a whole. In the end, research findings under each chapter are integrated and concluded into a reference package as a feedback to Taiwan’s production mechanism.
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Olivier, Audrey. "A particle in a wave : a self-study of an evolving consciousness and its concomitant art production, in the context of twentieth century contemporary spirituality." Thesis, 2000. http://hdl.handle.net/10413/3518.
Full textAbstract:
In this dissertation the tracing of a personal shift in consciousness is evidenced in my art production and through self-interrogation. Investigations into feminist theology proved resonant with a personal apostasy and provided a base for a feminine identity and language. The schism perpetrated by this pivotal thesis in the revisioning of women, its subsequent antithesis, motivated a search for synthesis. A scientific enlightenment in the field of quantum physics promotes the notion of a unified consciousness. Psychology investigates the realities of mysticism and exposes commonalities within eastern and western religions revealing a thread of unified metaphysical thought. The twentieth century has witnessed a radical in the art expression of the spiritual, some coincident with the revival of an interest in oriental art, and some as a manifestation of zeitgeist or collective consciousness. This past century of rapid technological change, clearly has its attendant spiritual shifting patterns. The process of creativity in art-making has proved to be a conduit for an evolving consciousness.<br>Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.
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Van, Aswegen Helene. "Artists' books in the age of digital reproduction : an enquiry into the problematic nature and (in)accessability of book production as contemporary art." Thesis, 2012. http://hdl.handle.net/10019.1/19990.
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