Dissertations / Theses on the topic 'Curatorship'
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Tjiane, Nelson Khomotso. "Curatorship of banks as a measure to rescue failing banks." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53196.
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The purpose of this study is to explore the current status in relation to the concept of curatorship as
a measure to rescue failing banks. The world as we came to know it has changed the way banking is
done. This dissertation therefore investigates the concept of curatorship of banks in South Africa in
terms of the Banks Act and to determine what influences, if any, does the proposed Twin Peaks
model of Regulation will have on it.
A closer examination of section 69 and 69A of the South African Banks Act is conducted in order to
understand the impact of bank curatorship within the South African context. Not only is an
examination conducted on the Banks Act, but also on the proposed Financial Sector Regulation Bill.
Comparatively this dissertation explores and examines curatorship under Botswana banking law, this
is done on the premise that Botswana like any other global financial players has it fair share of
financial markets challenges. It examines the measures that Botswana may have put in place in order
to assist failing banks through the instrumentality of curatorship, or temporary management as it is
known in Botswana.
There are several pertinent features that are identified to be contributing factors for banks to be
placed under curatorship. These factors include amongst others lack of robust supervision by
regulators, lack of risk and management disclosure by banks, poor management of banks, excessive
lending and failure of a bank s management to conduct the business of banks in a prudent, safe and
sustainable manner.
Internationally this dissertation explores international best practices and measures that are in place
to deal with the concept of curatorship as a measure of rescuing failing banks. This is done on the
understanding that international financial sector is globally integrated but regulated nationally. It is
this concept of interconnectedness of banks that perhaps gave birth to the Basel Core Principles on
responsible banking and its dedicated Basel Committee of Banking Supervisors to ensure the
prudential and liquidity compliance of banks globally. This dissertation explores and examines some
of the elements that are likely to lead to banks being placed under curatorship and identify them as
lack of global regulation and cooperation amongst others. This lack of global regulation and
cooperation are also seen as drivers that poses a risk to global financial markets.
Finally this study acknowledged that bank curatorship does not necessarily translate to prevention of
banks failures but rather as a tool used to ensure that when failure occurs, it is addressed in an
orderly manner so as to cause the least risk to the financial system. This dissertation concludes by
making recommendations which incorporates measures that may be put in place for management
and effective supervision of banks.Mini Dissertation (LLM)--University of Pretoria, 2015.
Mercantile Law
LLM
Unrestricted
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Moore, Andrew W. "Art patronage and collecting, practice and curatorship : defining a region's cultural identity." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396734.
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Acri, Giorgia <1998>. "Digital curatorship. The origin of a new curatorial practice and its alternative approach to audience engagement." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20927.
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This thesis aspired at demonstrating whether digital curatorship can be considered an effective practice to engage the audience. In fact, as the closures in 2020 due to the Covid-19 pandemic demonstrated, only the curators and, generally, art organisations that were prepared in terms of digitalisation were able to continue working and disseminating knowledge about art and culture despite the strict norms required to limit the spread of the virus.
Curating as we understand it has existed since exhibitions stopped being regarded as a mere display of artworks and became deemed as a structured activity based upon specific rules and managed by a leading specialist: the curator. Nevertheless, we can now distinguish different types of curators, as this work asserts. Specifically, this qualitative thesis began by briefly outlining the origin of curatorship, its history, and developments, and thenceforth called particular attention to the emerging profession of the digital curator, examining some digital event and media curation case studies and commenting on the effectiveness of such projects. Moreover, it compared five European museums’ digital policy, discussing how differently they invest in new technologies. Additionally, the thesis included five semi-structured interviews with digital and white-cube curators, enquiring them about how digitalism is perceived and used in their practice.
The research attempted to answer the following question: can digital curatorship be considered an alternative to the traditional practice in order to maximise the engagement and the experience of the audience? The study revealed that the employment of digital tools has gradually reduced the limitations offered by physical spaces such as galleries and museums, helping curators reach a broader audience and introduce new ways to engage it with.
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Bauža, Kostas. "Nepilnamečių globa (rūpyba) kaip alternatyvi auklėjimo bei priežiūros forma." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2008~D_20110709_152256-20870.
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K.Bauža magistriniame darbe „Nepilnamečių globa (rūpyba) kaip alternatyvi auklėjimo bei priežiūros forma“ nagrinėja nepilnamečių globos (rūpybos) institutų sampratą įvairiais aspektais, pateikia vertinimą, kodėl tai yra svarbu nustatant nepilnamečių globą (rūpybą). Lietuvos Respublikos civiliniame kodekse, kuris reglamentuoja nepilnamečių globos (rūpybos) nustatymo ir pasibaigimo pagrindus, steigimo, įgyvendinimo principus, naudojama nepilnamečio ir vaiko sąvokos. Autorius atskleisdamas šių sąvokų sampratas tuo pačiu atskleidžia ir CK 3 knygos 18 skyriaus teisės normų reguliavimo apimtį. Per paskutinius du dešimtmečius į Lietuvos nacionalinę teisę buvo perkelta daug tarptautinių teisės reikalavimų. Įgyvendinant nepilnamečių globą (rūpybą) praktikoje siekiama perkelti Europos šalių patirtį, vadovaujamasi Europos žmogaus teisių teismo spendimuose atskleista principų samprata. Autorius išnagrinėjo darbe tėvų valdžios apribojimo pagrindus bei valstybės intervencijos ir šeimos autonomijos santykį, nepilnamečių globos (rūpybos) pagrindus ir atskleidžia valstybės subsidiarią pareigą vaiko teisių apsaugoje, įvertina ar teisiškai pateisinami tokie veiksmai, ar tinkamai sukurtos teisinės prielaidos nepilnamečių globos (rūpybos) steigimui bei įgyvendinimui. Nagrinėdamas nepilnamečių globos (rūpybos) principų sampratą autorius atskleidžia nemažai praktikoje esančių problemų, susijusių tiek su teisiniu reglamentavimu, tiek su valstybės vykdoma politika vaiko teisių apsaugoje, kurios... [toliau žr. visą tekstą]CHILD GUARDIANSHIP (CURATORSHIP) AS AN ALTERNATIVE FORM OF CHILD CARE AND UPBRINGING SUMMARY In the MA thesis Child Guardianship (Curatorship) as an Alternative Form of Child Care and Upbringing, K. Bauža analyses the concept of child guardianship (curatorship) institutions from various aspects, provides an assessment why it is so important in defining the guardianship (curatorship) of a child. Concepts of a child and a minor are used in the Civil Code of the Republic of Lithuania, which regulates the basis for the allocation and termination of child guardianship (curatorship), establishment and implementation principles. Disclosing the definitions of these concepts the author also discusses the regulation volume of legal standards defined in Book 3, Chapter 18 of the Civil Code. During the last two decides many international legal requirements were transferred to the national law of Lithuania. Implementation of child guardianship (curatorship) in practice is carried out in order to transfer the experience of the European countries following the concept of principles disclosed in decisions of the European Court of Human Rights. The author analyses in the thesis the basis of parent authority limitation and the interface between government intervention and the autonomy of the family, the basis of minor guardianship (curatorship) and discloses the subsidiary duty of the government in the defence of children rights, assesses if such actions are legally authorized, if legal... [to full text]
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Douglas, Craig Cameron, and n/a. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.111309.
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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
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Douglas, Craig Cameron. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365856.
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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
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Thomas, Lubi. "Curating in uncharted territories: An examination of a programming model & communicative platform for curation in non-traditional art spaces." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84621/1/Lubi_Thomas_Thesis.pdf.
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This thesis articulates and examines public engagement programming in an emerging, non¬-traditional site. As a practice-led research project, the creative work proposes a site responsive, engagement centric, agile model for curatorial programming that developed out of the dynamic, new media/digital, curatorial practice at QUT's Creative Industries Precinct. The model and its accompanying exegetical framework, Curating in Uncharted Territories, offer a theoretically informed approach to programming, delivering and reporting for curatorial practices in a non¬-traditional sites of public engagement. The research provides the foundation for full development of the model and the basis for further research.
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Doumas, Dimitrios. "Curatorship and conservation : a theoretical enquiry into the scope of each realm, their interaction, and the consequences for the perception of works of art Curatorship and Conservation A theoretical enquiry into the scope of each realm, their interaction, and the consequences for the perception of works of art Curatorship and conservation : a theoretical enquiry into the scope of each realm, their interaction, and the consequences for the perception of works of art." Thesis, University of Lincoln, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711883.
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Oliveira, Jorge Otávio Pinto Pouey de. "Curadoria musical no Spotify." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6814.
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O uso constante de plataformas de streaming para acessar os mais diversos conteúdos é uma realidade. Diante deste quadro, podemos também enxergar estas plataformas assumindo funções neste ambiente digital que anteriormente eram realizadas pelos meios tradicionais de comunicação. Uma destas funções que podemos cogitar é a curadoria musical. O objetivo desta dissertação de mestrado é propor uma investigação e imersão na plataforma de streaming musical, o Spotify, e analisar de que forma ela opera para divulgar os seus conteúdos musicais, criando assim, através de suas estratégias curatoriais, uma noção de um novo jornalismo cultural. As bibliografias acionadas tematizam cultura da convergência, jornalismo cultural, radiojornalismo hipermidiático e curadoria, além de um questionário sobre hábitos de novos padrões de consumo de música seguido da respectiva análise. Dessa forma, este trabalho busca contribuir tanto para desmistificar o papel secundário do jornalismo cultural em relação a outras editorias, quanto entender as novas possibilidades de busca e uso de conteúdos que estão ao nosso alcance no ambiente digital.
The constant use of streaming platforms to access the most diverse content is a reality. Given this framework, we can also see these platforms assuming functions in this digital environment which were previously performed by traditional means of communication. One of these functions we can consider is music curatorship. The objective of this master's thesis is to propose an investigation and immersion in the musical streaming platform, Spotify, and to analyze how it operates to disseminate its musical contents, thus creating through its curatorial strategies a notion of a new cultural journalism. The bibliographies triggered include cultural convergence, cultural journalism, hypermedia radiojournalism and curation, as well as a questionnaire on habits of new patterns of music consumption followed by the respective analysis. Thus, this work seeks to contribute both to demystify the secondary role of cultural journalism in relation to other publications, and to understand the new possibilities of search and use of contents that are within our reach in the digital environment.
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Souza, Lívia Silva de. "A circulação midiática na base da vida material: do consumo de marcação à marcação do consumo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-31052017-105022/.
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O consumo na sociedade contemporânea é uma atividade fundamental de produção de sentido, e que se apresenta indissociável das propriedades simbólicas sobre o que se consome, indo muito além das propriedades utilitárias dos bens. Tais propriedades são dadas a partir de significados culturais que, em movimento contínuo no mundo social, são transferidos dos bens aos consumidores individuais por meio de rituais de consumo (MCCRACKEN, 2010). Estes significados se realizam, ainda, de maneira dinâmica a partir do jogo entre as estratégias e táticas do consumo (CERTEAU, 2014), situando o consumo enquanto usos dos bens no cotidiano, atravessado por contextos culturais, constituindo uma atividade criadora de sentidos dos sujeitos na vida material. Nesta sociedade, ainda, vivemos sob a presença cada vez mais influente da mídia e suas lógicas contexto em que a mídia se torna uma instituição social semi-independente, dentro da ideia de midiatização conforme Hjarvard (2014a). A mídia, enquanto mediação cultural principal nesta sociedade (MARTÍN-BARBERO, 2004), passa a exercer influência sobre outras instituições e práticas culturais, tais como a política, a religião ou, no caso específico deste trabalho, o consumo. Nesse contexto, dedicamos especial atenção às mídias digitais, nos modos como suas possibilidades são apropriadas em rituais do consumo na circulação midiática (FAUSTO NETO, 2010). A partir destas premissas, o objeto da presente pesquisa são os rituais próprios do consumo midiatizado nas redes digitais, particularmente os rituais da curadoria do consumo online, a que chamamos de marcações do consumo. Nossa análise se estenderá às práticas do consumo midiatizado em três pilares da base da vida material (BRAUDEL, 2005): alimentação, vestuário e moradia, na circulação midiática em seus vestígios nas mídias sociais digitais. O objetivo deste trabalho é pensar o contexto em rede e digital como um novo lugar de transferência de significados, onde podemos observar rituais de consumo específicos das redes, bem como as práticas do consumo midiatizado nos rituais do alimentar-se, do vestir-se e do morar. Configuram-se, assim, práticas de consumo midiatizadas, em um contexto de circulação de mensagens que favorece o desenrolar dos novos rituais de consumo, por meio dos quais os consumidores selecionam, rearranjam e ressignificam os bens de consumo e seus significados nas suas estratégias e táticas midiatizadas.Consumption in contemporary society is a fundamental activity of production of meaning, and it is indissociable from the symbolic properties of what is consumed, going far beyond the utilitarian properties of goods. Such properties are given from cultural meanings that, in continuous movement in the social world, are transferred from the goods to the individual consumers by means of consuming rituals (MCCRACKEN, 2010). These meanings are also dynamically realized through the play of strategies and tactics of consumption (Certeau, 2014), placing consumption as the use of goods in daily life, crossed by cultural contexts, constituting an activity that creates the senses of the subjects In material life. In this society, we live under the increasingly influential presence of the media and its logical context in which the media becomes a semi-independent social institution within the idea of mediatization according to Hjarvard (2014a). The media, as the main cultural mediation in this society (MARTÍN-BARBERO, 2004), has an influence on other cultural institutions and practices, such as politics, religion or, in the specific case of this work, consumption. In this context, we pay special attention to digital media, in the ways in which their possibilities are appropriate in rituals of consumption in the media circulation (FAUSTO NETO, 2010). From these premises, the object of the present research is the rituals of consumption mediated in digital networks, particularly the rituals of online consumption curation, which we call consumption marking. Our analysis will extend to the practices of mediated consumption in three pillars of the basis of material life (BRAUDEL, 2005): food, clothing and housing, in the media circulation in its vestiges in digital social media. The purpose of this work is to think of the network and digital context as a new place of transference of meanings, where we can observe specific consumption rituals of the networks, as well as the practices of mediated consumption in the rituals of eating, dressing and housing. Thus, practices of mediatized consumption are configured, in a context of message circulation that favors the development of new consumption rituals through which consumers select, rearrange and re-signify consumer goods and their meanings in their mediated strategies and tactics.
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Batista, Lucinéia da Silva. "O redesign do sistema Access to Memory (AtoM) para a curadoria digital de acervos museológicos heterogêneos /." Marília, 2018. http://hdl.handle.net/11449/154326.
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Orientadora: Maria José Vicentini JorenteResumo: Este projeto tem como objeto de estudo e customização o software Acess to Memory (AtoM), sistema de descrição e representação de acervos arquivísticos aplicado ao setor de documentação de museu histórico. Pretende-se por meio desta aplicação estudar a adaptação e o uso do AtoM na produção documental e representação de objetos em instituições museológicas de acervos diversos e heterogêneos. O sistema AtoM, originário de convenio entre O Conselho Internacional de Arquivos (ICA) e o grupo Artefactual propicia a descrição de acervos memoriais e a conseqüente representação da memória em instituições arquivisticas, propiciando o acesso à informação desses acervos. Nesse projeto, busca-se contribuir com a Ciência da Informação (CI) e com a Museologia no que diz respeito às possibilidades de acesso, de compartilhamento e de interação dos sujeitos com a informação custodiada por essas instituições, pois as novas potencialidades do AtoM no contexto de museus permitem customizar a descrição padronizada dos objetos e a interoperabilidade entre sistemas. A iniciativa justifica-se por sua relevância social, pois softwares abertos, livres e customizáveis, como o AtoM, com potencialidades de tratamento horizontal da informação permitem uma espécie de conversação entre os indivíduos atuantes, tornando-os protagonistas de suas histórias. Assim, foi feita uma investigação interdisciplinar entre a CI e a Museologia e, posteriormente, uma compilação dos conceitos e temas elencados para a proposiç... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This project has, as object of study and customization, the software Access to Memory (AtoM), a system for description and representation of archival collections applied to the documentation department of a historical museum. The purpose of this application is to study the adaptation and use of AtoM in documentary production and representation of objects in museological institutions of diverse and heterogeneous collections. The system AtoM, originated from an agreement between the International Council on Archives and the group Artefactual, provides the description of memory collections and their consequent representation in archival institutions, giving information access to these collections. In this project, we seek to contribute to Information Science (IS) and Museology regarding the possibilities of access, sharing and interaction of the subjects with the information kept by these institutions, since the new potentialities of AtoM in the context of museums allow customizing the standardized description of objects and interoperability across systems. The initiative is justified by its social relevance once open, free and customizable software, such as the AtoM, with potentialities of horizontal information treatment allow a type of conversation among individuals, turning them into protagonists of their stories. Thus, an interdisciplinary investigation was carried out between IS and Museology and, then, a compilation of the concepts and themes listed for an optimal use of ... (Complete abstract click electronic access below)
Mestre
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Abreu, Bebel. "Expografia brasileira contemporânea: Rio São Francisco navegado por Ronaldo Fraga." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-27062014-151154/.
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Exposições culturais são produtos de consumo de massa na programação de entretenimento das cidades. No Brasil das últimas duas décadas, essas exposições têm atraído crescentes recursos financeiros, públicos e privados. Na análise dos processos de concepção, projeto e realização de exposições narrativas é necessário considerar os papéis de seus principais autores: o curador (ou organizador) e o cenógrafo (ou arquiteto ou designer) -- no contexto do deslocamento do foco das exposições do acervo para o público, da ampliação e diversificação de temas de interesse para as mostras e de sua transformação em atividade transdisciplinar. Esta dissertação pretende contribuir para os estudos das exposições culturais brasileiras, enquanto instrumento de informação, educação e entretenimento. Traz um histórico da atividade no mundo e no Brasil, e apresenta um panorama do cenário nacional contemporâneo. Aborda os elementos constitutivos da linguagem narrativa inerente às exposições e faz a análise da mostra Rio São Francisco navegado por Ronaldo Fraga, reconhecendo-a como exemplo significativo desta manifestação cultural.Cultural exhibitions are mass consumption products in cities entertainment program. In the last two decades, such exhibitions in Brazil have attracted na increasing flow of financial resources, public as well as private. To analyze processes of conception, project, and execution of narrative exhibitions, one needs to consider the roles of its main players -- the curator (or organizer) and the scenographer (or architect, or designer) -- in the context of the relocation of the exhibit\'s focus from the collection to the public, of broadening and diversification of themes of interest for the exhibit, and of their transformation in a interdisciplinar activity. This thesis intends to contribute to the study of Brazilian cultural exhibits as information, education and entertainment tools. It reviews the history of exhibits in the world and in Brazil, and presents a overview of the contemporary national scenario. Furthermore, it approaches the constitutive elements of the narrative language inherent to exhibits, and analyses the exposition Rio São Francisco navegado por Ronaldo Fraga (Ronaldo Fraga Navigates the San Francisco River), recognizing it as a distinguished example of such cultural events.
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Alboreda, Solange. "Os restos de um cinema chamado ambiental: um estudo sobre filmes brasileiros que abordam o meio ambiente desde a década de 1970." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20919.
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Environmental Cinema is a cinematographic subgenre present in shows and festivals that have among their goals to screen films about environmental degradation, pollution, power abuses related to land use, indigenous issues, energy´s usage and goods, catastrophes caused by human action, the use of agrochemicals and many other aspects that permeate man-environment relations. This study concentrates efforts on the understanding of what the environment is made up. For this, the thesis is based on my personal reports and re-readings of Gonçalves Dias's Canção do Exílio, in an allusion to the excessive pride present in our socio-political model and the accompanying conservative romanticism, establishing a critical game with 11 films covering the period from 1970 to the present day. The films selected allow us to reflect on the slipping of terms that translate the left overs of society and the capture of "environmentalism" by the system, which uses it as a commodity and makes us anguished prisoners of a regulated way of life. But man always reinvents himself from the remains and can create another way of thinking and living. The relevant referrals are those that show that for a possible curatorship of this cinema, it is not necessary to concentrate efforts on specific productions, but rather on the possibility of people´s dialogue about the environmental configurations that in each time establishes what is important to see and to be said in a film to increase our strength to coexist
O Cinema Ambiental é um subgênero cinematográfico presente em mostras e festivais que têm entre seus objetivos exibir filmes sobre a degradação ambiental, poluição, abusos de poder relacionados ao uso da terra, questões indígenas, uso de energia e de bens, catástrofes causadas pela ação humana, uso de agrotóxicos e muitos outros aspectos que permeiam as relações homem-meio ambiente. Este estudo concentra esforços na compreensão do que compõe o ambiental e que ao longo do tempo vai entrando na pauta das políticas públicas e nos projetos de desenvolvimento econômico. Para isso a tese vale-se de relatos pessoais e de releituras da Canção do Exílio, de Gonçalves Dias, numa alusão ao ufanismo presente no nosso modelo sociopolítico e ao romantismo conservador que o acompanha, estabelecendo um jogo crítico com 11 filmes abarcando o período que vai de 1970 aos dias atuais. Os filmes selecionados permitem refletir sobre o deslizamento de termos que traduzem os restos da sociedade e sobre a captura do “ambientalismo” pelo sistema, que o usa como mercadoria e nos torna prisioneiros angustiados de um modo de vida regrado. Mas o homem sempre se reinventa a partir dos restos e pode criar outra maneira de pensar e viver. Os encaminhamentos relevantes são aqueles que evidenciam que para uma possível curadoria desse cinema não há que se concentrar esforços em produções específicas, mas na possibilidade do diálogo entre as pessoas sobre as configurações do ambiental que em cada época estabelecem o que é importante ver e dizer num filme para aumentar nossa força de existir em conjunto
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Nyman, Jessica, and Bisi Emma Rondina. "Sörja för person - ett svårtolkat begrepp : En intervjustudie med gode män för huvudmän som har insatser enligt LSS." Thesis, Högskolan i Gävle, Avdelningen för socialt arbete och psykologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22143.
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Syftet med studien var att undersöka hur gode män för huvudmän med insatser enligt LSS tolkar sitt uppdrag sörja för person och ser på möjligheterna att utföra det. Vi utgick från följande frågeställningar: Hur definierar de intervjuade gode männen sitt uppdrag sörja för person? Hur beskriver de intervjuade gode männen det handlingsutrymme de upplever sig ha i uppdraget? Vilka utmaningar upplever de intervjuade gode männen i sitt uppdrag? Studien baseras på kvalitativa intervjuer som utgått från en halvstrukturerad, temaindelad intervjuguide. Vi intervjuade fem gode män i en mellanstor stad i Sverige. Resultaten visar att gode männen hade svårt att definiera och avgränsa uppdraget sörja för person. Detta i samband med huvudmannens funktionsnedsättning innebär utmaningar för den som åtar sig uppdraget, exempelvis då huvudmannen lider av psykisk ohälsa. Vi fann att gode männen hade olika strategier för att använda sitt handlingsutrymme utifrån tidigare kunskaper och erfarenheter. Vidare beskrev de gode männen att den största utmaningen fanns i att bygga en god relation med huvudmannen. Slutligen diskuteras vikten av gode mäns personliga och professionella kompetens, för att kunna möta huvudmannens behov.The purpose of this study was to examine how curators for persons with services under LSS interprets the mission, ensuring the person, and how they feel about their possibilities to execute the mission. The study started from the following questions: How does the interviewed curators define the mission, ensuring the person? How does the interviewed curators describe the discretion they experience in the mission? What challenges do the interviewed curators meet in their mission? The study is based on qualitative interviews that started from a half structured theme divided interview guide. We interviewed five curators in a medium sized city in Sweden. The results show that the curators found it difficult to define and delimit the assignment ensure the person. This, in conjunction with a persons disability poses challenges for those who undertake the mission. We found that the interviewed curators had different strategies to use their discretion based on previous knowledge and experiences. Further described the curators that the biggest challenge was to build a good relationship with the person with disability. Finally, we discuss the importance of curators personal and professional skills, in order to meet the needs of a person with disability.
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Cabrera, Anita Cavaleiro de Macêdo. "Sobre jogos e não jogos: um estudo sobre curadoria de jogos digitais experimentais." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-24072017-183228/.
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\"Sobre jogos e não-jogos: um estudo sobre curadoria de jogos digitais experimentais\" pretende discutir a questão acerca de jogos digitais experimentais em espaços expositivos tais como galerias, museus e festivais, através de um levantamento de propostas curatoriais de exposições nacionais e internacionais. A presente dissertação é baseada em um levantamento bibliográfico sobre curadoria contemporânea em artes visuais e em experiências de práticas curatoriais de jogos digitais em espaços expositivos, e também em entrevistas com curadores, desenvolvedores e pesquisadores de jogos digitais independentes. Este trabalho também propõe uma análise crítica sobre a crescente presença dos jogos experimentais em ambientes artístico-culturais e seu pertencimento a estes espaços como objetos capazes de promover experiência estética.\"About games and notgames: a study about experimental digital games curatorship\" intends to discuss the issue concerning experimental digital games in exhibition spaces such as galleries, museums and festivals, through a survey of curatorial proposals for national and international exhibitions. The present dissertation is based on a literature review on contemporary curatorship in visual arts and experiences on curatorial practices of digital games in exhibition spaces, and also on interviews with curators, researchers and developers of independent digital games. This work also suggests a critical analysis of the growing presence of experimental games in artistic and cultural environments and their belonging to these spaces as objects capable of promoting aesthetic experience.
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Castanheira, Ludmila de Almeida. "A performance como ação midiática: os (não) limites entre arte e comunicação." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4279.
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The objective of this master‟s dissertation is to analyze the narrower and narrower relation between the so-called performance art and the communicational phenomena. In some examples which are part of the corpus of this study such as the Apartment Festival and the series Estranho, um cara comum , from Flávio Rabelo the classic dichotomies between the artist and the public, object of art and daily fact appear more and more hybridized. Considering the nature often unclassifiable of these manifestations, their presence on the cultural journalism is practically inexistent, as well as in the edicts to stimulate art. In this way, another type of hybridization is identified, different from the classic definition of performance which identified it as an example of miscegenation among different artistic languages. The hypothesis of the study is that the performance crosses the areas of art and communication in such a way as to question the limits between these two areas of knowledge. For the theoretical grid authors such as Boaventura de Souza Santos (2008), Giorgio Agamben (2009), Katz e Greiner (2005; 2010), Schechner (1970), Cohen (2002; 2004) and Thompson (2008) were studied. The methodology is supported on the bibliographical research and on the analysis of the examples mentioned above. The expected result is a modest collaboration to the theoretical discussion which has been maturing since the 70s in countries such as the United States and Germany, but is still incipient among us Brazilians
O objetivo desta dissertação de mestrado é analisar a relação cada vez mais estreita entre a chamada performance art e os fenômenos comunicacionais. Em alguns exemplos que fazem parte do corpus da pesquisa como o Festival de Apartamento e a série "Estranho, um cara comum", de Flavio Rabelo , as clássicas dicotomias entre artista e público, obra de arte e fato cotidiano parecem cada vez mais hibridadas. Tendo em vista a natureza muitas vezes inclassificável destas manifestações, a sua presença no jornalismo cultural é praticamente inexistente, assim como nos editais de fomento à arte. Neste sentido, identifica-se um outro tipo de fenômeno, diferente da clássica definição de performance que a identificava como um exemplo de hibridação entre diversas linguagens artísticas. A hipótese desta pesquisa é a de que a performance aproxima os campos da arte e da comunicação, de modo a questionar os limites entre estas duas áreas de conhecimento. Como grade teórica, foram estudados autores como Boaventura de Souza Santos (2008), Giorgio Agamben (2009), Katz e Greiner (2005; 2010), Schechner (1970), Cohen (2002; 2004) e Thompson (2008). A metodologia consiste em uma pesquisa bibliográfica e na análise dos exemplos que constituem o corpus da pesquisa. O resultado esperado é uma modesta colaboração com uma ampla discussão teórica que vem sendo amadurecida desde os anos 1970 em países como os Estados Unidos e a Alemanha, mas ainda se mostra bastante insuficiente no mercado editorial brasileiro
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Degelo, Sarah Caramaschi. "Curadoria musical: contextos, problemas e regulações." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19115.
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During the last decades, the term curatorship expanded virtually to all areas of our everyday life, being used in diverse fields, from culinary to fashion. This research suggests that, once launched out exclusively from the artistic field, the curator became a complex communicational phenomenon and ceased to be an individual actor-subject. The objective of this masters dissertation is to purpose a preliminary discussion to deal with these resignifications of the term and the political, economical and institutional implications of these changes. The focus is to discuss specifically the musical curatorship, which in principle already presents a close relationship with the market, since the fact that music constitutes itself as a music industry. Under the light of bibliographies from the communications, cultural production and political philosophy areas, the research organizes a bibliographical review and analyses a case study: the Encontros Instrumentais (Instrumental Meetings) from Sesc. Is expected to collaborate with debates that not only discuss the term ―curatorship‖, but also its connections with neoliberalism, the institutional environments and the new versions of curators-subjects, which in varied situations, have become increasingly networked and embroiled
Durante a última década, o termo curadoria se expandiu para todos os âmbitos da vida cotidiana, sendo utilizado em setores diversos, da culinária à moda. A pesquisa sugere que, uma vez lançado para fora do âmbito exclusivamente artístico, o curador se tornou um fenômeno comunicacional complexo e deixou de ser um sujeito-autor individualizado. O objetivo desta dissertação de mestrado é propor uma discussão preliminar para lidar com estas ressignificações do termo e as implicações políticas, econômicas e institucionais destas mudanças. O foco é discutir especificamente a curadoria musical, que já apresenta, a princípio, uma relação íntima com o mercado devido ao fato de se constituir como uma indústria musical. À luz de bibliografias da área de comunicação, da produção cultural e da filosofia política, a pesquisa organiza uma revisão bibliográfica e analisa um estudo de caso: os Encontros Instrumentais do Sesc. Espera-se colaborar com debates que não apenas discutem o termo ―curadoria‖, mas as suas alianças com o neoliberalismo, os ambientes institucionais e as novas versões dos sujeitos curadores que, em situações diversas, têm se tornado cada vez mais enredados
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Rupp, Bettina. "Curadorias na arte contemporânea : considerações sobre precursores, conceitos críticos e campo de arte." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/24761.
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A pesquisa definiu o processo de transição da curadoria ‘tradicional’, voltada para as atividades de conservação, organização, pesquisa e exposição das obras de arte, para a curadoria ‘contemporânea’, caracterizada pela organização da exposição através da elaboração de conceitos críticos formulados pelo curador, que desenvolve de forma autoral o tema da exposição e seleciona quais artistas irão participar da mostra. O período em que ocorreu esta transição foi na segunda metade do século XX, em sincronia com a arte contemporânea e o aumento do número de exposições, fato, este, decorrente da ampliação de espaços expositivos, visível em diversos países. A pesquisa buscou as origens da curadoria para perceber como a atividade foi se constituindo ao longo do tempo até chegar às características concernentes da curadoria ‘contemporânea’. Feito o levantamento sobre quais exposições se tornaram referenciais na arte contemporânea, foi elaborada uma análise para precisar as mudanças ocorridas no âmbito da curadoria, através da atuação de diferentes curadores. Entre eles, Harald Szeemann, Walter Zanini, Achille Bonito Oliva, Sheila Leirner, Jean-Hubert Martin e Paulo Herkenhoff. Concluídas as análises, foram apresentadas conside-rações sobre o curador enquanto autor de exposições, as relações entre a curadoria e os outros agentes do campo artístico e a curadoria como parte do processo de construção da história da arte.The research has defined the transition process from the ‘traditional’ curatorship involved in conservation and organization activities, research and display of the art pieces to a ‘contemporary’ curatorship, characterized by the organization of the exhibition through the elaboration of critical concepts formulated by curator who develops in authorial way the theme of the exhibition and selects which artists will take part in it. This transition happened in the second half of the twentieth century, in synchronicity with the contemporary art and the increasing number of exhibitions, which derived from the increase of exhibition spaces, noticeable in many countries. The research searched the origins of the curatorship to perceive how the activity built up throughout the time until the concerning characteristics of contemporary curatorship were settled. After the assessment about which exhibitions became a reference was made, an analysis was elaborated to precise the changes in the scope of curatorship through the work of various curators. We can highlight among them: Harald Szeemann, Walter Zanini, Achille Bonito Oliva, Sheila Leirner, Jean- Hubert Martin and Paulo Herkenhoff. After the conclusion of the analysis, considerations about the curator as an author of the exhibitions were presented; the relationship between the curatorship and other agents of the artistic field and the curatorship as a part of the construction of Art history.
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Lamprecht, Andrew Paul. "Curating the reviled, beloved and quotidian a retrospective of Vladimir Tretchikoff." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002203.
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This thesis aims to contextualise my curation of 'Tretchikoff: The People's Painter' at the Iziko South African National Gallery by outlining the process by which I came to embark on this project and to examine the concepts of mass art and kitsch in relation to the painter. Mass art, in Noel Carroll's explication of the term, is art that utilises industrial processes of replication. Carroll argues that this leads to specific formal and structural tendencies in this art which have much in common with the pejorative concept of kitsch, or art that is lacking in taste or effuses excessive emotion. The latter term was and continues to be applied to Tretchikoff. Although some have attempted to 'reclaim' the word as a positive concept the negative associations that link this term to Tretchikoff are strong. Interrogating these concepts led me to decide to curate TretchikofPs retrospective by focusing on his painting and not including the prints for which he was so well known. Awareness of the complex associations and 'received knowledge' that his prints engender has influenced several curatorial decisions that I have taken. I consider the intellectual underpinnings of my curatorial strategy and argue for an 'open' exhibition which gives the viewer the opportunity to assess his work and legacy in an objective manner, free from as much curatorial mediation and didacticsm as possible. There are no answers to be offered in my curation of Tretchikxiff the People's Painter, rather I have aimed to set up dialogues, discussions, confrontations and challenges; I have offered simple relationships rather than complex juxtapositions I have aimed to position the artwork as the centre of the engagement relative to the viewer.
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Duncan, Jo Fay. "Lines in the sand: North Stradbroke Island festivals 2011-2014: Chronicling a curatorial philosophy in response to ecology of change." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206037/1/Joanne_Duncan_Thesis.pdf.
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Themes of mining, development and human impact on the environment involve issues facing much of the planet. This intensely local research study is a creative response to political, cultural, and environmental change in the Quandamooka. It outlines a template for curating ecological art which provides a detailed explanation of the nine principles that helped shape a series of island festival events and exhibitions, and in turn relationships, that connect the writer to the people, place and ecology of the Quandamooka. The outcomes speak to a much greater narrative about the restoration and rejuvenation of the land both ecologically and spiritually.
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Perrella, Sara. "Web design e musei: modelli di progettazione curatoriale e educativa per migliorare l’esperienza di visita in un piccolo museo." Doctoral thesis, Università di Foggia, 2020. https://hdl.handle.net/11369/424588.
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Oggi anche le piccole realtà museali sono chiamate a uscire dai propri confini per guardare oltre,
sviluppare nuove attività per accrescere il proprio network di riferimento e stringere solide alleanze
anche all’esterno.
Il presente percorso di ricerca si pone nella prospettiva di valorizzare il patrimonio culturale
immateriale di una piccola realtà museale attraverso il supporto delle tecnologie.
La sede selezionata come caso specifico di studio è il Museu do brinquedo da Ilha de Santa
Catarina, situato nel campus dell’Universidade Federal de Santa Catarina (UFSC), in Brasile.
Tale museo rappresenta il caso di studio pilota per la creazione di un modello interattivo e
digitale di fruizione museale attraverso l’utilizzo di piattaforme open source, con l’obiettivo di
ampliare la portata di pubblico dei piccoli musei, che costituiscono la maggioranza del patrimonio
culturale a livello mondiale, oltre a promuovere pratiche inclusive delle minoranze etniche, come
gli Indios dello stato di Santa Catarina.
Lo studio realizzato, mira a ricercare le caratteristiche antropologiche principali e i costumi delle
culture indigene dello stato di Santa Caterina e permette di tracciare un cammino attraverso il
mondo dell’infanzia espresso nell´immaginario del gioco.
Il progetto ha previsto la realizzazione di una esposizione fotografica sui giochi tradizionali
all’interno delle tribù Xokleng dello stato di Santa Catarina, tenutasi presso il rettorato del Campus
della UFSC. A tale esposizione è stato affiancato un percorso virtuale, offerto ai visitatori tramite
una piattaforma digitale e coadiuvato dall’utilizzo di QR code, che hanno arricchito l’esperienza di
visita espositiva.
Il percorso didattico-digitale proposto mira a garantire il rispetto, l'accesso e il riconoscimento a
differenti concezioni di educazione, museo, infanzia e diversità socio-culturale.Today even small museums are called to go beyond their borders, developing new activities to increase their reference network and make solid alliances also outside. This research path is aimed at enhancing the intangible cultural heritage of a small museum through the support of technologies. The site selected as a specific case study is the Museu do brinquedo da Ilha de Santa Catarina, located on the campus of the Universidade Federal de Santa Catarina (UFSC), in Brazil. This museum represents the pilot case study for the creation of an interactive and digital model through the use of open source platforms, with the aim of expanding the public of small museums, which constitute the majority of the cultural heritage worldwide, as well as promoting inclusive practices of ethnic minorities, such as the Indios of the Santa Catarina state. The study aims to research the main anthropological characteristics and customs of the indigenous cultures of the state of Santa Caterina and allows to trace a path through the world of childhood expressed in the imagination of the game. The project involved the creation of a photographic exhibition on traditional games within the Xokleng tribes of the state of Santa Catarina. A virtual path was added to this exhibition, offered to visitors through a digital platform and supported by the use of QR codes, which enriched the experience of the exhibition visit. The proposed didactic-digital design aims to guarantee respect, access and recognition to different conceptions of education, museum, childhood and socio-cultural diversity.
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Réa, Silvana Maria. "Pelos poros do mundo: uma leitura psicanalítica da poética de Flávia Ribeiro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-23022010-092214/.
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Este trabalho é resultado de pesquisa de campo realizada com a artista plástica Flávia Ribeiro, abrangendo um período extenso de produção de sua obra. O objetivo é fazer uma leitura psicanalítica de sua poética, tecendo um fio condutor para a compreensão de trabalhos executados no decorrer de 10 anos, com materiais diferentes, dimensões extremamente variadas e linguagens plásticas que vão da pintura, desenho, gravura à escultura. Segue metodologia que utiliza entrevistas livres gravadas no ateliê da artista, cujo material transcrito é abordado à maneira da atenção flutuante da escuta psicanalítica; uma leitura flutuante que recorta a associação livre da artista em unidades temáticas. Assim, o trabalho de pesquisa concentra-se em duas frentes: o discurso do artista e o contato com a obra, a partir da psicanálise implicada, que trabalha as manifestações singulares da obra com seu leitor e insere o inconsciente do observador no campo observado como instrumento de pesquisa, tal como se dá no campo transferencial psicanalítico. Ora, é fato que a crítica contemporânea de arte, diferentemente da moderna, que supõe o crítico como legitimador da obra e mediador desta com o público, centra seu interesse na legibilidade das obras e a participação das situações propostas pelos artistas. Exige de seu crítico, portanto, o pensar sobre sua experiência. Deste modo, como não se trata da produção de conhecimento a partir de uma hipótese a priori e sim de uma reflexão efetuada a partir das questões suscitadas no decorrer do processo e em convívio com a artista, este trabalho inscreve-se na seara crítica. E, uma vez que se trata de uma leitura que organiza sua poética em recortes que a ele conferem novos sentidos, desenvolve-se como uma estratégia curatorial do universo poético de Flávia Ribeiro.This paper is the result of field research conducted on plastic artist Flávia Ribeiro and encompasses an extensive period of her career. The aim is to apply a psychoanalytic reading to her poetic, drawing a connective thread through it and thus understanding her production spanning a period of ten years, including different subjects and a broad variety of dimensions and plastic expressions, ranging from painting, drawing and engraving to sculpture. The methodology makes use of open interviews conducted in the artists studio. This material, when transcribed, is approached with the same free floating attention as utilized in psychoanalysis an open ear that divides the artists free association into separate subjects. Concentrating on two fronts: the artists discourse and contact with her work, it is sustained within implied psychoanalysis which, as can be seen in the field of transference, processes the unique manifestations of the works with their reader and inserts the observers unconscious into the observed field as a research tool. Indeed, it is a fact that contemporary reviews of art focus their interest on the legibility of the works and participation in situations proposed by artists. Critics are therefore required to think about their experience and not focus on legitimizing the work or mediating it with the public. As this paper deals with reflections on issues arising during time spent with the artist, rather than with the production of knowledge based on an a priori hypothesis, it can be considered as a review and, as it is a reading that organizes its poetic in snippets which confer new meanings, the paper evolves as a curatorial strategy for Flávia Ribeiros poetic universe.
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McCartney, Laura Lee. "Unpacking Self in Clutter and Cloth: Curator as Artist/Researcher/Teacher." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849713/.
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This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.
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Santos, Bruna Amaro dos. "Museu-Terreiro: o sagrado afro-brasileiro em um ambiente museológico." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29112018-120713/.
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Este trabalho tem como objetivo, a partir das reflexões teóricas sobre arte e antropologia, realizar uma análise interpretativa sobre a construção e representação do sagrado afro-brasileiro em um dos núcleos expositivos do Museu Afro Brasil. A análise do ato expositivo e a pesquisa iconográfica em um dos núcleos do acervo permanente da instituição será utilizada como ponto de partida para pensarmos na presença do sagrado nesse ambiente, tendo como aspecto central de estudo a forma como se constrói e se manifesta o trabalho expográfico que fica a cargo, principalmente, do atual diretor e artista plástico Emanoel Araujo. Refletir sobre os artistas, objetos e símbolos presentes no núcleo Religiosidades Afro-brasileiras a partir de sua expografia nos ajudará a pontuar questões relevantes quanto aos fenômenos estético e religioso presentes em uma das categorias da arte afro-brasileira, assim como sobre as interpretações que se fazem desse encontro no espaço museológico pelos públicos que o frequentam, um campo ainda de abordagens latentes.This work aims, from the theoretical reflections on art and anthropology, to create an interpretative analysis on the construction and representation of the Afro-Brazilian sacredness in one of the exhibition sectors of the Afro Brazil Museum. The analysis of the exhibition act and the iconographic research in one of the permanent collections of the institution, will be used as a starting point to think about the presence of the sacred in this environment, having as a central aspect of the study the way in which the exhibition display is constructed and manifests itself as an outcome, mainly, of the current director and visual artist Emanoel Araujo. To think the artists, objects and symbols present in the Afro-Brazilian Religiosities sector from their exhibition display will help us to point out relevant questions about the aesthetic and religious phenomena present in one of the categories of Afro-Brazilian Art, as well as on the interpretations that are being made with the encounters in the museum space by the attending audience, a field of latent and possible approaches.
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Mendonça, Fabiola Moulin. "Arte e arquitetura: diálogo possível um estudo de caso sobre o Museu de Arte da Pampulha." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-04072013-113337/.
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Este trabalho investiga os campos fronteiriços da arte, da arquitetura, e da expografia a partir da proposta museológica implantada no Museu de Arte da Pampulha em 2001. Procura traçar uma linha histórica da edificação, de seu funcionamento como Cassino da Pampulha, de 1942 a 1947, à sua inauguração como Museu de Arte de Belo Horizonte, em 1957, e seu funcionamento até os anos 2000. A pesquisa procura compreender as propostas de museu estabelecidas desde os anos 1960 até 2010, a partir da análise dos documentos históricos e das exposições realizadas, com foco no período entre 2001 e 2010, quando se estabeleceu um novo conceito para o Museu, tratando sobretudo de um programa expositivo em estreito diálogo com sua edificação. Entremeados à discussão desses projetos são abordados práticas, pensamentos e manifestações artísticas diretamente conectados às experiências artísticas dos anos 1960, que experimentaram projetos e situações site-specific e desmaterialização da arte. Primeiramente tenta situar a relação entre arte, arquitetura e paisagem no conjunto arquitetônico e paisagístico da Pampulha, e avaliar em que medida as edificações se relacionam e estabelecem diálogos com a arte. Analisa a arquitetura do Museu e sua função, levantando os problemas museológicos existentes. Passa, então, a uma análise de práticas artísticas experimentadas pelo Museu por meio da intervenção Territórios, em 1968, e da exposição Porto Pampulha, em 1990. Na sequência, apresenta o novo projeto curatorial e analisa as mostras realizadas sob a curadoria de Adriano Pedrosa e Rodrigo Moura e, em seguida, por Marconi Drummond, procurando traçar dois modos distintos de enfrentar as questões pertinentes à relação entre arte e arquitetura no Museu. Eis os modos de tratar a questão pela curadoria: através de um enfrentamento direto das obras com o espaço, com a produção e concepção de trabalhos site-specific comissionados pelo Museu, e por meio de projetos em que a relação é permeada por projetos expográficos que dialogam com a arquitetura, as obras e o conceito curatorial. Finalmente, procura destacar que o caminho da arquitetura para a arte contemporânea é um exercício de tensionar limites e conceitos modelados pela arquitetura moderna sem deixar de aderir a ela; e que, no caminho da arte contemporânea para a arquitetura, abrem-se perspectivas aos trabalhos que inevitavelmente têm que forçar fronteiras para reinventar espaços.This essay investigates the borders where art, architecture and the expography meet based on the museological proposal undertaken at the Pampulha Museum of Art in 2001. It seeks to trace the history of its development, from the time during which it functioned as the Pampulha Casino between 1942 and 1947 to its re-opening as the Belo Horizonte museum of art in 1957 and its activities up to the 2000s. The research seeks to understand the proposals for the museum established between the 1960s and the year 2010, based on an analysis of historical documents and of the exhibitions held there, with a focus on the period between 2001 and 2010, when a new concept for the museum was established, consisting mainly of an expository program in close dialogue with its edification. Interspersed with the discussion of these projects, artistic practices, thought processes and manifestations directly connected to the artistic experiences of the 1960s, and that experimented with sitespecific projects and situations and the de-materialization of art, are discussed. It first attempts to situate the relationship between art, architecture and landscape in the overall architectural and landscape context of Pampulha, and assess to what degree the edifications relate to one another and establish dialogues with art. It analyzes the architecture of the museum and its function, raising existing museological problems. It then moves on to an analysis of artistic practices experimented by the museum through the intervention Territórios (\"Territories\") in 1968 and the exhibition Porto Pampulha (Pampulha Port) in 1990. After this, it presents the museum\'s new curatorial project and analyzes the exhibitions carried out under the curatorship of Adriano Pedrosa and Rodrigo Moura and, later, by Marconi Drummond, seeking to outline two distinct ways of confronting issues pertinent to the relationship between art and architecture in the museum. These are the ways of dealing with this issue established by the curatorship: by directly confronting the works with the space, with the production and conception of site-specific works commissioned by the museum, and through projects in which the relationship is permeated by expographich projects that dialog with the architecture, with the works and with the curatorial concept. Finally, it seeks to highlight the fact that the path from architecture to contemporary art is an exercise in the tensioning of limits and concepts modeled by modern architecture without actually breaking away from it, and that, on the path from contemporary art to architecture, perspectives open up to the works that inevitably have to push frontiers in order to reinvent spaces.
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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.
Full textAbstract:
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.Thesis (DPhil)--University of Pretoria, 2017.
National Research Foundation
University of Pretoria
Visual Arts
DPhil
Unrestricted
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Asanuma, Gisele Dozono. "Sutisintervenções curatoriais: ou como criar um sismógrafo para si." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-04122018-124645/.
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SUTIS INVENÇÕES CURATORIAIS é uma montagem poética de acontecimentos colhidos na arte, na clínica e também onde elas se encontram e faíscam. Um maquinário estético-clínico que pretende dar a ver certos invisíveis, ilegíveis e indizíveis. Essa montagem reúne em três constelações curatoriais [CAIXA PRETA], [PONTO CEGO] e [SISMÓGRAFO] imagens, gestos e palavras, fabricações artesanais agitadas de um extremo ao outro, tremores na fronteira com a linguagem, segundo Deleuze. Invenções estéticas que constituem saberes, na forma de apreensão do mundo, na variação dos tempos e na apropriação das experiências, indagando o que essas imagens-gestos apresentam de um tempo e de uma força, na insistência em existir apesar de tudo, nas palavras de Didi-Huberman. Balizam esse trabalho os conceitos de inoperância proposto por Agamben com o intuito de nos ajudar a desmanchar a exigência de respostas na chave da eficiência/eficácia, funcionalidade ou completude e de rememoração, de Benjamin, convocado pelas narrativas menores, lacunas da história, que na opacidade podem cintilar devires. Uma montagem poético-curatorial que joga com a ideia de curadoria em arte e cuidadoria (do cuidado) em saúde, reunindo gestos, imagens e narrativas que surgem de uma sobrevivência a prescritivos modos de vida, resistindo aos ideais de cura e de protocolos existenciais normatizantes.SUBTLE CURATORIAL INVENTIONS is a poetical assembly of events harvested from art, clinic and at points where art and clinic meet and sparkle. It is a aesthetic-clinic machinery created in order to show some invisibles, illegibles and unspeakables. This assembly reunites in three curatorial constellations [BLACK BOX], [BLIND SPOT] and [SEISMOGRAPH] images, gestures and words, artisanal manufactures wiggled from one end to the other, quivering at the edge of language, according to Deleuze. Aesthetical inventions that constitute knowledge, forms of world-apprehension, variation in time and appropriation of experiences, inquiring as to what these images gestures present from a time and a strength, insisting on existing in spite of everything, to quote Didi-Huberman. This work is constructed upon the concept of inoperability proposed by Agamben aiming at helping us to dismantle the demand for answers on the key efficiency/efficacy, functionality or completeness and the concept of remembrance, from Benjamin, evoked by smaller narratives, history gaps, that in opacity may twinkle becomings. A poetic-curatorial assembly which plays with the concepts of curatorship from art and careship from care in health, gathering gestures, images and narratives that come from surviving prescriptive ways of living, resisting ideals of cure and normalized existential protocols.
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Mattos, Daniela de Oliveira. "Performance como texto, escrita como pele." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/15287.
Full textAbstract:
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This thesis is as much an academic investigation as it is a work of art. It is constituted by text and image mutual crossings, problematizing the artist s writing as a poetic-performative device that produces itself by means of the contiguities that mediate discourse and visuality (and beyond). Conceived of as a space composed of sucessive rectangles, like those filled with words and velocity in the same way as a book , this work also configures itself as a sort of exhibition space or in-between space, which opens room for activations: from the ones, here analyzed, effectuated by the artist s gestures, to the singular experiences that will be generated by each one of the readers, when in contact with what is presented here. The heterogeneous parts that embody this text establish relations to each other, but don t configure a whole; they are not even submitted to hierarchization or evolutive enchainments of any sort, like the ones occurring in accordance with the traditional organization by chapters. Therefore, the research intends to implement and open relations among certain productions of the art field, both from my authorship and from other s, bringing them close to certain works from literature, poetry and philosophy
Esta tese é tanto uma pesquisa acadêmica quanto uma obra de arte. Constitui-se por atravessamentos entre texto e imagem, problematizando a escrita de artista como um dispositivo poético-performativo que se produz por meio das contiguidades entre enunciados e visualidades (e além). Pensado como um espaço composto por retângulos sucessivos, desses repletos de palavras e velocidades assim como um livro , este trabalho também se configura como uma espécie de espaço expositivo ou espaço entre, que dá lugar a ativações, desde aquelas efetivadas por meio dos gestos de artistas aqui analisados até as experiências singulares que serão geradas por cada um dos leitores, em seu contato com o que aqui se apresenta. As partes heterogêneas que dão corpo a este texto se relacionam mas não configuram um todo; tampouco se submetem a quaisquer hierarquizações ou encadeamentos evolutivos como os que ocorrem segundo a organização tradicional por capítulos. A pesquisa busca, portanto, tornar fecundas as relações entre certas produções do campo da arte, tanto as de minha autoria quanto aquelas de outros autores, aproximando-as de algumas obras da literatura, da poesia, da filosofia
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Dalcol, Francisco Eduardo Coser. "MUSEU, EXPOSIÇÕES E CURADORIAS: A GEOPOLÍTICA DA FUNDAÇÃO IBERÊ CAMARGO." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/5220.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis research discusses the contemporary art field, analyzing, in the post-modern and late capitalism (Fredric Jameson, Jürgen Habermas, Manuel Castells, Zygmunt Bauman), the formation of a geopolitical in curatorial project by Iberê Camargo Foundation (FIC). The focus on the curatorial exhibition takes place through the establishment of a representative of the institution operating in the artistic field of Rio Grande do Sul, proposing a reflection on the network of museums, collections, curator and other staff in the modes of mediation processes in art cultural globalization. With the theoretical situated in the art field (Pierre Bourdieu) and sociology of mediation (Nathalie Heinich), we start from the idea that curatorship, provided a field agent relational and hierarchical structured positions, establishes a mediation art that tells what's between work and reception. Already with the theories of post-colonialism (Renato Ortiz, Nestor Canclini, Gerardo Mosquera) and the end of art history (Hans Belting), examines the curatorial project of the FIC because of the relationships and institutional placements between center and periphery in uneven processes of globalization. For the case study, delimited to the exhibitions from 2008, with the inauguration of the museum of FIC, to 2012. Initially, the process runs elapsed since 1995, so situate institutionalization in the context of the capitalization of culture and review the status of museums. The methodology is based on exploratory and descriptive study, using various textual sources, including books, catalogs, articles and academic papers, and field research, interviews and survey data from the primary sources. The observations and analyzes seek to examine the curatorial exhibitions as devices that operate in setting up an institutional determined by geopolitical tensions and inequalities of power. Among the results, it was concluded that, although the FIC has management and propose their own projects on display and these are determined by supply and is available as relations placements of agents, relations and symbolic by its own rules governing the operation of artistic field. In addition, this research throws questions about the complex relationships between institutions, artists, public market, curatorship, and critical historiography.
Esta dissertação discute o campo artístico contemporâneo, analisando, no contexto pós-moderno e do capitalismo tardio (Fredric Jameson, Jürgen Habermas, Manuel Castells, Zygmunt Bauman), a constituição de uma geopolítica no projeto curatorial da Fundação Iberê Camargo (FIC). O foco sobre as exposições curatoriais se dá pelo estabelecimento de uma representativa operação da instituição no campo artístico do Rio Grande do Sul, propondo uma reflexão sobre a rede formada por museus, acervos, curadores e outros agentes nos modos de mediação da arte nos processos de globalização cultural. Com o referencial teórico situado no campo da arte (Pierre Bourdieu) e na sociologia da mediação (Nathalie Heinich), parte-se da ideia de que a curadoria, na condição de agente de um campo relacional e hierárquico de posições estruturadas, estabelece uma mediação artística que dá conta do que há entre obra e recepção. Já com as teorias do pós-colonialismo (Renato Ortiz, Néstor Canclini, Gerardo Mosquera) e do fim da história da arte (Hans Belting), examina-se o projeto curatorial da FIC em virtude das relações e posicionamentos institucionais entre centro e periferia nos processos desiguais da globalização. Para o estudo de caso, delimitaram-se as exposições realizadas a partir de 2008, com a inauguração da sede da FIC, até 2012. Inicialmente, percorre-se o processo decorrido a partir de 1995, de forma situar a institucionalização no contexto da capitalização da cultura e da revisão do estatuto dos museus. A metodologia se baseia em estudo exploratório e descritivo, com uso de fontes textuais diversas, entre livros, catálogos, artigos e trabalhos acadêmicos, e de pesquisa de campo, com entrevistas e levantamento de dados junto a fontes primárias. As observações e análises buscam examinar as exposições curatoriais como dispositivos que operam na constituição de uma geopolítica institucional determinada por tensões e desigualdades de poder. Entre os resultados, concluiu-se que, embora a FIC proponha e tenha gestão de seus próprios projetos expositivos, estes são determinados pela oferta que se disponibiliza conforme os posicionamentos e as relações simbólicas dos agentes, além das próprias regras que regem o funcionamento do campo artístico. Ademais, esta pesquisa lança questões sobre as complexas relações entre instituições, artistas, público, mercado, curadoria, crítica e historiografia.
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Santos, Mara Pereira dos. "Curadoria, pedagogia e colaboração social." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4416.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorNa virada para o século XXI artistas e curadores em bienais e outras exposições internacionais estão adotando formas colaborativas e educacionais de fazer arte e curadoria envolvendo artistas e não artistas, comunidades, escolas e outras instâncias sociais. Essas iniciativas criam encontros interdisciplinares onde imbricações entre arte e não-arte são colocadas em questão, considerando contextos sociopolíticos mundiais, a globalização e outros temas pós-colonialistas. A dissertação examina as aproximações e atravessamentos de culturas e identidades, questões de centro e periferia, local e global gerando entre-lugares e o interesse por propostas de site-oriented, geradoras de situações de convivência, compartilhamento de experiências coletivas e prática educativa. A pesquisa reflete sobre as intenções dos artistas, curadores, a participação do público e o diálogo entre diferentes discursos críticos e campos do conhecimento em projetos com essas características. O estudo de caso é o projeto Cadernos de Viagem, projeto de residência artística e exposição, realizado na 8 Bienal do Mercosul, em Porto Alegre, Brasil, 2011. Diversos teóricos como Homi Bhabha, Jacques Rancière, Nicolas Bourriaud, Claire Bishop, Grant Kester, Miwon Kwon, Moacir dos Anjos e Félix Guattari, são abordados, entre outros
At the turn of the 21st century artists and curators in biennials and other international exhibitions are embracing collaborative and educational forms of artmaking and curatorship that both involve artists and non-artists, communities, schools and other social contexts. These initiatives create interdisciplinary encounters where the interconnections between art and non-art are questioned and sociopolitical contexts explored, as well as themes of globalization and post-colonialism. The dissertation examines the proximities and challenges of interactions between different cultures and identities, issues of center and periphery and the local and global that create between-places and micropolitical interventions via these site specific situations of conviviality and sharing of collective experience and education practice. The research reflects on the intentions and contradictions of artists, curators, educators, public participation, and the dialogue between different critical discourses and fields of knowledge in projects with these characteristics. The case study is Travel Notebooks, an artist residency and exhibition project of the 8th Mercosul Biennial in Porto Alegre, Brazil, 2011. Various theorists such as Homi Bhabha, Jacques Rancière, Nicolas Bourriaud, Claire Bishop, Grant Kester, Miwon Kwon, Moacir dos Anjos and Félix Guattari are drawn upon, among others
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Lamas, Nadja de Carvalho. "Revisitamento "na" e "da" obra de Schwanke." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/12426.
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A presente tese tem como objeto de investigação o conceito de revisitamento, desenvolvido a partir de dois focos, inicialmente, na poética artística e posteriormente na reflexão sobre questões relativas às curadorias de obras e/ou exposições, consideradas como outra modalidade de revisitamento. A referência para a análise das questões propostas é a produção artística de Luiz Henrique Schwanke. A metodologia desenvolvida constituiu-se de pesquisa de campo, com a seleção e análise das obras, da leitura dos textos do artista, na maioria inéditos, e a análise de entrevistas com o artista. Realizou-se, também, intensa investigação teórica com o fim de embasar as questões conceituais e metodológicas identificadas nas obras e nas práticas curatoriais analisadas, e situá-las dentro do contexto da arte contemporânea e de seu sistema. A obra do artista revelou-se significativa para a realização da análise propostas, possibilitando a sua ampliação conceitual para espaços além dos previstos inicialmente, para se constituírem uma contribuição para a reflexão sobre a arte contemporânea.The present thesis has as investigation objective the concept of revisiting, developed from two focuses, at first in the artistic poetry and afterwards in the reflection about issues related to the art works or exposition curatorship, considered as another modality of revisiting. The reference for the proposed questions analysis is the art production of Luis Henrique Schwanke. The utilized methodology was composed of a field research, with a selection and analysis of the art works, of the reading of the artist’s texts, most of them original and of the analysis of the interviews made with the artist. An intense theoretical investigation was also carried out in order to ground the conceptual and methodological questions identified in the art works and in the analyzed curatorship practices, and place them in the contemporaneous art contexts and its system. The artist’s work of art manifested significant potential for the investigated conceptual questions analysis, allowing its enlargement for spaces beyond the proposed at first, constituting a contribution for reflection about contemporaneous art.
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Demercian, Roseli Conceição de Moraes Rojas. "Processos comunicacionais em curadoria e produção do conhecimento: a trajetória de criação do projeto Genocídio Armênio nos domínios da arte contemporânea e da memória." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20712.
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Art in postmodernity does not survive by itself, without generating influxes in the social environment. It must make explicit the worldviews that structure reality, developing a multifaceted activity. As the art system expands throughout the world, so does the demand for curators who see a remarkable strengthening of their role. Thus, we discuss in the present thesis what should be expected of the art curator to develop criteria in the construction of an exhibition, with a new narrative communicational, raising the following hypotheses: what is the practical dimension of curatorial action and its characteristics current? Is it the art curator's job to educate the target audience? The general objective, therefore, is the study of how the curator's action should be, based on a legitimizing knowledge of contemporaneity; and its specific objective is the development of general criteria and models for this practical action, indent to utopias, in a method embodied in the space / time / occupation triad. The curator is an actor whose functions, methodology and activity have not yet been sufficiently explored in scientific research, which in practice have been diffused, marked by a strong empiricism that does nothing to develop curative theories. He must propose, through mediation, not only the orientation of the artist, but also the education of the gaze, thus revealing an effective interpretation of the world. The curatorship that served as a basis for this thesis was structured in four ethnographic concepts, namely: genocide of the Armenian people, memory, lectures and affective cartography. They were theorists: HANS ULBRICH OBRIST, who motivated the investigation of the materialization of the exhibition space, starting from conversations, meetings and exchanges, with the reinvention of a new meeting point with art, establishing relational and communicational criteria; JOHN DEWEY, whose concepts propitiated a new vision of research resulting from the junction between the new and the old, through the experience of the real, in which the impulsion gains form and solidity; and LÚCIA LEÃO, whose teachings raised the need to understand the process of creative construction of experience, resulting from a mapping of the global and panoramic view of the terrain on which the labyrinth would be projected. As a historical fact, the genocide of the Armenian people, recalled in its 100 years, the methodology used was eminently empirical based on reports, interviews and recordings, collecting files, documents of affection and memories. In order to achieve its purpose, it had, necessarily, an interdisciplinary character, involving, therefore, different areas of knowledge. The field survey lasted for approximately twelve months and its execution lasted for the same period. It is believed that the relevance of this research rests on its provocative character of affections because it revisits the memory and, at the same time, invites the dialogue. This aetiological construction requires study and repertoire acquisition, so that, based on these hypotheses, a great number of aesthetic, historical, political and social relations can be established. It has been demonstrated in this way that the final destination of the archive lies not in its own narrative but in the history that it makes possible
A arte na pós-modernidade não sobrevive por ela mesma, sem gerar influxos no meio social. Ela deve explicitar as visões de mundo que estruturam a realidade, desenvolvendo para tanto uma atividade multifacetada. Na medida em que o sistema das artes se expande pelo mundo, cresce também a demanda por curadores, que veem um notável fortalecimento do seu papel. Dessa forma, discute-se na presente tese o que se deve esperar do curador de arte para o desenvolvimento de critérios na construção de uma exposição, com uma nova narrativa comunicacional, suscitando as seguintes hipóteses: qual a dimensão prática da ação curatorial e suas características atuais? É tarefa do curador de arte a educação do público-alvo? O objetivo geral, portanto, é o estudo de como deve ser a atuação do curador, pautado num saber legitimador da contemporaneidade; e seu objetivo específico é o desenvolvimento de critérios e modelos gerais para essa atuação prática, indene a utopias, num método plasmado na tríade espaço/tempo/ocupação. O curador é um ator cujas funções, metodologia e atividade ainda não foram suficientemente exploradas nas pesquisas científicas, que, na prática, têm se mostrado difusas, marcadas por um forte empirismo que nada coopera para o desenvolvimento de teorias curatorias. Ele deve propor, pela mediação, não só a orientação do artista, como também a educação do olhar, descortinando, dessa forma, uma efetiva interpretação de mundo. A curadoria que serviu de base para a presente tese foi estruturada em quatro conceitos etnográficos, quais sejam: genocídio do povo armênio, memória, palestras e cartografia afetiva. Serviram-lhe de teóricos: HANS ULBRICH OBRIST, que motivou a investigação sobre a materialização do espaço expositivo, partindo de conversas, encontros e trocas reunidas, com a reinvenção de um novo ponto de encontro com a arte, estabelecendo critérios relacionais e comunicacionais; JOHN DEWEY, cujos conceitos propiciaram uma nova visão de pesquisa decorrente da junção entre o novo e o velho, por meio da experiência do real, em que a impulsão ganha forma e solidez; e LÚCIA LEÃO, cujos ensinamentos suscitaram a necessidade de se compreender o processo de construção criativa da experiência, resultante de um mapeamento do olhar global e panorâmico do terreno no qual o labirinto seria projetado. Como se abordou um fato histórico, o genocídio do povo armênio, rememorado nos seus 100 anos, a metodologia utilizada foi eminentemente empírica baseada em relatos, entrevistas e gravações, colhendo-se arquivos, documentos de afeto e memórias. Para a consecução da sua finalidade, teve, necessariamente, caráter interdisciplinar, envolvendo, portanto, diferentes áreas do conhecimento. A pesquisa de campo se prolongou por, aproximadamente, doze meses e a sua execução se estendeu por igual período. Acredita-se que a relevância desta pesquisa repousa no seu caráter provocador de afetos pois revisita a memória e, ao mesmo tempo, convida ao diálogo. Essa construção etiológica requer estudo e aquisição de repertório, para que, com base nessas hipóteses, se possa estabelecer um grande número de relações estéticas, históricas, políticas e sociais. Demonstrou-se, dessa maneira, que o destino final do arquivo está situado, não em sua própria narrativa, mas sim na história que ele torna possível
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Barreto, Karoline Marianne. "O 31º panorama da arte brasileira : cena expositiva, matéria expográfica e gesto curatorial." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/705.
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The text investigates how the 31st PANORAMA DA ARTE BRASILEIRA held in 2009, a periodical exposition host by São Paulo Museum of Modern Art was an singular edition for giving an overview of the so-called Brazilian art, when a minimum number of the artists were actually born in Brazil. Therefore, to find the uniqueness of the 31st edition and its curator Adriano Pedrosa, three fundamental reasons involving the exhibition were observed. Such reasons points to the title of this research: Expositive Scene, Expographic Matter and Curatorial Gesture. Through these general issues, the main idea is to answer questions about the authorship on exposition, on the organization of the art pieces at the exhibition physical space and find hints and the metamorphoses surroundings the exhibit. The academic motivation came from the lack of Portuguese publications about curatorial and exhibitions. The final dissertation in the long run can contribute to a research on curatorship field with a meticulous analysis of a curatorial process and a well recognized curator with major exhibitions on his résumé.
O texto investiga como o 31º Panorama da Arte Brasileira 2009, exposição periódica do Museu de Arte Moderna de São Paulo, foi uma edição singular por traçar um panorama de arte dita brasileira com minoria de artistas nascidos no Brasil. Para encontrar o ineditismo da 31ª edição e do seu curador, Adriano Pedrosa, foram mapeados três motivos fundamentais que envolvem a exibição. Estes motivos dão título a pesquisa: a cena expositiva, a matéria expográfica e o gesto curatorial. Busca-se nestes temas mais gerais responder a questões sobre a autoria em exposição, sobre a organização das obras no espaço expositivo e encontrar rastros e devires que cercam a exibição. O incentivo acadêmico surgiu da raridade de publicações em língua portuguesa sobre curadoria e exposições. A dissertação, ao final, pode contribuir no campo investigativo da curadoria como uma análise detalhada de um processo curatorial e um curador reconhecido com importantes exposições.
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Carvalho, Ananda. "Redes curatoriais: procedimentos comunicacionais no sistema da arte contemporânea." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4647.
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This research seeks to map the creation procedures of curatorial networks, understanding them as communication practices in contemporary art system. Such networks are mappings of these procedures, developed by curators in contemporary art exhibitions, mainly in São Paulo city in the last decade. From the methodological point of view, the research analyzes the objects according to the theory of the creation processes in network proposed by Cecilia Almeida Salles. From the communication point of view, it likewise relies on the theory of complex thinking developed by Edgar Morin. To understand the term contemporary art, this research agrees with Anne Cauquelin, who argues for the existence of an art system that prevails in a communication society. The thesis begins by presenting the introductory courses of curatorial networks with the aim of demonstrating their complexity. Then, it observes the São Paulo s curatorial production from files used for the communication of the exhibitions as curatorial texts, interviews with curators published in the press, photographs and videos of the exhibitions. Through the analysis of these files, the research highlights three major procedures: the relationship between curating and reconstruction of historical discourse; the spatialization of curatorial thinking through exhibition s resources as texts and the organization of the artworks in the space; and the relationship between curating and distribution, that accounts discourse practices that trespass one another, connecting the production and the reception processes. It also analyzes curatorships with historic importance those contextualize the mapped procedures. The three major procedures are broken down into several others, that could interact with each other forming communicative spaces from the perspective of a complex system. Finally, this thesis presents a broad overview of the studied field with a methodological approach that provides the curatorship analysis under an unprecedented point of view of the subject in Brazil
A presente pesquisa busca mapear os procedimentos de criação das redes curatoriais, compreendendo-os como práticas da comunicação no sistema da arte contemporânea. Tais redes são mapeamentos desses procedimentos, desenvolvidos pelos curadores em exposições de arte contemporânea realizadas, principalmente, na cidade de São Paulo na última década. Do ponto de vista metodológico, a pesquisa analisa os objetos de acordo com a teoria dos processos de criação em rede proposta por Cecilia Almeida Salles. Do ponto de vista da comunicação, também se apoia na teoria do pensamento complexo elaborada por Edgar Morin. Para compreender a denominação arte contemporânea, esta pesquisa concorda com Anne Cauquelin, que defende a existência de um sistema da arte que impera num regime da sociedade da comunicação. A tese inicia apresentando os percursos introdutórios das redes curatoriais com o objetivo de demonstrar a complexidade dessas redes. Em seguida, observa a produção curatorial paulistana a partir de arquivos utilizados para a comunicação das exposições como textos curatoriais, entrevistas dos curadores publicadas na imprensa, fotografias e vídeos das exposições. Por meio da análise desses arquivos, destacam-se três grandes procedimentos: a relação entre curadoria e reconstrução do discurso histórico; a espacialização do pensamento curatorial através dos recursos expositivos como textos e organização das obras no espaço; e a relação entre curadoria e partilha, que diz respeito a práticas discursivas que atravessam umas às outras, conectando processos de produção e de recepção. Também são analisadas curadorias de importância histórica que contextualizam os procedimentos mapeados. Os três grandes procedimentos são desdobrados em diversos outros, que podem interagir entre si constituindo espaços comunicacionais sob uma perspectiva de um sistema complexo. Por fim, esta tese apresenta uma visão ampla do campo estudado com uma abordagem metodológica que oferece a análise da curadoria sob um ponto de vista inédito do tema no Brasil
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Aguiar, Amanda Ruth Dafoe de. "Lina Bo Bardi e a atualidade do cavalete de cristal." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-07032016-143624/.
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Este projeto busca analisar o Cavalete de Cristal, aparato expositivo criado no fim da década de 1950 pela arquiteta ítalo-brasileira Lina Bo Bardi para ser a peça central da composição da expografia do Museu de Arte de São Paulo, o MASP. A pesquisa evidenciará que o design dessa peça - a partir da solução espacial para a qual foi planejada e do discurso curatorial nela embutido - criou uma gramática expográfica singular que, mesmo após sua extinção em 1996, ainda reverbera de maneira potente em discussões internacionais sobre os desafios da apresentação da arte em museus na atualidade. Esta pesquisa reflete a necessidade de se voltar o olhar para a proposta de Lina Bo Bardi, evidenciando a validade de uma retomada do projeto original desse museu como forma de recuperar um espaço de vivência cultural fundamental da cidade de São Paulo - que, como poucos, nasceu de um profundo entendimento das especificidades da cultura brasileira.This project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi\'s proposal, evidencing the validity of resuming the museum\'s original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.
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Matos, Diego Moreira. "Curador e arquiteto em diálogo: os casos das Bienais Internacionais de Arte de São Paulo de 1981 e 1985." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-26032010-145150/.
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Esta dissertação tem como foco analisar, através de um viés crítico, o diálogo entre curadoria e arquitetura presenciado nas exposições de Arte Contemporânea, tomando como estudo de caso a Bienal Internacional de Arte de São Paulo, à luz de suas expografias. Dentro do amplo contexto das Bienais é estabelecido um recorte que compreende as primeiras edições da década de 1980, decorrente de um contexto sócio-cultural mais amplo, amparado por uma conjuntura econômica local e internacional. O recorte incide sobre a XVI e a XVIII Bienais, edições realizadas, respectivamente, nos anos de 1981 e 1985. Este período, correspondente ao da redemocratização do Brasil, configura-se como peculiar dentro da história deste evento e representa um ponto de inflexão, quando foram reunidas as condições para saída de uma crise institucional verificada ao final dos anos de 1970. Esta escolha está intimamente vinculada a um novo contexto sócio-cultural que configurado na pós-modernidade. Esta nova lógica é conseqüência do capitalismo avançado, no qual os eventos culturais encontram-se inseridos na ótica de mercado e sujeitos a uma indústria. Sob estas condições é estabelecido um novo palco para as ações no campo das instituições que, através dos seus espaços expositivos, exercem o papel de enquadrar historicamente e legitimar as produções artísticas, contemplando assim a complexa pluralidade da Arte Contemporânea. Nos casos estudados, o espaço será compreendido pelo pensamento dos arquitetos e curadores envolvidos, submetidos a um dado momento histórico, o que os condicionou a revelar uma conjuntura cultural através da arte que propuseram a expor. Desta forma, a partir da análise proposta, será possível compreender as exposições como lugar de encontro entre o artista, sua arte e o espectador, encontro este mediado pela figura do curador e do arquiteto. Complementarmente, também foram investigadas as transformações no campo das artes plásticas a partir da segunda metade do século XX, os quais culminaram com as formas processuais e desamaterializantes das décadas de 1960 e 1970. Estas novas formas artísticas trouxeram conseqüências para o campo das exposições, que passaram a se readequar aos novos trabalhos de arte. As Bienais da década de 1980 são, de antemão, resultantes desta readequação, incorporando a arte a um discurso por elas estabelecido.The focus of this dissertation is to analyze, through a critical bias, the dialogue between curatorship and architecture witnessed in the contemporary art exhibitions, taking as case study the Bienal Internacional de Arte de São Paulo, at the light of its expography. Within the wide context of these Bienais, clippings are established, which include the editions from the first half of the eighties, decurrent of a social and cultural wider context, supported by a local and an international economic conjuncture. The clipping concerns to the XVI and XVIII Bienais, editions accomplished, respectively, in 1981 and 1985. This period, corresponding to Brazils process of redemocratization, is configured as peculiar within the history of this event. Represents a point of inflection, where it was verified the meeting of exceptional conditions for exit of an institutional crisis in the end of the seventies. This choice is closely linked to a new social and cultural context configured in the post-modernity. This new logic is a consequence of the advanced capitalism, in which the cultural events are inserted in the optics of market and submitted to an industry. Under these conditions a new stage is established for the actions of the institutions that, through its exhibition spaces, assume the role to fit historically and to legitimize the artistic productions, thus contemplating the complex plurality of the contemporary art. In the studied cases, the space is understood through the architects and involved curators thought, submitted to a specific historical moment, which conditioned them to disclose a cultural conjuncture through the art that they propose to exhibit. In such way, from the analysis proposal, it will be possible to understand the exhibitions as place of meeting between the artist, its art and the spectator, mediated by the curator and the architect. Complementarily, it was also investigated the transformations in the field of arts from the second half of the twenty century, which had culminated with the dematerialized and process forms of art in the sixties and seventies. These new artistic forms brought consequences for the field of the exhibitions, which had to be readapted to the new works of art. The Bienais of the eighties are, of beforehand, resultants of these readaptations, incorporating the art to a speech established by them.
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Caminha, Anelize Pantaleão Puccini. "O estatuto da pessoa com deficiência e seus reflexos no casamento à luz do ordenamento jurídico brasileiro." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180918.
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A presente dissertação versa sobre as disposições da Convenção Internacional sobre os Direitos da Pessoa com Deficiência, com o respectivo Protocolo Facultativo, e do Estatuto da Pessoa com Deficiência, relativas ao instituto jurídico do casamento. O objetivo do trabalho é examinar as alterações promovidas por tais diplomas normativos no ordenamento jurídico brasileiro e avaliar o seu impacto na proteção jurídica desse importante segmento da sociedade. Nessa abordagem, são analisados o tratamento jurídico deferido à pessoa com deficiência em uma perspectiva histórica e a modificação do conceito normativo, bem como a figura da tomada de decisão apoiada e os reflexos da nova disciplina jurídica na curatela, sob o prisma da autonomia e da dignidade da pessoa humana. Na sequência, é examinado o instituto do casamento em seus diversos aspectos, com a proposição de alternativas para o incremento da proteção jurídica da pessoa com deficiência no matrimônio, tendo em vista a insuficiência da ordem jurídica vigente para esse fim.This dissertion is made with the intent of reviewing the provisions of the International Convention on the Rights of Persons with Disabilities, with its respective Optional Protocol, and of the Statute of Persons with Disabilities concerning the legal institute of marriage. The methodology used is, predominantly, bibliographical research, with the analysis of scientific works and published articles. The objective of the study is to analyze the changes promoted in the marriage and to propose some solutions to the problems encountered during the research. In this approach, the legal treatment accorded to the disabled person in a historical perspective and the alteration of the normative concept, as well as the introduction of the supported decision making institute and the reflexes of the new juridical discipline granted (?) to the curatorship, under the prism of the autonomy and the dignity of human person. Afterwards, the institute of marriage is examined in its various aspects, proposing alternatives to increase the legal protection of persons with disabilities in marriage, due to the insufficiency of the legal system in force for this purpose.
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Persson, Sophia. "New Urban Monuments: Critical Urbanism as Curatorial Practice." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21576.
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New Genre Public Art was originally defined by Suzanne Lacy in 1991 as an activist approach to the public; it was a type of public art that was often created outside the institutional structure which brought the artist into direct engagement with the audience, while addressing social and political issues. In 1993, the public art exhibition ’Culture in Action’, curated by Mary Jane Jacob, marked a conceptual shift from static to dynamic public art. The exhibition is considered a landmark event in the development of public art as it was among the first projects to frame communities as the structure and content of its art.During the past decade (2010–2020), urban development has become incorporated as an integral part of the work of the Public Art Agency Sweden, and the agency have established their own curatorial department in order to curate and produce their own public art exhibitions. As Public Art Agency Sweden is a State agency, their work is largely determined by official policies formulated by the Swedish government. This thesis analyzes the contemporary policies of urban public art by conducting an interdisciplinary critical discourse analysis that merges art history, curatorial– and urban studies, in order to trace the influence of discourse to how Public Art Agency Sweden has operated within this intersection during the last decade––ultimately to discuss what the Swedish policies on public art strive to achieve and the risks, ethics and responsibilities of the emerging field of urban, context-based curatorship.
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Sartorelli, César Augusto. "As exposições das arquitetas curadoras Lina Bo Bardi e Gisela Magalhães como linguagem de arquitetura." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-10072014-154205/.
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Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras.This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.
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Silva, Ronaldo Ferreira da. "Plataformas computacionais de e-Science para gestão de dados científicos: estudo de caso de um programa de pesquisa da Amazônia." Universidade Católica de Brasília, 2018. https://bdtd.ucb.br:8443/jspui/handle/tede/2456.
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Contemporary science is characterized by a large volume of data, a consequence of the growing complexity of research problems, increasingly requiring collaboration between interdiscipli-nary and inter institutional groups. In this context, the Technology of Information has been playing a relevant role in the provision of environments that enable this dynamic work. This dissertation analyzed electronic science (e-Science) platforms components available today and listed a set of indicators, involving hybrid architectures, that are able to efficiently meet the needs for scientific data management in a specific context: one research program for the Am-azon. The method used to analyze the collected data through semi-structured interviews focused on the categorization of information, by being the basis for the proposed indicators, using Con-tent Analysis techniques.
A ciência contemporânea caracteriza-se pelo grande volume de dados, reflexo da crescente complexidade dos problemas de pesquisa, exigindo cada vez mais a colaboração entre grupos interdisciplinares e interinstitucionais. Nesse contexto, a Tecnologia da Informação vem tendo papel relevante na oferta de ambientes que viabilizem essa dinâmica de trabalho. Esta disserta-ção analisou componentes de plataformas da ciência eletrônica (e-Science) hoje disponíveis e elencou um conjunto de indicadores, envolvendo arquiteturas híbridas, que são capazes de aten-der, de forma eficiente, as necessidades para gestão de dados científicos em um contexto espe-cífico: um programa de pesquisa para a Amazônia. O método utilizado para analisar os dados coletados por meio de entrevistas semiestruturadas, concentrou-se na categorização das infor-mações, sendo estas a base para proposta dos indicadores, utilizando técnicas da Análise de Conteúdo.
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Seabra, Jessica. "Práticas curatorias na 27ª Bienal de São Paulo : crítica institucional, participação e discursividade." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-26072018-161735/.
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A presente dissertação tem como foco a análise, através de um viés crítico, da proposta curatorial da 27ª Bienal de Arte de São Paulo, intitulada Como viver junto. Esta bienal é tomada como estudo de caso dentro do amplo contexto de bienais por ser considerada precursora, estabelecendo e institucionalizando algumas mudanças curatoriais, como o fim das representações nacionais. A 27ª Bienal de Arte de São Paulo liga-se a referências teóricas que se relacionam àquilo que Bruce Ferguson denomina de \"bienais discursivas\", termo que se refere ao fato de que conferências, eventos interdisciplinares, workshops, atividades educacionais e discussões públicas tem se tornado elementos cada vez mais importantes nesses projetos. Dentro do contexto desta discursividade expandida, a participação, a crítica institucional e um viés educacional têm sido estratégias recorrentes nas curadorias das bienais. Estes três elementos já estavam presentes em abordagens artísticas no mundo da arte e compõem juntos um campo discursivo composto de práticas dialógicas e relacionais que se replicam, ainda que com formatos variados, em bienais ao redor do mundo. A proposta curatorial da mostra foi estudada de forma a compreender os discursos envolvidos a partir do pensamento dos curadores e submetidos a um dado momento histórico, o que os condicionou a revelar uma conjuntura cultural.This dissertation focuses on the analysis, through a critical bias, of the 27th São Paulo Art Biennial curatorial proposal, entitled \"Como viver junto\" [How to live together]. This biennial is taken as a case study within the broad context of biennials because it is considered a precursor one, establishing and institutionalizing some curatorial changes, such as the end of national representations. The 27th São Paulo Art Biennial is linked to theoretical references that are related to what Bruce Ferguson calls \"discursive biennials\", a term that refers to the fact that conferences, interdisciplinary events, workshops, educational activities, and public discussions have become increasingly important elements in these projects. Within the context of this expanded discursiveness, \"participation\", \"institutional critique\" and an educational bias have been recurrent strategies in biennial curatorships. These three elements were already present in artistic approaches in the art world and together form a discursive field composed of dialogic and relational practices that replicate, albeit with varied formats, in biennials around the world. The curatorial proposal of the exhibition was studied to understand the discourses involved in the thinking of the curators and submitted to a certain historical moment, which conditioned them to reveal a cultural context.
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Silva, Sabrina Damasceno. "Curadoria em museus de história natural: processos disruptivos na comunicação da informação em exposições museológicas de longa duração." Universidade Federal do Rio de Janeiro / Insitituto Brasileiro de Informação em Ciência e Tecnologia, 2015. http://ridi.ibict.br/handle/123456789/786.
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Abordagem às singularidades curatoriais nos museus de história natural, a partir da consideração de que o conceito de curadoria possui significados variáveis em diferentes áreas do conhecimento e espaços de preservação da memória. Há, contudo, um ponto de convergência, especificamente nas instituições museológicas, que se encontraria presente em meio a essa diversidade: uma figura decisória (o especialista), possuidora de expertise. Os espaços museológicos de história natural possuem sua origem nos denominados “gabinetes de curiosidades” relacionados à tradição enciclopedista que delineou uma de suas principais singularidades: a busca por uma representação da totalidade por meio de sua materialidade. Uma das especificidades dos museus de história natural repousa no papel essencial de ensejar a compreensão das “formações discursivas” advindas de interpretações da ciência moderna acerca da natureza e dos artefatos oriundos dos diversos grupos sociais humanos através do tempo. A curadoria no interior dos museus de história natural determina a formação, gestão e comunicação pública da ciência por meio das evidências materiais do mundo sensível. Considera-se como aporte teórico desta tese que os processos curatoriais podem ser entendidos à luz das conceituações foucaultianas acerca do “dispositivo”, percebido como uma rede de relações que podem ser estabelecidas entre elementos heterogêneos: discursos, instituições, arquitetura, regimentos, leis, medidas administrativas, enunciados científicos, proposições filosóficas, morais, filantrópicas, o dito e o não dito. Perspectiva que permite a reflexão acerca dos fluxos informacionais presentes no cotidiano desses museus de história natural.
The present study discusses the curatorial singularities in natural history museums. We consider the concept of curatorship has heterogenic meanings in different areas of knowledge and space of memory preservation. There is, although, a point of convergence in this diversity: a decision-making specialist, a researcher owner of expertise. The museolgical spaces of natural history was originated in the denominated “cabinets of curiosities” related to an encyclopedic tradition that delineate one of the main singularities of natural history museums: the search for a totality representation through its materiality. One of the specificities of the museological spaces of natural history lies on the essential paper to provide the comprehension of “discursive formations” that becomes of modern science interpretation about nature and artefacts from different social human groups through time. The curatorship in natural history museums determinates the development, management and science public communication. Our propose is consider the curatorial processes in view of concepts of Michel Foucault, specially the “dispositive”, that is structured for a heterogenic ensemble of discourses, institutions, architecture forms, laws administrative measure, scientific enunciations, moral and philanthropic proposition, what is sad and the unsaid. That perspective allows reflection about informational flow that integrates part of daily of these museums of natural history.
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Signorelli, Paula Rodrigues Alves. "O Panorama da Arte Brasileira do MAM SP: da formação de acervo aos projetos curatoriais." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29062018-103759/.
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Esta dissertação tem como objeto o programa de exposições intitulado Panorama da Arte Brasileira, criado pelo Museu de Arte Moderna de São Paulo (MAM SP) em 1969 após a transferência de seu acervo para a Universidade de São Paulo. O Panorama tinha como objetivo restabelecer a programação e, ao mesmo tempo, gerar um novo acervo para a instituição por meio da aquisição e da doação de obras a cada edição. A importância do Panorama para o reerguimento do museu e para a renovação de sua relação com o meio cultural justifica a pertinência deste estudo. Tomando como principal material de análise os textos curatoriais, discute-se como as premissas do programa, fundamentadas nos termos panorama, arte brasileira e atual, provocaram respostas distintas por parte dos curadores convidados ao longo dos anos. Parte-se da hipótese de que teria havido uma mudança de paradigma, iniciada em meados da década de 1990, que se consolidaria na virada dos anos 2000, quando o programa passa a ser curado por profissionais sem relação institucional com o MAM SP. A pesquisa aponta que ao longo desse período os discursos curatoriais tornaram-se autorreferentes e que a ideia de atual deixou de se relacionar aos trabalhos expostos e passou a materializar não só um pensamento crítico sobre eles, mas também uma reflexão mais ampla sobre a arte contemporânea brasileira e sua relação com a tradição modernista. Por fim, foi possível concluir que, a partir dos anos 2000, a problematização de uma espécie de mito de origem da arte contemporânea brasileira tornou-se recorrente no Panorama da Arte Brasileira e que os discursos curatoriais passaram a adotar o modernismo como o principal parâmetro para se pensar as características do que seria, ou no que se diferenciava, a arte nacional.The focus of this dissertation is the program of exhibitions entitled Panorama da Arte Brasileira (Panorama of Brazilian Art) created by the São Paulo Museum of Modern Art (MAM SP) in 1969, after its collection was transferred to the University of São Paulo. The objective of the Panorama was to reestablish the program and, at the same time, create a new collection for the institution through acquisitions and donations of works to each edition. The importance of the Panorama to the reemergence of the museum and the renewal of its relationship with the cultural milieu justifies the focus of this study. Analyzing primarily curatorial texts, the study discusses how the premises of the program, founded on the terms panorama, Brazilian art and current, resulted in different responses from the guest curators over the years. It is based on the theory that there has been a change in paradigm, which began in the mid-1990s, and consolidated at the turn of the millennium, when the program began to be curated without an institutional relationship with MAM SP. The study shows that over this period the curatorial discourse became increasingly self-referencing and that the idea of current was no longer related to the works on exhibit and began to manifest, not only critical thought about them, but also a broader reflection on contemporary Brazilian art and its relationship with the modernist tradition. Finally, it was possible to conclude that, starting in the 2000s, questions surrounding a myth of origin of Brazilian contemporary art became recurrent in the Panorama of Brazilian Art and that the curatorial discourse began to adopt Modernism as the main parameter when considering the characteristics of what is national art.
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Khamoshi, Sabina. "”Där hjärtat bultar lite hårdare” : En kvalitativ intervjustudie om intendenters personliga relation till museisamlingar och skapande av informella föremålshierarkier i museimagasinen." Thesis, Uppsala universitet, Institutionen för ABM, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414576.
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Introduction: This thesis investigates the relationships that curators have with the collections they oversee. The aim of the study is to learn how this relationship shapes the curators, the objects, and the storeroom itself. An additional purpose is to see whether this relationship creates and maintains a hierarchy of objects in the storerooms. Method: Eight semi-structured interviews were conducted with curators working in Sweden at Nationalmuseum of Sweden, Army Museum, Swedish Museum of Performing Arts, Museum Gustavianum, The Museum of Evolution, The Jewish Museum and Skansen. The interviews were tape recorded and the transcripts composed the data for the analysis. Analysis: A qualitative content analysis was carried out on the data. Object-love and material punctum were used as the study’s theoretical and analytical framework. Including three concepts defined by the author as formal-, informal-, and personal- object hierarchies. Results: Personal and emotional relationships to the collections did exist. They were intertwined with the professional relationship and formed a unique love called object-love. A love that defined and regulated both the personal and professional sides of the relationship. A combination of knowledge, intimacy, interest, and time were key factors for the formation of an emotional bond to the objects. The personal relationships further helped create personal and informal object hierarchies in the storerooms but were not exclusively responsible for them. Other factors such as formal object hierarchies and old hierarchical systems contributed to their existence. Conclusion: Object-love is a vital part of a successful curatorship, as it drives the curators to do a good job and go the extra mile. Since prioritization is a big part of the curator’s everyday work, informal and personal object hierarchies become a necessity in the storerooms. Because of object-love these hierarchies fall in line with the museums broader mission. This is a two years master's thesis in museum and heritage studies
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Lima, Paula Coêlho Magalhães de. "Curadoria de objetos industriais: acervos de utensílios domésticos pré-elétricos em São Paulo." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-15012015-164350/.
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O presente estudo tem como objetivo central o estabelecimento de um quadro referencial que possa contribuir para uma metodologia para gestão de acervos museológicos de uma tipologia específica aqui determinada - os utensílios domésticos industrializados e pré-elétricos. Compreendemos que a relevância desta tipologia de objetos está no papel que exerceu no processo de modernização e racionalização do espaço doméstico que culminará na eletrificação das residências ao longo do século XX. Sendo assim, traçamos aqui um panorama dos ciclos de vida destes produtos em seu contexto original de fabricação e consumo - através da investigação da publicidade que circulava em São Paulo na virada para o século XX - e sua posterior incorporação a instituições museológicas. Tendo como hipótese que a incorporação destes utensílios a acervos de museus históricos configure uma tendência relacionada às mudanças conceituais e metodológicas que ocorrem nos campos da História e da Museologia ao longo da segunda metade do século XX, nos debruçamos sobre coleções do Museu Paulista e do Museu da Casa Brasileira, propondo uma análise da historicidade destas coleções, assim como dos parâmetros curatoriais a eles empregados, buscando então elencar as possibilidades de desenvolvimento e pesquisa dentro dos processos de curadoria desta tipologia de objetos em museus com vocação histórica.The present study is aimed at building a referential framework that may contribute to the establishment of collections management methodologies concerning a specific category of objects - pre-electrical household utensils and appliances of industrial manufacture. The relevance of such objects lies in the role they played in a process of modernization and rationalization of the household which would culminate in the spread of electrical power for residential use throughout the 20th century. Thus, we present an outlook of the life cycles these products took part in, whether in the context of their production and mass consumption in the turn-of-the-century São Paulo - for which we investigate the advertisements published in this period - whether in the context of their posterior accessioning by museums. On the assumption that the acquisition of such objects by History museums reveals a trend linked to conceptual and methodological transformations that guide the fields of History and Museum Studies throughout the second half of the 20th century, we look into the collections of Museu Paulista and Museu da Casa Brasileira, analysing the history of these collections as well as the curatorial process they were subject to, aiming at the possibilities for research and development of this category of objects within the curatorial process of History museums.
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Závodská, Zuzana. "Curatorship." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-365009.
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Thesis title: Curatorship The thesis deals with the legal institute of curatorship, as one of the forms of representation, which is intended to protect and fulfill the rights and interests of the person represented. The thesis is primarily focused on substantive legislation contained in an Act No. 89/2012 Coll., The Civil Code. Despite the fact that this thesis is focused on substantive legislation, it also discusses related procedural issues. This diploma thesis is divided into introduction, six chapters and a conclusion. The first chapter describes historical basis of curatorship and also a short glimpse to the previous legislation. The next chapter introduces fundamental terms and explains the systematic inclusion of legislation governing curatorship in an Act No. 89/2012 Coll. The core of this thesis is chapter three, which analyses the legislation of curatorship of an individual. This chapter also introduces related legal institutes such as limitation of legal capacity and declaration in anticipation of incapacity. Chapter three focuses on adult curatorship law as well as on curatorship law of minors. It also describes the status of the curator, his rights and duties, conditions which justify the termination of his function as well as termination of curatorship. The forth chapter primarily...
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Hsu, Yi-Wen, and 徐薏雯. "Curatorship and Environmental Education：the Study of Carbon Reducation and Over Consumption." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/13429284325828815974.
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碩士臺北市立教育大學
環境教育與資源研究所環境資源組
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Abstract In recent years, people are getting aware of the environmental issues and solving them as those issues worsening and consequently causing global warming. Many studies and plausible actions are taken to stop environment deterioration. One way to solve the issue is to promote the eco-protection idea through educating society over its importance. Taiwan government passed the “Environment Education Regulation” in June of 2010 in hopes of arising Taiwan people’s attention to environment protection through education. The major learning process is to create a real experience to encourage people to learn by doing. Furthermore, people would take those real experiences as the fundamental of their environmental perspective. In this case, the academic field of the environment topics related to does not limit the form of education to promote the topics. The purpose of the exhibition is to convey the meaning of objects through combination of elements and media at the exhibition, by utilizing showcase proxies in organizing exhibits. The exhibition transforms the messages the exhibitor intends to bring to the audience into perceivable information. It requires an exhibit planner or a planning team to design and execute an exhibition thoroughly. According to the multi-learning methods environmental education pursues, this paper studies in the view of the exhibit planner who embeds the environmental concepts in the exhibition. Through organizing a real static exhibit containing environmental concepts, the process of the exhibit planning and the definition of the planner’s role are identified. The study focuses on the exhibit planning process and the result the exhibition brings, expecting that the exhibition would be one of the major media of the environmental education. Keywords: curation, curator, over consumption
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Hansen, GS. "History curatorship in Australia : case studies from the National Museum of Australia 1991-2008." Thesis, 2009. http://hdl.handle.net/10453/33281.
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University of Technology, Sydney. Faculty of Arts and Social Sciences.The main argument of this thesis is that history curatorship in Australia does not, as yet, possess a mature critical culture. While there is a growing literature in the academy about museums, there is surprisingly little material written by practising history curators. History curatorship, as such, lacks a tradition of critical writing about its professional practice. All too often curators move from one project to the next with little time to reflect on the way they work. While some curators have written about their work the impression emerges that history curators are still struggling to define what it is they do and how they do it. In this thesis I explore the relationship between theory and practice, or praxis, in relation to history curatorship. In most exhibitions curators seek to apply a theoretical framework to the subject matter they are working on. In some instances this is a self conscious process and in others it is implicit in their work. I will explore a series of case studies from projects I have completed at the NMA to explore this relationship in my own work. As such the thesis is designed to be an interrogation of my own professional practice. Reflecting on the work I have completed provides some valuable insights into the practice of history curatorship.
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Lin, Ya-Hsuan, and 林亞璇. "On Agency of Cultural GovernanceA Case Study of the Curatorship of “Art in Village” in Yilan County." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/qd88er.
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碩士國立臺北藝術大學
藝術行政與管理研究所
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In 2013, the Yilan County Government, with its "Art in Village " program,sought to enhance the civic awareness and beauty of community culture. This cultural policy is composed of dozens of "curators" planning and implementing one to four different activities. There have been 154 events since 2013. This also makes the policy different from many cultural activities by Culture Affairs Bureau or by the procurement law commissioned by a specific vendor "single center, for multiple" mode of operation. In addition, the above-mentioned curators are not experts or academics in the fields of museums, visual arts and so on, who have received professional curatorial training, but from different members of community organizations, local literature and history workers, village chiefs or the director-general, returning youth, can be regarded as "atypical" curator. In other words, these atypical curators, namely citizen, are the agents of public power and the policy agents in the network of cultural governance, who influence and determine the success or failure of the policy. In order to clarify the possibility of different implementers in the cultural governance network to achieve policy objectives. This study uses the concept of "agency theory" as the framework, taking the interview method as the exploration, regarded the atypical curator as the agent, Yilan County Cultural Affairs Bureau as the client. First, the public sector how to select the "Art in Village " curator; Second, the curator how to respond to the "Art in Village " policy; Third, what is the cooperative relationship between the Cultural Affairs Bureau and the curators? The aim of this study, besides a glimpse into the pattern and possible development of cultural governance, also tries to respond to contemporary cultural governance towards civic discourse, respecting cultural diversity and promoting the realization of cultural citizenship.
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Strass, Victoria Kruger Pessanha. "A função social do curador no museu de etnografia." Master's thesis, 2018. http://hdl.handle.net/10316/81584.
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Dissertação de Mestrado em Estudos Curatoriais apresentada ao Colégio das ArtesAbstractTaking as reference the extraordinary development of the museum as a social agent, thisdissertation focuses on the role of the curator in the museum of ethnography. Thisprofessional has been assuming himself as one of the fundamental figures of themuseological structure. Being responsible for the development of the exhibitions, whosepurpose is to establish and develop an effective relationship between the museum and thepublic, it has a decisive action.In the previous theoretical foundation, fundamentally, the importance of the socialfunction of the healer is addressed. Thus, a bibliographic analysis was carried out aroundthe reports of the curators responsible for the structuring of the profession, and analysisof anthropological, sociological and historical theories. In the practical context,interviews were conducted with professionals responsible for ethnographic museums,namely the National Museum of Ethnology in Lisbon and the National Folklore Museumin Rio de Janeiro. Research has become not only interesting and enlightening but alsounique in understanding the social role of the healer; questions were raised about theprinciples that are used for the elaboration of an exhibition, about the difficulties relatedto the task of orchestrating an ethnographic exposition and about the concern with theimpact generated on the visitors. Finally, the present work approaches the problematic ofthe definition of the museum as opinion agent and emphasizes the curator-museumrelationship in requirements of rights and duties. Consequently, it is demonstrated,throughout the dissertation, the importance of curation in the ethnographic museum asmediator between comprehensive and complex cultural processes.
Tendo como referência o extraordinário desenvolvimento do museu como agente social,esta dissertação foca-se no papel do curador no museu de etnografia. Este profissionaltem vindo a assumir-se como uma das figuras fundamentais da estrutura museológica.Sendo o responsável pelo desenvolvimento das exposições, que têm como propósitoestabelecer e desenvolver uma relação efetiva do museu com o público, tem uma açãodecisiva.Na fundamentação teórica prévia, aborda-se, fundamentalmente, a importância da funçãosocial do curador. Assim, foi realizada análise bibliográfica em torno dos relatos doscuradores responsáveis pela estruturação da profissão, e análise de teorias antropológicas,sociológicas e históricas. No âmbito prático, foram realizadas entrevistas aosprofissionais responsáveis por museus etnográficos, designadamente do Museu Nacionalde Etnologia, em Lisboa, e do Museu Nacional do Folclore, no Rio de Janeiro. A pesquisatornou-se, não somente interessante e esclarecedora, mas também singular quanto àcompreensão do papel social do curador; foram esclarecidas questões sobre os princípiosque são utilizados para a elaboração de uma exposição, sobre as dificuldades relacionadascom a tarefa de orquestrar uma exposição etnográfica e sobre a preocupação com oimpacto gerado nos visitantes. Por fim, o presente trabalho aborda a problemática dadefinição do museu como agente de opinião e ressalta a relação curador-museu emrequisitos de direitos e deveres. Consequentemente, demonstra-se, ao longo dadissertação, a importância da curadoria no museu etnográfico como mediadora entreprocessos culturais abrangentes e complexos.