Tesi sul tema "Festival for Contemporary Video Art"

In this thesis, I address ephemeras - namely temporary displays in the form of festivals and exhibitions belonging to the field of contemporary art. The most appropriate criterion with which to select and discuss the ephemera, i.e., the data in which I analyse in this thesis, is the notion of the 'event'. 'Event' is a philosophical concept, and therefore does not belong to artistic or aesthetic categories. However, two main characteristics are particularly relevant in considering it, and these are also pertinent to the field of art. Firstly, the tandem contingency and necessity. Secondly, the fact that no one can control the reach and impact of an event, which is also the case with an artwork and its interpretation. In this thesis, I am creating a confrontation between what is usually described as abstract thought (a work of philosophy for example) and the production of contemporary art, which is so often culturally and economically dependent on the art market and hegemonic power structures such as institutions, as well as the apparatus of historians and experts to evaluate and legitimise it. Furthermore, it is also necessary to state my understanding of art. This latter has strong propinquities with that defined by Kant when he coined the term 'fine art', namely a cultivated, context-aware and sensitive art, one's reflection on which provides pleasure exceeding the pure enjoyment or satisfaction produced by erudition or technical virtuosity. Secondly, the artistic manifestations that I discuss are always produced by a collective, group or organisation of which I am part. Consequently, what unfolds is an organisational discourse originating in my praxis of art. Finally, the very fact that I am a member of the group of people whose activities are discussed leads logically to autoethnography, a field of inquiry that I am also contributing to.

Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a critical re-evaluation of the concept of nostalgia; by examining the works of Tacita Dean, Joachim Koester, and Matthew Buckingham, a more nuanced concept of nostalgia emerges, for which this approach to the past does not appear as a sentimental and escapist fantasy but, on the contrary, as a strategy to reflect critically on the present and re-imagine the future. In my second chapter I focus on the experimental documentaries of Anri Sala, Walid Raad and Hito Steyerl. These works are based on a sophisticated notion of truth that overcomes the Platonic dualism between truth and appearance. The third chapter considers the photographic archives of Zoe Leonard, Rachel Harrison, and Jean-Luc Moulène. These archives represent recent historical events through the figure of the commodity. I ask whether these works should be considered as amnesiac archives and whether they confirm the Marxist notion of the commodity as memory disturbance. The fourth chapter examines the use of digital images and technologies by Sean Snyder, Hito Steyerl and Paul Chan. These artists challenge the narrative of crisis and catastrophe predominant in 1990s theories of new media, which considered the digital image in term of a profound loss of memory and historicity. The dissertation concludes with a critical assessment of the political importance of the artistic tendency.

Edmond Husserl’s notion of ‘first sense’ experience is a phenomenological and experiential interpretation of the world based on immediate pre-theoretical and precognitive reflection. For Husserl, the apperception of the world using ‘first sense’ presupposes any scientific or theoretical understanding of it and presents a more meaningful and truthful experience because it is based on the fact of being. Authentic experience, in this exegesis, is considered a form of immediate and intuitive experience in which the certainty of the ‘first sense’ world contrasts to the obedience and homogenising effects of the spectacle and consumer society. For Guy Debord (1967) and Jean Baudrillard (1970) consumption and production combined with the omnipresence of mass media and advertising in contemporary existence is the source of debilitating and homogenising behaviour. The monotony and regularity of the work place, the separation of individuals through the comfort of television and the focus on the accumulation of goods that is commonplace counteracts immediate and intuitive experience and desecrates authentic living. This exegesis examines how the video works of two international artists, Anri Sala (2002) and Francis Alÿs (1999), and a selection of my own videos communicate the concept of authentic experience by exploring familiar and unremarkable subjects. The research hypothesises that although contemporary patterns of existence subsume individual behaviour for economic gain (as theorised by Debord and Baudrillard), authentic experience, in terms of immediate and ʻfirst senseʼ experience is a primary source of meaning. The work of Bill Viola is used in this research to contrast the use of video by Alys, Sala, and myself. Viola’s work demonstrates, through its theatricality, high production values and grandiose themes, concerns that are otherworldly and metaphysical as opposed to the immediate and of essentially human character of the works that are central to this discussion. By using the visual language of television and other time-based entertainment, video has the ability to focus on individual and specific circumstances and spontaneous behaviour in ways that viewers can easily recognise. Video art, paradoxically, highlights the affect that technology, consumerism and homogeneity has on individual experience through technology itself. In the videos of Sala and Alÿs, natural, or actual, time, evidenced by the passing of the sun over billboards (Sala) and Mexico’s City’s square (Alÿs), reveals social and political circumstances as well as our relationship to a much larger cosmological system. My videos aim to demonstrate authentic experience in the form of an immediate and intuitive response to banal events, whereby the familiar is dislodged from its role as an apathetic misnomer to the Spectacle through the combinatory use of video, audio and performance. The majesty of ordinary experience is revealed in my videos through expressions of bashfulness, giggling, and waving in The Quick Step (2005), the rupturing of a cyclic and repetitious sequence in When The Rain Comes (2007), highlighting consumer behaviour and disrupting its rhythm through the use of play in Name That Tune (2006), the use of audio to induce a sense of self-awareness in the viewer in Our Communication Recorded (2006) and by displacing recognition with a mesmerising, non-distinct form in The Alien’s Back (2007).
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text

Melancholy and the Memorial: Representing Loss, Grief and Affect in Contemporary Visual Art is a practice-led project that explores how contemporary art can respond to the limitations of traditional forms of language in the representation of trauma, loss and grief. The project reflects on the work of theorists and artists who also explore the ineffability of these memories and experiences. The creative outcomes have investigated how text, moving image, sound and space can be combined to reframe the dialogue around public and private expressions of trauma and open up discussion of the potential for shared, affectual experiences through art.

Through my PhD thesis, ‘Porno-graphing: ‘dirty’ subjectivities & self-objectification in contemporary lens-based art’, I use the term ‘porno-graphing’ to group together and examine lens-based artworks where artists use as art-material sexual situations or sets of sexual dynamics present in their life independently of their art practice. I consider how artists act upon these sexual situations in order to make art out of them, the art-results they produce and their means of sharing them with audiences. I argue that the artists whose work I examine, use sexual situations that can potentially be perceived as ‘taboo’; for example Leigh Ledare involves incest-related dynamics in Pretend You Are Actually Alive and Kathy Acker with Alan Sondheim implicate child-sexual subjectivities in the Blue Tape. I argue that they choose and use these situations to self-submit into the ‘dirtiness’ of their sexual and artistic subjectivities and in doing so to negotiate how subjectivity is produced. To do so, they use visual vocabularies of autobiography to self-objectify into roles as both artists, e.g. assuming positions such as the white male pornographer-exploiter (the work of Ledare) and as sexual subjects, e.g. ‘perverted’ or hyper-sexual objects of desire (the work of Lo Liddell). In embracing these roles they create ‘intensified encounters’ (Edelman & Berlant, 2014) between the artist, the art-object and the viewer, to interrogate ‘normative’ and ‘antinormative’ patterns of meaning-making and value-attribution regarding subjectivity and art.

Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials contribute to the formation of parallel narratives.

This practice-based thesis proposes radical, critical, creative reconsiderations of memory and how the mnemic may be expressed in art practice. The research took place through developing a series of works within contemporary installation art practice, which considers the experience of memory an abstract, affective event. The thesis confronts the typical assumptions and ocularcentric misconceptions that the mnemic is a visual phenomenon. It challenges presumed relationships between photographs and memory then asks: How may notions of memory be re-examined through art practice so as to allow alternative expressions of memory to emerge? After the critique, the thesis offers an alternative concept of memory that may be incorporated into art practice: the memory-event. The concept emerged through my art practice alongside engagement with the writings of philosophers Henri Bergson, Gilles Deleuze and Felix Guattari, and contemporary theorists such as Simon O’Sullivan and Brian Massumi. The inquiry utilises O’Sullivan’s framework as a method towards parallel critique and creation in contemporary art practices; these counter existing forms of thought. The framework includes seven Deleuzean concepts applied in rethinking memory: the encounter, affect, the production of subjectivity, the minor, the virtual, the event, and mythopoesis. The thesis adopts this approach, and demonstrates how the memory-event developed through phases of research. Firstly, the thesis establishes and critiques prevailing ideas and expressions of memory. It then defines the methods and theories to disrupt existing assumptions of the mnemic, showing how the defined methods and theories were applied in reconsidering and posing alternatives to established assumptions. Included is a visual and textual portfolio of work exploring the ideas of memory produced in my art practice. The implications of this research for art practice constitute, through the mobilisation of the memory-event, potentials for liberation from the constraints of representation and common assumptions of memory. This produces innovative expressions of the mnemic experience, and continues to challenge ways in which memory is considered.

This thesis examines how the term ‘video-essay’ or ‘film essay’ has gained particular momentum in contemporary art practice and theoretical debates throughout the past twenty years. Speficially, I examine the work of Ursula Biemann and María Ruido. The thesis plots how the ‘genre’ is considered to have emerged through a post-structuralist framework. Feminist and post-colonial praxis initiated an important critique of the documentary project from the late 1960s to the early 1980s. Much of this criticism sought to re-ignite the active qualities latent in the technologies of lens-based mediums: qualities considered to be hidden, or dealt with uncritically in the documentary paradigm. A focus on construction, and a distrust of the ‘reflective’ capacities of the camera to record the real gave way to the mode of the ‘fictive’ and an interest in ‘discursive formations’. Fictive devices were implemented in order to give attention to maligned, purposefully obscured, or not-yet written histories, operating in place of absent ‘official’ documentation. This thesis argues that the term video or film essay is better conceptualised through a broader, yet nuanced enquiry of the documentary as it has unfolded throughout the twentieth and twenty-first centuries. The case studies in this thesis are part of a wider array of works that privilege, once more, the recording capacity of the camera (both analogue and digital), its social purpose and thus potential strategy to enforce change. I explore how these practices straddle, and re-kindle the familiar debates around utility and formal reflexivity in the ‘documentary turn’ of critical art production in the twenty-first century. The chosen themes of the works under analysis speak to the tension ever-present between form and content, text and context. Here the camera is used to render visible the concealed heterogeneous strands of labour. I evaluate how this practice is specifically apt for exploring the dialectic of waged/un-waged labour, undertaken historically by women. The works consider how female ‘migrant’ labourers are most ‘useful’ and ‘profitable’ to neoliberal capitalism. The manner in which bodies interact with the abstract flows of deregulated capital and electronic communication, has contributed to a need for re-cognition of the social world. Artists aiming to understand the power of the visual under these reordered circumstances have had to negotiate the vicissitudes of truth once more. I argue that the capacity of the document to provide knowledge and to track lived realities, has made it a dependable and useful form once more. Its contentious past is and must be acknowledged, as such debates have re-written our understandings of what the document is, should, and might be.

Technical images such as photography, film and video, are dependent on apparatuses for their production and dissemination, yet the apparatus itself is often hidden or obscured in the experience of the work and the discourse that surrounds it. This practice-led research identifies key practice strategies to foreground the apparatus both in the production of work and in its presentation. It therefore develops critical and generative strategies to explore and interrogate the workings of the 'apparatus-audience complex,' and the particular modes of spectatorship that this entails.

To See and Be Seen: Cinematic Constructions of Gender and Spectatorship in Contemporary Screen-Based Art addresses how gendered representation can be structured within visual art practice through a series of creative moving-image works. Using the aesthetic language of French New Wave cinema as its primary point of departure, this research project investigates how gendered representations are constructed by cinematic language. In doing this, it proposes latent possibilities present within the dominant gaze created by patriarchal relations of power. This project, in a series of creative works, demonstrates how the 'masculine' authorial gaze is learnt culturally, and by examining the gendered syntax of film, reveals how this can be recontextualised by the female artist.

Thesis (MA (Visual Arts))--University of Stellenbosch, 2011.
Includes bibliography.
ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.
AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ʼn belangstelling in ʼn menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ʼn primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ʼn “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie, identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie (heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie; liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met inbegrip van objektivering van die huisdier). Ek benader ʼn bespreking van bogenoemde verskynsel deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing. Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns, asook voorbeelde bespreek om kontekstuele verwysing na ʼn bespreking van die uitoefening van my eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en verlange na ʼn afwesige ander (huis, maat en huisdier) bespreek. Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag, Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike, veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak word.

Ritual is a notion that the art world has increasingly reclaimed. From critical writing that zealously identifies rituals to artists who qualify their work as ritualistic, the notion circulates, poking at the boundaries of art practice. The pattern raises critical questions for art history: does it vanish the distinction between art and social practices, casting art's separation from ritual as a passing historical phase? What are the distinctions in the first place between representing and producing a ritual? These concerns come to the fore with moving images, given that ritual has long been at the heart of ethnographic film, while the very act of filming is becoming central to a growing number of social customs. Addressing these relationships, this thesis focuses on video work since the late 1990s. The thematic research moves through three case studies: series of works by Mike Kelley, Pierre Huyghe, Ryan Trecartin and Lizzie Fitch, while keeping a comparative view towards other observers and producers of ritual in premodern painting, ethnographic filmmaking, post-internet practices, mainstream cinema, and homemade videos. Among the most influential artists at the turn of this century, Kelley, Huyghe, Trecartin and Fitch share the singular practice of restaging, for and through film, the rituals that surround them, from high school hazing and carnivals to coronations, corporate team-building, Halloween, Valentine and May Days, suburban street fairs, birthdays, and the new observances of social media. Through close study of the artworks and of moving image tropes that shape social imaginaries, the thesis suggests that these artists produce new insights into contemporary human behaviour. While art and ritual tend to be tackled as coded objects to be deciphered, holding condensed information about the societies to which they point, anthropological theory that considers ritual for what it does (rather than what it symbolises) invites us to examine them instead as practices where portions of social reality are produced - formalised and reinvented.

The contemporary experience is profoundly rooted in the processes of remembering and recalling, recording and playing back. My work employs image and installation to speak of memory, nostalgia, and the integration of media and representation into experience. The rapid advancement of media technologies provides new immersive opportunities for the armchair traveler. Viewers may now be effortlessly transported across distances of time and space.

CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO is my master essay. It consists of 6 chapters in which I write about my artistic practise and my work around a series of works titled 52 WEEKS AND WORKS and my examination exhibition SELF-PORTRAITS / FOR FAT GIRLS / PORTRAITS.

Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.

Master of Visual Arts
Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.

This practice-led research project aims to use contemporary art processes and concepts of fandom to construct a space for the critical and creative exploration of the relationship between them. Much of the discourse addressing the intersection of these spaces over the last three decades tends to treat art and fan studies as separate areas of critical and theoretical research. There has also been very little consideration of the critical interface that art practice and fandom share in their engagement with one another – or how the artist as fan might creatively exploit this relationship. Approaching these issues through a practice-led methodology that combines studio based explorations and traditional modes of research, the project aims to demonstrate how my 'fannish' engagements with popular culture can generate new responses to, and understandings of, the relationship between fandom, affect and visual art. The research acts as a performative and creative investigation of fandom as I document the complicit tendencies that arise out of my affective relationship with pop cultural artefacts. It does this through appropriating and reconfiguring content from film, television and print media, to create digital video installations aimed at engendering new experiences and critical interpretations of screen culture. This approach promotes new possibilities for creative engagements with art and popular culture, and these are framed through the lens of what I term the digital-bricoleur. The research will be primarily contextualised by examining other artists' practices as well as selected theoretical frameworks that traverse my investigative terrain. The key artists that are discussed include Douglas Gordon, Candice Brietz, Pierre Huyghe, Paul Pfieffer, and Jennifer and Kevin McCoy. The theoretical developments of the project are drawn from a pluralistic range of ideas ranging from Johanna Drucker's discussion of critical complicity in contemporary art, Matt Hills' discussion of subjectivity in fandom and academia, Nicolas Bourriaud's discussion of Postproduction art practices, and Jacques Rancière's ideas about aesthetics and politics. The methodology and artworks developed over the course of this project will also demonstrate how digital-bricolage leads to new understandings of the relationships between contemporary art and entertainment. The research aims to exploit these apparently contradictory positions to generate a productive site for rethinking the relationship between the creative and critical possibilities of art and fandom. The outcomes of the research consists of a body of artworks – 75% – that demonstrate new contributions to knowledge, and an exegetical component – 25% – that acts to reflect on, analyse and critically contextualise the practice-led findings.

Aquesta tesi s'ocupa de el rol dels elements sonors i musicals en peces que combinen els llenguatges de la performance i del vídeo art, i que no són considerades art sonor. Proposo les nocions d'espai autobiogràfic i ubiquitous listening com a instruments per analitzar obres que aborden aspectes autobiogràfics fent ús d'elements sonors i visuals, aportant a més una revisió crítica de la bibliografia sobre el so i l'escolta en l'art contemporani. Aplico aquestes nocions a dos casos d'estudi: 1) performances i vídeos de Marina Abramovi, realitzats entre 1971 i 1997 que permeten comprendre el desenvolupament de la peça Balkan Baroque (1997); i 2) les fotografies i vídeo instal·lacions de Shirin Neshat realitzades entre 1993 i 1997 que permeten comprendre la peça Turbulent (1998). A través d'una revisió crítica de la bibliografia que s'ha ocupat d'aquestes peces, poso en evidència les conseqüències derivades de la manca d'atenció als elements sonors.
Esta tesis se ocupa del rol de los elementos sonoros y musicales en piezas que combinan los lenguajes de la performance y del video arte, y que no son consideradas arte sonoro. Propongo las nociones de espacio autobiográfico y ubiquitous listening como instrumentos para analizar obras que abordan aspectos autobiográficos haciendo uso de elementos sonoros y visuales, aportando además una revisión crítica de la bibliografía sobre el sonido y la escucha en el arte contemporáneo. Aplico estas nociones a dos casos de estudio: 1) performances y videos de Marina Abramovi, realizados entre 1971 y 1997 que permiten comprender el desarrollo de la pieza Balkan Baroque (1997); y 2) las fotografías y video instalaciones de Shirin Neshat realizadas entre 1993 y 1997 que permiten comprender la pieza Turbulent (1998). A través de una revisión crítica de la bibliografía que se ha ocupado de estas piezas, pongo en evidencia las consecuencias derivadas de la falta de atención a los elementos sonoros.
This thesis deals with the role of sound and music in artworks merging the languages of performance art and video art, which are not considered sound art. I propose the notions of autobiographical space and ubiquitous listening as tools to analyze artworks addressing autobiographical aspects through sonic and visual elements. I apply both notions to two case studies: 1) live and video performances made by Marina Abramovi, between 1971 and 1997 that allow us to understand the piece Balkan Baroque (1997); and 2) photographs and video installations made by Shirin Neshat between 1993 and 1997 that allow us to understand the piece Turbulent (1998). Through a critical review of the bibliography that has dealt with these pieces, I highlight the consequences derived from the lack of attention to sonic elements.

This qualitative project concentrates on the creative research processes of contemporary Cypriot video artists and on their interrelation with the field of visual arts education, examined through the triple role of artist/researcher/teacher. The project contains evidence of the achievement of a tangible research product in the form of an Educational Guide, accompanied by a DVD collection as a creative outcome that presents, in 10 DVDs, the video profiles of 10 local artists with a selection of their video artwork. The project adopts a pluralistic research methodology, and identifies and presents multiple results that are extracted from the artists’ case studies, together with a self-study concerning artistic research approaches to video art-making. The results are transformed through a hermeneutical and semiotic approach into educational suggestions for the employment of video art as an art form, and video as a medium into the visual arts educational context. The body of knowledge presented contributes to three major areas: the documentation and accessibility of the artistic practices of contemporary living Cypriot artists, the understanding of their artistic research processes, and the attribution of pedagogical value to video art’s content and context through the creation of educational materials that consider the availability of the artists’ video works. The outcome of the project is intended for general and visual arts educators, artists, art historians and gallery and museum professionals who wish to study the insights of video art in Cyprus through an audio-visual presentation. The overall contribution of the project to professional practice is summarised in the bridging of the gap between the sister fields of visual arts and contemporary visual arts education, by transforming everyday artistic practice in appropriate material for pedagogical contexts.

This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an interviewing practice. The performances are temporary and the devices ad-hoc.

Orientador: Regina Helena Pereira Johas
Acompanha DVD - Videos: Travessia e Crepusculos Ato I,II e III
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A Tese de doutoramento em Poéticas Visuais intitulada Do interno no tempo apresenta 8 conjuntos de trabalhos realizados entre os anos de 2007 e 2009. As séries Paisagem de Contagem, UM, Travessia, Horizontes, Broto, Estâncias, Crepúsculos e Madonas investigam por meio da fotografia, do vídeo e da pintura, a paisagem sob três eixos principais: internalidade, substancialidade e percepção temporal. Como linha de base, as obras produzidas buscam trabalhar com a idéia de um registro visual da paisagem externa pela lente interna ao tempo do vivido aqui investigado nas naturezas de sua formação e organização visual. Este trabalho está organizado em três partes ATO I, ENTREATOS E ATO II que se afirmam como núcleos de conhecimento complementares: Em Ato I, o núcleo visual é exposto em grupos de imagens que revelam as obras aqui produzidas nas séries de trabalhos indicados. Em ENTREATOS exponho meus diários pessoais de criação na intenção de tornar visível os alicerces internos que compõem cada concepção. Já em Ato II apresento o núcleo teórico reflexivo que se organiza a partir de cada trabalho. Neste os autores e artistas escolhidos para construção do corpo teórico objetivam explicitar os trilhos por onde cada trabalho caminhou para tecer em conjunto a malha reflexiva que permeia o olhar criador
Abstract:The PhD thesis in Visual Poetics entitled The Internal of Time has 8 sets of work undertaken between the years 2007 and 2009. The series Contagem Landscape, UM, Crossing, Horizons, Broto, Estancias, Sunsets and Madonnas investigate through photography, video and painting the landscape in three main areas: internality, substantiality and time perception. As the baseline, these works seek the idea of a visual record of the external landscape through the inner lens of the time lived, here investigated in the nature of their visual creation and organization. This work is organized in three parts: ACT I, ENTRACTE and ACT II, which claim to be complementary knowledge centers: In Act I, the visual center is shown in groups of images that reveal the series of works displayed. In Entracte I expose my personal diaries with the intention of making visible the internal foundations that make up each conception. In Act II I present the reflexive theoretical center that is constructed from each work. The authors and artists chosen for the theoretical framework aim to show the path that each work walked through and collectively they create the reflexive fabric that permeates the creator's eye
Doutorado
Doutor em Artes

A presente pesquisa explora o YouTube como campo de criação da performance art contemporânea. Em primeiro lugar o site é abordado com foco em suas implicações culturais, empregando tanto uma bibliografia específica sobre o YouTube como autores que refletem sobre a subjetividade contemporânea, destacando-se neles aspectos que se relacionam com as práticas dos usuários do site. Em seguida é analisada uma seleção de obras de performance no YouTube realizadas por artistas de diversas nacionalidades. Elas estão reunidas em cinco vetores: #camgirlsattwhores, que trata da mulher e do feminismo na internet, apoiando-se principalmente no trabalho de Erica Scourti; #persona-ironia, que se baseia nas teorizações de Renato Cohen sobre a persona performática; #anti-confissão, que aborda a prática da confissão segundo conceitos desenvolvidos por Michel Foucault, Óscar Cornago e Christopher Lasch; #corpo-efeitos, no qual a principal referência é o trabalho de N. Katherine Hayles sobre o pós-humanismo; e #prank, que conta com as teorizações de V. Vale e Fábio Salvatti. Na etapa final, são realizados experimentos práticos no YouTube, inspirados nos ideais de Joseph Beuys e Allan Kaprow, e nas práticas artísticas de Petra Cortright. A pesquisa articula, portanto, diversas perspectivas culturais e artísticas, tanto teóricas quanto práticas, para apreender o objeto de estudo, defendendo um novo tipo de arte que transborde o mercado e as categorias tradicionais e propondo um uso desartístico e lúdico das tecnologias atuais.
This work explores YouTube as a field for contemporary performance art creation. Firstly, the research approaches the website focusing in its cultural implications, investigating specific literature about YouTube as well as authors that reflect upon contemporary subjectivities, highlighting in them aspects that relate to the website users\' practices. Then, it analyses a selection of works by performers of various nationalities, gathering them in five vectors: #camgirls-attwhores, which deals with women and feminismo on the internet, relying mainly on Erica Scourti\'s work; #persona-irony, which is based on Renato Cohen theories on the performative persona; #anti-confession, which addresses the practice of confession making use of concepts by Michel Foucault, Óscar Cornago and Christopher Lasch; #body-effects, in which the main reference is the work of N. Katherine Hayles on post-humanism and #prank, which relies on writings by V. Vale and Fábio Salvatti. Finally, practical artistic experiments on YouTube are carried out, inspired by the ideas of Joseph Beuys and the artistic practices of Petra Cortright. Therefore, the research has articulated multiple cultural and artistic perspectives, both theoretical and practical, to seize the object of study, advocating a new kind of art, one that overflows traditional categories and the art market and proposing an unartistic and playful use of current technologies.

Cette thèse explore comment l’art actuel, plus spécifiquement vidéo, permet d’interroger le rapport entre corps et images. Un lien étroit les unit aujourd’hui ; l’art vidéo, fruit de ce temps postmoderne, paraît assez adapté à son exploration. Tout d’abord, les modalités d’influence de l’image sont déclinées. Quatre sources appuient l’élaboration d’hypothèses : les théories psychanalytiques et phénoménologiques, des faits de société, des productions artistiques (provenant aussi bien d’artistes confirmés que de notre propre pratique) et les théories de l’image (histoire de l’art et esthétique). Une série de conclusions en ont été déduites : l'Homme actuel semble peuplé d’images ; celles-ci participent à la structuration de la perception, concurrencent les souvenirs et concourent à la détermination des formes de l’élaboration mentale. De ce fait, l’image définit significativement le corps postmoderne. Mais plusieurs rapports aux images restent possibles : l’utilisation, l’interaction, l’expérimentation. Ensuite, par le potentiel oscillatoire de l’art vidéo, l’interdépendance corps/image est approfondie. La partie II met en regard corps sensible et corps représenté à travers les traces fluctuantes du référent dans la représentation vidéo – par les couples apparition/disparition, surface/épaisseur, sens/non-sens – afin d’explorer le corps rêvé, vécu et le rapport au corps représenté. La partie III montre le jeu entre la liaison et la déliaison du corps représenté avec le décor – porté par l’incrustation, le remontage et la composition vidéo. Cela permet d’aborder le positionnement et l’articulation, du corps et de sa représentation, aux images. Cette approche désigne également ce qui dans le corps représenté fait corps et ce qui dans son articulation au décor fait obstacle : le corps désirant
This thesis explores how contemporary art, more specifically video, interrogates the relationship between body and images. A close link binds them together today; video art, native to postmodern time, seems adapted to its exploration. First, influence modalities of the image are developed. The hypotheses are constructed on four sources: psychoanalytical and phenomenological theories, socials realities, artistic productions (both from known artists and from my own practice) and image theories (art history and aesthetic). A succession of conclusions have been deducted from them: today’s human seems to be inhabited by images, these participate to the structuration of perception, compete with recollection and contribute to determine the shapes of mental elaboration. Consequently, the image define significantly the postmodern body. But various relationships to images remain possible: utilization, interaction, experimentation. Then, with the oscillatory potential of video art, the interdependence between body and image is detailed. Part II compares sensible body and depicted body through the fluctuating marks of the referent in video representation – working with the appearing/disappearing, surface/thickness, sense/nonsense pairs – to explore the dreamed, lived body and the relationship to the depicted body. Part III shows the interplay between linking and delinking of the depicted body with the backgrounds – bore by chroma keying, reediting and compositing. This allows to apprehend positioning and articulation, of the body and its depiction, to images. This approach also points out what in the depicted body reveals the sensitive body and what in its articulation to the background resists: the desiring body

L’enjeu du comment montrer et du comment voir n’a jamais été plus fascinant ni plus insolvable qu’à l’ère du totalitarisme visuel. L’image vidéo, issue de cette veine vorace et versatile, est devenue un vecteur privilégié pour réfléchir au sort du visible dans les arts actuels. La réhabilitation de cette image passe par la blessure de sa surface lissante qui en restaure la profondeur. Dans l’art vidéo, ce rôle peut être accordé au dispositif technique assurant la transmission des images. Nous verrons comment cet agencement matériel peut devenir un nouveau cadre pour l’image vidéo : un dispositif réflexif et critique pour accompagner l’expérience esthétique de l’œuvre. Il s’agit, au fil d’une incursion parmi les images multiples de l’installation vidéo contemporaine, de chercher à saisir les modalités et les enjeux qui forgent ce lien déterminant entre le regard et l’image : une exploration de la part d’ombre de l’œuvre qui rend effectif le voyage des images lumineuses
At the age of visual totalitarianism, how to show and how to see are more than ever fascinating and insolvent questions. Voracious and unpredictable video image is a very special vehicle to analyse the condition of visibity in actual arts. The restoration of visibility always requires hurting the smooth surface of the image. In video art, this function may be attribuated to its technical system as new frame for video artworks : this material agencement becomes a reflexive and critical system for aesthetics experience. In the middle of contemporary video installation’s images, we’ll try to understand the terms and issues which invent this decisive link between the eye and the image : an exploration of the darkness which sets going the luminous images’ travel

Orientador: Francisco Elinaldo Teixeira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente investigação parte de um processo de criação artística videográfica experimental, na qual foram filmados cantores de videokê da cidade de Fortaleza, capital do Ceará. Das inúmeras apresentações gravadas, algumas se destacavam, trazendo o problema: o que faz essas imagens mais intensas que outras? Como alguns poucos sujeitos conseguem, com o corpo, provocar sensações tão intensas no tempo de suas encenações? Do conjunto das gravações, oito foram escolhidas para compor o objeto deste estudo. A análise dessas imagens levanta como principais conceitos as ideias de dispositivo e processos de subjetivação, teorizadas principalmente por Michel Foucault e Gilles Deleuze, e a proposição da câmera como ferramenta de relação, defendida por Jean-Louis Comolli. Os conceitos são aprofundados e colocados em diálogo com outros autores, assim como com as imagens das quais emergiram. São destacados dois dispositivos essenciais às análises dos modos de subjetivação em jogo nas imagens: a câmera e o videokê. A partir daí evidenciam-se: as linhas de sedimentação, ligadas ao aspecto molar do dispositivo, presentes nas performances como reproduções dos espetáculos da cultura de massa; e as linhas de fratura, ligadas às apropriações criativas do dispositivo. Nelas são revelados como certos indivíduos realizam apropriações dos dispositivos e dos espetáculos midiáticos para produzir um conhecimento de si, sobre as formas como o corpo se põe em cena e produz momentos de intensidade na tomada. Conclui-se que são os processos de subjetivação como autoafecção que são capazes de produzir as imagens intensas. Por fim, como resultado deste processo, que transita entre a prática artística e a teoria, é realizada uma instalação audiovisual
Abstract: This research is based on an videographic experimental artistic process, in which footage of videoke's singers were made, in the city of Fortaleza, Ceara state's capital. Among the numerous recorded performances, some stood out, raising the problem: what makes these images more intense than others? How can a few individuals provoque, with their bodies, such intense sensations in their performances? Eight recordings were selected, from the entire set, to compose this study's object. From the analysis of these images emerges, as most important concepts, the ideas of device and process of subjectivation, mainly theorized by Michel Foucault and Gilles Deleuze, and the proposition of the camera as a tool for relationship, defended by Jean-Lous Comolli. Those concepts are examined in depth and put into dialogue with other authors, as well as with the images from which they emerged. Two devices are highlighted as essential to the analysis: the camera and the videoke. Based upon that, becomes evident: the lines of sedimentation, related to the devices' molar aspects, visible in performances as a reproduction of mass culture's spectacles; and the lines of fracture, linked to creative appropriation of the devices. Those cases reveals how certain individuals are appropriating the devices and midiatic spectacles in order to produce a knowledge about themselves, on the manners to impose the body on the scene and produce such intense performances. In conclusion, it is the processes of subjectivation as selfaffection that are capable of producing the intense images. Finally, as a result of this process, which, from the beginning, is both theoretical and artistic practical, an audiovisual installation is assembled
Mestrado
Multimeios
Mestre em Multimeios

[EN] Video possible/spaces. A geographic approximation to the audiovisual language of the Northern border of Mexico. The purpose of this thesis is to evidence the artistic practice that develops en a specific context, the city of Tijuana on the Northern border of Mexico. This practice limited to Video Art and the artists that produce within this medium, but overall the relationship between the artists and video. The emphasis on the body of work is put on the experience of the artists to produce audiovisuals and build an artistic language with a condition we have designated as nomad. This nomad condition, permits us to engage the dialog with the border context. Thinking of a culture related with the concepts that Nicolas Bourriaud promotes in his book The Radicant, showed a contemporary art under the acts of translation. The concepts of migration and nomadism in relation with fluidity and movements that culture has developed since modernity. From the aspect of humanist geography and experimental anthropology that give us the possibility of framing the concept of space and direct it toward the border as representational spaces (Lefebvre, experimenting, perceiving and imagining). We rely upon a qualitative method while performing a series of interviews of 10 artists: Marcos Ramírez "Erre"; Julio Orozco, Salvador Ricalde "Sal", Aldo Guerra, Adriana Trujillo, Omar Pimienta, Michelle Romero, Mayra Huerta, Abraham Ávila y Karina Álvarez. To identify the three classifications that derive from the following; the origin of the artist; the use of the medium (video) and the topics that the artists develop in their creative approaches. In this manner the research shows a panorama of the audiovisual language that connects with certain art history moments with which video has been related to in some way. We think of the displacement of video as well as of the artists selected to create classifications that can be modified at any moment. Either by the technical, discursive or interdisciplinary aspects with which it is produced in this medium. The result of this study, shows the relation of video art and the selected artists that work in the border context; providing an artistic practice linked to the mobile aspect of a contemporary society. This possibility makes evident ten nomad conditions in the analyzed audiovisuals. Including the widespread definition of how video is produced based on the various forms of working among all of them. The video demonstrates its ease to acquire this nomadic condition, as in the genres we have, some of the artist share their production in both genres (single channel video and video installation). The proposal can continue and change according to the needs of the audiovisuals that are analyzed.
[ES] Vídeo espacios/posibles. Una aproximación geográfica del lenguaje audiovisual de la Frontera Norte de México. El propósito de esta tesis es evidenciar la práctica artística que se desarrolla en un contexto específico, la ciudad de Tijuana al Norte de la frontera en México. Está práctica delimita al vídeo como medio de creación, y también a los artistas, pero sobre todo la relación de estos con el vídeo. El énfasis del cuerpo de trabajo está planteado desde la experiencia de los artistas para producir audiovisuales y construir un lenguaje artístico con una condición que hemos denominado nómada. Esta condición nómada nos permite entablar el diálogo con el contexto fronterizo. Al pensar en una cultura relacionada con los conceptos que Nicólas Borriaud promueve en su libro Radicante, se evidencia un arte contemporáneo bajo los actos de traducción. Conceptos como migración y nomadismo aparecen relacionados con la fluidez y movimientos que la cultura ha desarrollado a partir de la modernidad. Desde la perspectiva de la geografía y la antropología experimental nos dan la posibilidad de enmarcar el concepto de espacio, al direccionarlo a la frontera integrándolo a los espacios de representación (Lefebvre, experimentado, percibido e imaginado). Nos apoyamos en el método cualitativo al realizar una serie de entrevistas a diez artistas: Marcos Ramírez "Erre"; Julio Orozco, Salvador Ricalde "Sal", Aldo Guerra, Adriana Trujillo, Omar Pimienta, Michelle Romero, Mayra Huerta, Abraham Ávila y Karina Álvarez. Se han identificado tres clasificaciones que derivan de lo siguiente; el origen del que proviene al artista; el uso del medio (el vídeo) y los temas que los artistas desarrollan en sus propuestas creativas. De esta forma la investigación muestra un panorama del lenguaje audiovisual que se conecta con ciertos momentos históricos del arte, de los cuales el vídeo ha estado relacionado de alguna manera. Pensamos en el desplazamiento del vídeo así como el de los artistas seleccionados para crear clasificaciones que pueden modificarse en cualquier momento. Ya sea por los aspectos técnicos, discursivos o interdisciplinarios con los que se produce en este medio. El resultado de este estudio muestra la relación del vídeo de creación y los artistas seleccionados que producen en el contexto fronterizo; proporcionando una práctica artística vinculada al aspecto móvil de una sociedad contemporánea. Esta posibilidad permite evidenciar diez condiciones nómadas en los audiovisuales analizados. Incluyendo, entre ellas la definición generalizada de cómo se produce en vídeo, y partiendo de las diversas formas de trabajar entre ellos. El vídeo demuestra su facilidad de adquirir esta condición nómada, pues en los géneros que tenemos, algunos de los artistas comparten la producción en ambos géneros (el vídeo monocanal y la vídeo instalación). La propuesta puede continuar y modificarse de acuerdo a las necesidades de los audiovisuales que se analicen.
[CAT] Vídeo: espais/possibles. Una aproximació geogràfica del llenguatge audiovisual de la Frontera Nord de Mèxic. El propòsit d'aquesta tesis és evidenciar la pràctica artística que es desenvolupa en un contexte específic, la ciutat de Tijuana, al Nord de la frontera de Mèxic. La pràctica està delimitada al video com a mitjà de creació i als artistes, però, sobretot, a la relació del artistes amb el video. L'èmfasi del cos de treball està plantejat des de l'experiència dels artistes per produir audiovisuals i construir un llenguatge artístic com una condició que hem denominat nòmada. Aquesta condició nòmada ens permet entaular el diàleg amb el contexte fronterer. Al pensar en una cultura relacionada amb els conceptes que Nicólas Borriaud promou al seu llibre Radicante, s'evidencia un art contemporani sota els actes de traducció. Els conceptes com de migració i nomadisme en relació a la fluïdesa i els moviments que la cultura ha desenvolupat a partir de la modernitat. Desde la perspectiva de la geografia i l'antropologia experimental que ens donen la possibilitat d'emmarcar el concepte d'espai al redireccionar-lo a la frontera com els espais de representació (Lefebvre, experimentat, percebut i imaginat). Ens recolzem d'un mètode qualitatiu al realitzar una sèrie d'entrevistes a deu artistes: Marcos Ramírez "Erre", Julio Orozco, Salvador Ricalde "Sal", Aldo Guerra, Adriana Trujillo, Omar Pimienta, Michelle Romero, Mayra Huerta, Abraham Ávila y Karina Álvarez. S'han d'identificat tres classificacions que deriven del següent: l'origen del qual prové l'artista; l'ús del medi (el video) i els temes que els artistes desenvolupen en les seues propostes creatives. D'aquesta forma, l'investigació mostra un panorama del llenguatge audiovisual que es conecta amb certs moments històrics de l'art, dels quals el video ha estat relacionat d'alguna manera. Pensem en el desplaçament del video així com el dels artistes seleccionats per a crear classificacions que poden ser modificades en qualsevol moment, siga pels aspectes tècnics, discursius o interdisciplinaris amb els quals es produeix aquest medi. El resultat d'aquest estudi mostra la relació del video de creació amb els artistes seleccionats, que produeixen en el contexte fronterer; proporcionant una pràctica artística vinculada a l'aspecte mòbil d'una societar contemporània. Aquesta possibilitat permet evidenciar deu condicions nòmades en els audiovisuals analitzats. Incloent, entre elles, la definició generalitzada de cóm es produeix en video, i partint de les diverses formes de treballar entre ells. El video demostra la seua facilitat d'adquirir aquesta condició nòmada, ja que en els gèneres que tenim, alguns dels artistes comparteixen la producció en ambdós gèneres (el video monocanal i la video instalació). La proposta pot continuar i modificar-se d'acord amb les necessitats dels audiovisuals que s'analitzen.
Huerta Jiménez, M. (2016). Video espacios/ posibles. Una aproximación geográfica del lenguaje audiovisual en la Frontera Norte de México [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63453
TESIS

This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.

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Em um contexto de ampliação do mundo da arte e das atividades artísticas, percebemos a necessidade em trabalhar o uso do vídeo pelos artistas, que originou na criação de um novo segmento artístico, a videoarte. Pretendemos explorar a conceituação do termo no contexto em que estava envolvido de forma a apresentar a história dessa atividade no Brasil. O estudo, dividido em três capítulos, estabelece no primeiro, um recorte mais amplo, explorando a produção dos pioneiros da videoarte no Brasil e elucidando questões que a rodeavam enquanto atividade artística nos anos 1970. Na segunda e terceira partes, realizamos recortes mais específicos partindo do contexto dos anos 1980. No segundo capítulo é explorada a presença da videoarte no Festival Videobrasil, trabalhando as edições de 1983 a 2001. Durante a análise desse recorte, mapeamos as transformações ocorridas nesse universo que se encontram organizadas em três etapas: 1ª Etapa (1983-1985); 2ª Etapa (1986-1990); 3ª Etapa (1992-2001). No capítulo três apresentamos um estudo de caso da trajetória artística e da produção estética de Eder Santos, apontando as mudanças de sua carreira em perspectiva com as transformações ocorridas no Festival Videobrasil e no contexto da arte contemporânea em geral.
In a context of expansion of the world of art and artistic activities, we realized the need to analyse the use of video by artists, which originated the creation of a new artistic segment, the videoart. We intend to explore the conceptualization of the term in the context in which it was involved in order to present the history of this activity in Brazil. The study, divided into three chapters, establishes, in the first one, a wider view exploring the production of videoart pioneers in Brazil and clarifying issues surrounding it as an artistic activity in the 1970s. In the second and third parts, we carry out more specific cuts starting from the 1980s context. The second chapter explored the presence of videoart in the Videobrasil Festival, focusing the editions from 1983 to 2001. During this view’s analysis, we map the changes which occurred in this universe and that are organized in three stages: Stage 1 (1983-1985); Stage 2 (1986-1990); Stage 3 (1992-2001). In chapter three we present a study case of the artistic career and aesthetic production of Eder Santos, pointing out the change of his career through perspective with the transformations occurred on Videobrasil Festival and in the context of contemporary art in general.

This thesis is a practical project which involves moving images and paintings together as a medium that explores phenomena of contemporary China relating to personal identity, independence and its relationship with the traditional importance on collective groups, group centredness and interdependence. The project’s approach draws on sociological research on Western thought, values and beliefs naturally occurring in China since the “Open Door” policy as raw data to focus on the transition and transformation of contemporary Chinese individuality, and translates these data to form the concepts underpinning the metaphoric method of my artwork. Bubbles are the main visual symbols that metaphorically imply the incessantly transformable Chinese individuality and social cultural identity. My aim has been to portray this phenomenon through artistic practices on screens. By reflecting and engaging with moving images and paintings, underpinned by theoretical research and methods including data collecting, self-reflecting on data, practical manifestation and self-inquiry, I have attempted to unfold the phenomenon of contemporary Chinese individuality through my art practice. The thesis is composed as a creative work of moving images accompanied by an exegesis component. The moving image represents a nominal 80%, and the exegesis 20% of the final submission.

A presente pesquisa tem como objeto de investigação a apropriação de narrativas e estratégias documentais pelo artista contemporâneo, procurando traçar uma cartografia específica das ações do artista documentarista, a partir de três pressupostos comuns aos campos da arte e do documentário: o deslocamento, a participação e a fabulação. A meta é observar como esses impulsos se desenvolvem nas obras de alguns artistas em atividade hoje no Brasil, entre eles Maurício Dias e Walter Riedweg, Rosângela Rennó e Janaina Tschäpe. Sem querer abranger a totalidade do corpo ético e poético da obra desses artistas, a pesquisa enfoca atividades que combinam pesquisas de campo, invenção de situações e reinvenção de protocolos documentais. Ao analisar e questionar o estatuto testemunhal da imagem documental, e ao adaptar essa imagem para usos subjetivos, pessoais, conceituais etc., o artista documentarista estabelece uma nova plataforma para a prática documental, propiciando a revisão dos modos de leitura e representação da alteridade e da realidade.
As its object of investigation, this research looks at the appropriation of documentary narratives and strategies by the contemporary artist. It looks to trace a specific map of the actions of the artist documentarist starting from three conditions common to the fields of art and the documentary: displacement, participation and fabulation. The aim is to observe how these forces develop in works by artists active in Brazil today, among them Mauricio Dias and Walter Riedweg, Rosângela Rennó and Janaina Tschäpe. Far from covering the totality of the ethical and poetical body of these artists works, the research points to activities that combine fieldwork, invention of situations and the reinvention of documentary protocols. In analyzing and questioning the importance of the documentary image as evidence, and in adapting this image to uses that are subjective, personal, conceptual, etc., the documentary artist establishes a new platform for documentary practice, bringing about a revision of the ways of reading and representing otherness and reality.

Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle
Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art

Dans les années 1960, les artistes se sont emparés de la vidéo avec cette volonté d’expérimenter un médium neuf engageant une nouvelle réflexion sur la représentation et la figuration. À partir de la fin des années 1990, les mutations de la technique vidéo permirent d’ouvrir le champ de création sur des thèmes peu explorés dans le domaine. Or, l’évolution du religieux dans la société moderne souleva des questions à la fois politiques et sociales qui trouvèrent un écho dans l’art vidéo. À partir de deux pays de tradition catholique, cette thèse a pour ambition de montrer que les artistes vidéastes français et italiens réalisent à partir du religieux, une réflexion sur le monde du XXIe siècle en offrant des repères spirituels et culturels disséminés dans une société de consommation. Cette étude montre également le désir de mettre en lumière, à partir d’une technique liée à l’immatériel, des rites et des croyances qui répondent à une quête de spiritualité et de merveilleux
During the sixties, artists chose video to try out a new medium with a new way to comprehend representation and figuration. Since the end of the nineties, video technique has changed and artists have worked new subjects. Indeed, the evolution of religion in modern society raised both political and social issues that are expressed in video art. Based on two countries with Catholic tradition, this doctoral thesis demonstrates that French and Italian videoartists create, with religious themes, a new way to observe the world of the XXIst century, giving spiritual and cultural bearings which are scattered in this era of overconsumption. Thanks to this technique related to the immaterial, video artists also show a desire to pass on rites and beliefs in order to respond to a quest of spirituality and wonder

La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentation
The present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation

The Screen Test (Americana/Australiana) project is a collection of works that re-makes selected fragments of film spanning cinema history. Through a process of selectively slowing and stilling this form, of what Laura Mulvey calls Delayed Cinema, opens up new possibilities for interpreting and understanding cinema and the photographic. The aesthetic qualities and repetition of the scene or shot are re-created and re-performed, allowing an alternate form of cinema to take place. This alternate cinema takes on the characteristic of the Hollywood screen test and thus we can see each piece as the artist performing the screen test for each film. However, over time the screen test becomes the site for shifting the aesthetic elements within the film and shaping the narrative as a form of aesthetic building block. The viewing of each fragment allows for a new reading of film that suspends or subverts the temporal narrative and allows the contained segment to exist outside of the film opening up the possibility of constructing and emphasizing new iconic images and meanings. Each video piece is supplemented with a photographic still in tableaux form that further explores the aesthetic material of the film or shot raising the aesthetic components of the film ( props, locations etc) to the level of fetishism that may have been missed in the original version. This photographic rendering of the film fragment rethinks the possibilities of photographic tableaux and its relation to the iconic and indexical of photomedia art practice. Similarly, each photographic work is informed by theories of film analysis and psychology that has examined the primacy of the film still with Freudian notions of the primal scene and the uncanny. We are after all bringing to life the graveyard of cinema history. These photographic qualities of the mis en scene and the indexical of metonymy allow a heightened aesthetic experience, which transforms itself into an aberration of the director’s intended meaning, thereby reconstructing this meaning within the context of camp humour and irony. The work also acts as a playful and absurd interpretation of the cult of celebrity within cinema and the art world, which frees up of the interpretation of the film’s meaning and becomes the site for contemporary re-readings of film culture. The juxtaposition of the American Hollywood film and its emphasis on studio lighting, props, character and dialogue against the outdoor location of the Australian films conflates the two cultural imperatives, allowing for the examination of cultural myth through cinema. American cinema is revealed as the dominant culture whose imperialism dogs Australian film and fosters a culture of low self-esteem. Further, the Americana works become the site for cultural examinations of gender, narcissism and war - both real and imagined – and Hollywood is explored in terms of its social imaginings and how they play into real life events. The Australiana component explores the mythology of the Australian landscape with an emphasis on the culture of masculinity and self-destructive violence. However, each work is the result of a conflation of both cultures and other films, or parts of the same film, shifted within the fragment. The production of each photographic and video piece requires the taking on of the role of director, cinematographer, actor and producer. Through the use of interactive technologies such as DVD and the Internet not only am I able to experience a new subjective relationship with the intricacies of cinema but also by recreating these cinematic fragments I am able to bring into being and transform the spectre of cinema into the realm of contemporary art practice.

Performer/Audience/Mirror (1977) es el título de una performance de Dan Graham que fue grabada en vídeo por su amigo y también artista Darcy Lange en Video Free America (San Francisco, EUA) en 1975. El vídeo resultante, también titulado Performer/Audience/Mirror (1975), es distribuido a día de hoy por Electronic Arts Intermix, y en su ficha Darcy Lange aparece acreditado como cámara. Esta tesis doctoral argumenta que Performer/Audience/Mirror (1975) puede interpretarse como un work study de Darcy Lange que retrata el trabajo de Dan Graham mientras realiza la performance de igual título. Los work studies son largas observaciones en video de gente mientras trabaja en contextos muy diversos que Darcy Lange produjo a lo largo de toda su vida. Este texto es por lo tanto un ejercicio especulativo en el que los trabajos de ambos artistas son puestos en relación, como dos rayos de luz que atraviesan un vidrio desde sus caras opuestas y se cruzan en el desvío que dibuja su difracción. Pero todo vidrio, por muy transparente que sea, genera una nueva trayectoria de luz, un reflejo, que en el caso de esta tesis se refiere a mi propio trabajo, y en concreto, al proyecto titulado Gold 20 (2013). El primer capítulo está dedicado a Darcy Lange y plantea un estudio formal de su obra en video. El objetivo es comprender el trabajo de Lange desde un punto de vista formal y vital, una metodología que en 1975, tras haber completado el proyecto A Documentation of Bradford Working Life, UK (1974), había adquirido ya un nivel de desarrollo propio. El segundo capítulo está dedicado a Dan Graham. Si los vídeos de Darcy Lange son en el capítulo primero la materia prima de estudio, en este caso parto de los textos de Dan Graham, quien a menudo ha utilizado la escritura como medio de expresión artística. El objetivo es de nuevo entender la metodología de trabajo y el impulso que mueve la obra de Dan Graham, con particular énfasis en Performer/Audience/Mirror (1975). El tercer capítulo está dedicado a Performer/Audience/Mirror (1975), y en él argumento por qué, a pesar de las inconsistencias documentales que afectan a la fecha, localización e identidad del cámara que Dan Graham identifica como Darcy Lange, pienso que este vídeo puede leerse como una obra singular en la trayectoria de ambos artistas, y que por lo tanto puede considerarse una pieza autónoma respecto a la performance y un work study de Darcy Lange. El cuarto capítulo se titula Gold 20, aunque en realidad bien podría haberse llamado two-way mirror, que es la forma en que Dan Graham denomina al tipo de vidrio para arquitectura llamado Low-E (de baja emisividad) al que el Gold 20 pertenece. En él reflexiono sobre lo que supone visionar Performer/Audience/Mirror (1975) en tanto work study de Darcy Lange desde la distancia que separa el vídeo tal y como se producía, distribuía y consumía en los 70 y el papel que esta tecnología juega en la comunicación y la sensibilidad contemporánea. Los usos y los sistemas productivos que sustentan la fabricación del espejo común, el vidrio Low-E, el two-way mirror y el Gold 20 —considerados todos ellos pertenecientes a una misma familia de productos— permiten establecer una relación entre la arquitectura corporativa, el desarrollo de la cibernética y la computación y la posición desde la que me relaciono, en tanto público, con aquella “audiencia” que asistía a la performance de Dan Graham que Darcy Lange grabó con una Sony Portapak de primera generación mientras veo el video en el que robé con mi iPhone Performer/Audience/Mirror (1975) en la biblioteca del MACBA.
Performer/Audience/Mirror (1977) is the title of a performance by Dan Graham that was videotaped in Video Free America (San Francisco, USA) by Darcy Lange, a good friend of Graham’s and a pioneering video artist. The videotape, also titled Performer/Audience/Mirror (1975), is distributed by Electronic Arts Intermix, where Darcy Lange is credited as the cameraman. This Phd Thesis argues that Performer/Audience/Mirror (1975) can be interpreted as a work study by Darcy Lange that portrays Dan Graham’s work while doing the performance which bears the same title. Darcy Lange’s work studies are durational video observations of people while working in very different contexts, a type of work he produced throughout his lifetime. This text is therefore an speculative exercise that explores the relationship between the work and life of both artists, just like two rays of light which traverse a glass surface from its opposing sides cross each other as their trajectories are being modified by diffraction. But all glass —no matter how transparent it may be— generates a new light trajectory, a reflection, which in the context of the present thesis refers to my own work, in particular to the project titled Gold 20 (2013), which is a video that documents the production process of a particular kind of golden colored Low-E glass. Dan Graham has used Low-E glass in many of his architectural pieces although he has consistently referred to it as two-way mirror. The first of the four chapters that make up this Phd Thesis is dedicated to the work of Darcy Lange. The second, to Dan Graham’s. The third explains why, in spite of the historiographic inconsistencies that surround Performer/Audience/Mirror (1975), I think it can be regarded as a video piece of Lange’s as well as a performance of Graham’s. This alteration in perspective triggers a fourth chapter that contains a study of the gap between video practice as it was produced, distributed and consumed in the 70s and the role that such technology plays in contemporary communication and sensitivity, which materializes in the use of glass in the corporate architecture of the Silicon Valley.

A presente dissertação propõe uma análise ética e estética do espaço urbano em busca de um território de Pertencimento na cidade de São Paulo. Trata-se de uma pesquisa interdisciplinar que, fazendo uso do método da cartografia e da arte como busca epistemológica, observou, no cotidiano da autora migrante, diferentes perspectivas de estar no mundo e de construir formas potentes de pertencer a um lugar na contemporaneidade. Além de abordagens teóricas, foram utilizados experimentos poéticos que resultaram na criação de uma obra Instalação chamada Cidade/Labirinto, que mescla vídeo performances, esculturas, um ato performativo e uma publicação montada com colagens feitas a partir de impressos coletados nas derivas.
This paper proposes an ethical and aesthetic analysis of urban space in search of a territory of Belonging in the city of São Paulo. It is an interdisciplinary research, that uses the method of cartography and art as an epistemological search to observe in everyday migrant author, different perspectives of being in the world and to build powerful forms of belonging to a place in the contemporary time. They were used in addition to theoretical approaches, poetical experiments that resulted in the creation of a work installation called Cidade/Labirinto that mixes video performances, sculptures, a performative act and a publication mounted with collages made above printed collected in drifts.

Esta tesis doctoral se propone explorar el rol de lo temporal en las video instalaciones más representativas de Bill Viola. Creemos que ahí es donde reside gran parte de la capacidad de estas obras de cuestionar profundos aspectos de la existencia en quien se enfrenta a ellas. Con el fin de ahondar en esta cuestión, el trabajo comienza identificando los mecanismos de presentación temporal generales y particulares que en ellas operan. A continuación, discutimos el efecto de los mismos sobre la temporalidad del espectador y las potenciales consecuencias para la conciencia del contacto con la duración: la forma de tiempo que Viola afirma que busca ofrecer mediante sus obras y a cuya vivencia atribuye una capacidad autorreflexiva potencialmente enriquecedora. Para estudiar la interrelación entre temporalidad y conciencia emplearemos una aproximación interdisciplinar, fundamentada en la filosofía fenomenológica, pero recurriendo a otras tradiciones del pensamiento y, en menor medida, a las neurociencias.
In this thesis we aim to explore the role of the temporal in the most representative video installations ellaborated by Bill Viola. We believe that, mostly, there lies the power of these works to question deep aspects of the existence of those who face them. In order to delve into this subject, this work begins by identifying the general and particular mechanisms of temporal presentation which operate in them. Hereafter, we will discuss their effect on the viewer’s temporality and the potential consequences on the conscience of facing duration: the form of time which Viola claims to offer through his works and whose experience is supposed to have a, potentially enriching, self-reflective effect. In order to study the interrelation between temporality and conscience we will employ an interdisciplinary approach. Its foundations will be those of phenomenological philosophy, however we will also consider another philosophical currents and, in lesser extent, neuroscience.

A partir des réflexions plastiques, cette recherche vise à étudier des liens entre la violence et l’art contemporain. La violence s’inscrit dans différentes perspectives. Elle est d’abord une force physique qui génère un certain nombre d’effets tangibles. Ensuite elle est un concept qui permet aux philosophes, psychologues, écrivains et artistes d'explorer un vaste champ de recherche dans leurs domaines. La première partie va étudier l’histoire de l’art visuel du XIe siècle à nos jours et ensuite porte un regard sur l'art figuratif en Iran, La deuxième partie vise à étudier l’usage du corps dans l’art contemporain, notamment dans l'installation, en tant que sujet de violence physique, en nous basant sur les faits historiques et psychologiques. La troisième partie, consacrée à la performance, permettra d’analyser des représentations d’actes violents dans les œuvres d’artistes femmes en particulier, et révèlera le rôle essentiel de la violence sur nos concepts visuels. Ensuite, dans la dernière partie, qui traite de l'art vidéographique, nous examinerons les vidéos dont la violence est vue comme une action permanente qui, de plus, portent une réflexion sur les artistes et nous permet de s’intéresser à des œuvres plus récentes
From the plastic reflections, this research aims to study links between violence and contemporary art. Violence has different perspectives. It is primarily a physical force that generates numbers of tangible effects. Then it is a concept that allows philosophers, psychologists, writers and artists to explore a vast field of research in their domain.The first part is going to study the history of visual art from the XIth century to our days and then take a look at the figurative art in Iran. The second part aims to study the use of the body in contemporary art, especially in installation, as the subject of physical violence based on historical and psychological facts. The tird part, dedicated to performance, will analyze representations of violent acts in artistical works and reveals the essential role of violence on our visual concepts. Then, in the last part, which speak about video art, we will examine videos where the violence is a permanent action that, moreover, reflect on the artists and allows us to take an interest in more recent works

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Chris Cunningham is the main subject in this thesis. Cunningham was one of the most influential and creative music video directors in the 90’s and early 2000’s. Visible throughout his art is the theme of the body and its innards - an important and wide discussion in contemporary culture studies. The hypothesis of this text is that the music video is one of the main audiovisual narratives of postmodern culture from the aspect of new aesthetics and artistic experiments. Cunningham adds original marks to the characteristics that constitute contemporary art, especially the one that has placed the body under interrogation and also the art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella brings a contribution on it as an art support, besides presenting much of the specific problems of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their discussions around film and video allow the insertion of the music video as a language with its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss the body from an instinctive perspective that drives the subject in the contemporary world. In order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic analyses were done on the following works: All is Full of Love (1999), Flex (2000) and Rubber Johnny (2005)
Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)

Ce travail de recherche a pour objectif de mettre en avant la rencontre cinéma-danse à partir d'une libération des soubassements métaphysiques de l'art, ce faisant un instrument de médiation d'un ordre supérieur à l'artiste dont l'activité se réglait à la lumière d'un idéal éthico-politique, source d'inspiration du thème de l'ailleurs. Le cinéma est ce nouvel espace où la danse s'invente un autre corps en dehors d'une réglementation des pratiques et des usages, d'une pédagogie par le biais de laquelle les affections du corps étaient corrigées en miroir des œuvres de l'esprit. Le fait que le cinéma soit apparu à un moment de réhabilitation de la valeur philosophique du sensible le rend complice d'une danse cherchant à accroître son expérience du mouvement et à s'affranchir des limites de la représentation classique. C'est cette complicité à l'égard d'une attitude en commun qui ressort des divers aspects que soulève la problématique de la danse contemporaine à l'épreuve du cinéma et de la vidéo
This research work bas for objective to put forward the meeting cinema-dance from a liberation of the metaphysical bases of the art, making it an instrument of mediation of an order upper to the artist whose activity adjusted in the light of an ethical and political ideal, a source of inspiration of the theme of somewhere else. The cinema is this new space where the dance in vents another body except a regulations of the practices and the uses, the pedagogy by means of which the affections of the body were corrected in mirror of the works of the spirit. The fact that the cinema appeared at a moment of rehabilitation of the philosophic value of the sensitive makes it collusive in a dance trying to increase its experience of the movement and to free itself from limits of the classic representation. It is this complicity towards an attitude in common that takes out a gain diverse aspects which lifts the problem of the contemporary dance in the event of the cinema and the video

Esta pesquisa envolveu a realização de um trabalho de arte o conjunto de vídeos intitulado Programa e, paralelamente, de uma reflexão teórica. A reflexão tomou o Programa como objeto, procurando compreendê-lo, mas ela também constituiu instrumento do Programa, conduzindo as formalizações. Ao dedicar-se à investigação da área de Poéticas visuais, às dificuldades da reflexão sistemática sobre uma obra em andamento e às especificidades da fala do artista sobre o próprio trabalho, enunciou, para o trabalho que então se iniciava, as condições do contexto em que ele iria se produzir. Descrevendo um procedimento geral reincidente nos meus trabalhos, a reflexão apontou-lhe um repertório de operações. Ela foi movimento interno do Programa nas considerações sobre o campo que ele elegeu como objeto: as propagandas de televisão, e sobre aqueles que surgiram de modo incidental, como o vídeo. Também o foi na discussão de cada um dos esquetes que foi esboçada antes da finalização do trabalho e orientou algumas últimas decisões. Depois do trabalho pronto, procurou-se rever e aprofundar os conceitos que vinham sendo utilizados, bem como submeter o Programa a uma apreciação mais distanciada.
This research involved the production of an art work the set of videos entitled Programa [Program] and, simultaneously, of a theoretic reflection. The reflection took the work as its object, trying to comprehend it, but it also constituted an instrument of this work, guiding its formalizations. The reflection was initially dedicated to the investigation of the postgraduate concentration area called Visual poetics, as well as to the difficulties of a systematized conceptual apprehension of an ongoing art work and to the specificities of the artists talks about his own work. In this manner it enunciated, for the work that was, then, getting started, the conditions of the context in which it would be produced. Describing a general procedure that was recurrent in the authors recent works, the reflection unveiled, to the new work, a repertoire of operations. The reflection was an internal movement of Programa while considering the field it had elected as its object: TV propaganda. This was also the case while considering those objects that appeared incidentally, such as the video. In the discussion of each one of the sketches discussion that was outlined before the videos were finished the reflection was also an internal movement as it oriented the last decisions. After the art work was finished, an attempt was made to review and deepen the concepts that had been used, as well as to submit Programa to a more distanced appreciation.

La problématique essentielle de la présente recherche découle de l’intuition qu’il y aurait à l’intérieur du régime contemporain de l’art, et ce malgré le caractère à première vue très hétérogène de ses expressions artistiques, un moment esthétique commun, un moment commun de forme et d’investigation conceptuelle, qui s’est défini, tout au long de ce travail, comme la notion d’esthétique de la durée. Ce terme théorique, qui englobe aussi bien un certain nombre d’installations, d’images contemporaines en mouvement conçues pour l’exposition à l’intérieur des espaces muséaux ainsi que de productions cinématographiques, n’est pas réductible au concept de la durée bergsonienne, même s’il s’y apparente par certains aspects, notamment par l’idée du devenir en tant que changement d’état et de qualité, devenu le principe esthétique d’une grande majorité des œuvres contemporaines. La notion de durée se trouve ainsi à l’origine d’une nouvelle conceptualisation de la forme de l’œuvre d’art et travaille au cœur même de la constitution d’une pensée esthétique singulière qui définit le régime contemporain de l’art en tant que régime de pensée indépendant que nous proposons de qualifier de conceptuel
The main topic of this work develops from the intuition that there would be, inside the contemporary regime of art - despite the impression of extreme heterogeneity that its artistic expressions could give at first sight - a common aesthetic moment, a common moment of form and conceptual investigation, that will be defined throughout this work as the notion of Aesthetics of Duration. Such a theoretical notion refers to a certain number of installations, contemporary moving images created for museum space as well as cinematographic productions. However, it does not only involve Henri Bergson’s concept of Duration even though the theory echoes it in several ways, such as the idea of becoming as a change of quality. The approach turns out to be at the origin of a new conceptualization of the very form of works of art. Deeply influencing the development of a singular aesthetic approach, The Aesthetics of Duration defines the contemporary artistic regime as an independent regime of thought that could be qualified as conceptual

En los procesos de creación que dan lugar a la práctica videoartística para sitio específico, o aplicada al objeto escultórico, la ¿expansión¿ no sólo sugiere la proyección de luz sobre superficie, sino que propone una confluencia de disciplinas, una integración de poéticas y métodos que se condensan en una misma acción. En el acto de extender la imagen en movimiento, está implícito un recorrido entre el relato que contiene la propia imagen, la relación que establece con el espacio o el objeto tridimensional y la narración resultante de este encuentro. En ese espacio de confluencia se generan múltiples cruces y dialécticas. De todas las posibles, se analizan encuentros entre tres áreas; el videoarte, la escultura y la cinematografía. En este estudio teórico-práctico, el marco de estudio ¿videoarte expandido¿ nos da la llave para navegar por el territorio difuso de los procesos de creación. Interpretamos así recorridos equivalentes al nuestro, partiendo de la intuición de que en primer y último término, lo que impulsa esos movimientos es la búsqueda común de una ¿imagen anhelada¿ que recoja el sentido profundo de la experiencia vital y la visión del autor. El videoarte expandido como medio de encuentro y síntesis de creación, puede generar un procedimiento adaptable e incluyente, en relación a la finalidad de cada proyecto en desarrollo. Con recorrido práctico y teórico facilita en su crecimiento, confluencias interdisciplinares, introspecciones íntimas, expresiones poéticas y acción política. A su vez es un marco de investigación óptimo para guiar el anhelo que impulsa el movimiento.
In the context of creation process occasioning video-artistic practice designed for a specific place or applied to a sculpture, the expansion broadens its meaning. It does not only suggest the light projection on a surface, but it gives as well room for a convergence of disciplines, integration of poetics, and merging of different methods into one action. The extension of an image to a movement implies an itinerary from a story possessing its own image, to the relationship which the story establishes with a place or a three-dimensional object, and through the narration resulting from the meeting of both. This point of convergence generates multiple bridges and dialectics. The thesis analyses three of possible areas: video art, sculpture, and cinematography.The framework of this theoretical and practical study on an expanded video art offers the possibility of navigation through vague territories of creation process. We thus interpret itineraries equivalent to the ours intuitively assuming that what impulses these movements in the first and last resort is a common quest for a longed for image which would reflect the profound sense of the author's vital experience and vision.The expanded video art as a medium of convergence and synthesis of creation can generate an adaptable and inclusive procedure in relation to the purpose of each undertaken project. Its practical and theoretical itinerary facilitates interdisciplinary convergences, intimate introspections, poetical expressions, and politic action. At the same time, it is an ideal framework of research in order to guide the longing which impulses the movement.

Dans un contexte généralisé où les cultures générationnelles otaku et geek multiplient leurs influences autant sur le plan du contenu culturel que sur les nouveaux médias qu’elles génèrent, nous nous sommes intéressés à sa propension à pénétrer les champs des arts dont la pratique contemporaine. La convergence des médias inhérents à ces deux cultures produit de nouveaux moyens d’expression donnant naissance à plusieurs types de pratiques expérimentales. Il s’est agi pour nous d’interroger nos référents autant que notre pratique sous ce nouvel angle. Une émergence de nouveaux systèmes technologiques se démocratise et intervient de plus en plus fréquemment dans le quotidien des usagers. Sur la base de ces nouvelles connaissances se développent de nouveaux rapports aux objets à partir desquels se forment de nouveaux espaces de fiction.La thèse « Expérimentations artistiques des espaces de fiction générés par les nouveaux médias issus des cultures générationnelles otaku et geek » est transdisciplinaire. Elle mêle études étymologiques, anthropologiques et sociologiques à l’étude des arts. En plus de s'appuyer sur des études réalisées par des chercheurs, la méthodologie appliquée se fonde sur l’expérimentation des œuvres présentées qui touchent à la fois à l’art contemporain, aux livres, aux bandes dessinées, aux films, aux jeux vidéo, aux jeux à réalité alternée, etc., mais aussi à la convergence de tous ces médias. L’expérimentation par une pratique nous semble dans le domaine présenté une donnée très importante du bien-fondé de la recherche qui est basée sur l’étude d’un terrain culturel en constante évolution
In a widespread background in which the influences of Otaku and Geek Generational Cultures have increased as regards both their cultural content and the new media created by them, we undertook to study their propensity to penetrate into the art sphere, whether within or outside contemporary art. The convergence of the media inherent to both cultures has produced new means of expression which have given rise to several types of experimental practices. In the light of these new aspects, we strove to review our referents as well as our practice. Emerging new IT systems are becoming more and more popular and they are increasingly affecting their users' daily lives. With such new items of knowledge, new relations to things have developed and they provide a foundation on which new Fantasy Realms are being built."Artistic Testings of Fantasy Realms Created by New Media derived from the Otaku and Geek Generational Cultures" is a transdisciplinary thesis. It blends art research with etymological, anthropological and sociological studies. The methodology applied relies on studies carried out by researchers and is based on the testing of the works presented which are related to contemporary art, books, comics, video games, alternate reality games etc., as well as to the convergence of all such media. As regards the domain referred to herein, we believe that testing through practising is a paramount aspect of the relevance of this thesis which is based on the study of an ever evolving cultural territory

Esta pesquisa trata sobre os museus e refletimos acerca de alguns processos museológicos, mas tendo como base a Ciência da Informação e a Documentação. Desse modo, analisamos a partir do nosso ponto de vista as implicações existentes entre os conceitos de documento e informação, que muitas vezes são distintos ou mesmo contraditórios, e a arte contemporânea que é efêmera ou se desmaterializa. Há uma perda do vínculo da obra de arte contemporânea com o suporte tradicional que causa efeitos diretos em sua classificação, o que, por sua vez, afeta os sistemas de guarda das instituições. Passa a ser comum que algumas das obras sejam perecíveis e até mesmo tenham um ciclo de vida demarcado. Outras se mantêm \"vivas\" nas instituições que as guardaram, seja por possuírem um formato tradicional de pintura ou escultura, seja porque seus formatos são similares a estes, seja por serem objetos possíveis de serem armazenados e reapresentados posteriormente, seja porque perduram por meio de sua documentação. Assim, tentamos entender como os museus fazem para guardar, organizar e preservar a memória de obras de arte efêmeras. Constatamos que eles acabam não se encaixando muito bem na definição tradicional e que caminham para outras situações, outras tipologias, pois há uma produção artística voltada ao arquivo e não ao museu. Assim como as obras de arte efêmeras e sua condição documental afeta os debates artísticos, também incitam museus e arquivos a repensarem seus modus operandis. Concluímos, então, que, para resolver as problemáticas discutidas nesta pesquisa, é preciso concentrar o foco em uma solução que venha da junção dos saberes sobrepostos da Museologia e da Arquivologia, e essa é a proposta da CI.
This research treat about museums and we reflect on some museological processes, but based on Information Science and Documentation. Therefore, we analyze from our point of view the existing implications between the concepts of document and information, which are often distinct or even contradictory, and the contemporary art, that is ephemeral or dematerializes. There is a bond loss of the contemporary work of art with the traditional support that causes direct effects in its classification, which affects the custody systems of the institutions. It has become usual for some of the works to be perishable and even have a demarcated life cycle. Others remain \"alive\" in institutions that have preserved them, either because they have a traditional format of painting or sculpture, because their formats are similar to them, because they are objects which are possible to be stored and later re-presented, or because they persist through documentation. Thus, we try to understand how museums do to guard, organize, and preserve the memory of ephemeral works of art. We realized that they end up not fitting very well in the traditional definition and that they move towards other situations and other typologies, because there is an artistic production focused on the archives and not on the museum. Just as ephemeral works of art and their documentary condition affect artistic debates, they also incite museums and archives to rethink their modus operandis. We conclude that, in order to solve the problems addressed in this research, it is necessary to focus on a solution that comes from the junction of the superimposed knowledge of Museology and Archivology, and this is the proposal of CI.

Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formal
Angles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.

La présente monographie s’inscrit dans le champ de l’anthropologie de l’art et dans celui des études théâtrales. Elle est constituée de plusieurs enquêtes ethnographiques qui visent à rendre compte, par une série de récits et d’analyse, du destin singulier d’un projet artistique que j’ai accompagné entre 2014 et 2017 : la conception d’une mise en scène pour l’opéra Parsifal. A travers cet évènement, je raconte l’histoire d’une rencontre paradoxale entre un artiste contemporain, Jonathan Meese, né en 1970, et un artiste du passé, Richard Wagner(1813-1883). Le spectacle devait avoir lieu dans le cadre du Festival de Bayreuth de 2016. Sa mise en scène, avec scénographie et costumes, fut conçue par Meese et ses équipes, et présentée aux intendantes. Mais l’affaire tourna mal : la rupture de contrat fut l’occasion d’une vive polémique. Pourtant la rencontre a bien pris place, comme processus de conception, dans les performances de l’artiste, et engendra un autre opéra – le Mondparsifal – présenté à Vienne puis à Berlin en 2017.Jonathan Meese occupe une place importante dans le paysage contemporain de l’art en Allemagne. Artiste plasticien touche-à-tout, il a fait de son personnage le médium central de son œuvre, par une mise en abysse permanente de sa position de grand artiste, entre génie romantique et artiste brut. Il est célèbre pour ses discours provocateurs – il proclame la « dictature de l’art » et reprend le salut hitlérien dans une esthétique influencée par le mouvement punk.Jouant des ambivalences de l’héritage Richard Wagner, Meese fait intervenir dans ses œuvres la figure du maître de Bayreuth, parmi d’autres figures issues de la haute culture allemande mais aussi de la culture populaire. L’exploration des enjeux de son engagement par le Festival montre que l’association de ces deux personnages, par l’étrange résonnance qu’elle produit,a le potentiel d’actualiser une part de l’héritage de Richard Wagner : la dimension radicale et totale de son œuvre.Cependant, l’enquête ethnographique réalisée parmi les wagnériens, au Cercle Richard- Wagner de Paris et au Festival de Bayreuth, montre que cet héritage est l’objet d’autres enjeux qui rendent le renouvellement difficile. D’autres préoccupations personnelles et d’autres valeurs, liés à l’excellence musicale, à la mondanité élitiste et la convenance touristique, favorisent une rigidification des attentes des publics. Celle-ci aura empêché l’œuvre réunissant Meese et Wagner de voir le jour.Le récit de la conception du spectacle qui fut imaginé pour Bayreuth montre les différents métiers aux prises avec les exigences de cette rencontre entre art contemporain et drame musical. Des divergences importantes y ont été observées quant aux manières de procéder ensemble sur le « sentier » de la création, et ce jusqu’à la présentation finale. Je décris la manière dont les images émergent dans l’espace de la discussion, comment différents supports sont utilisés pour les laisser évoluer ou pour les fixer temporairement. Je montre l’évolution cyclique des « versions » reprises à chaque séance, ainsi que les compétences des collaborateurs de l’artiste dans cet effort cognitif distribué.Enfin, j’ai utilisé la méthode ethnographique du dessin sur le vif pour faire le récit des répétitions de l’opéra contemporain Mondparsifal. Par cette méthode du dessin, par ses développements théoriques et par ses récits en première personne, cette dissertation pose l’étude des ambiances comme élément central dans le compte rendu des processus de création. Cette enquête interdisciplinaire met en évidence la singularité de Jonathan Meese en tant qu'artiste et producteur de théâtre, tout en abordant des questions plus vastes sur les processus créatifs polémiques
This doctoral dissertation interweaves the fields of anthropology of art and that of performance studies to examine the work of Jonathan Meese around the drama Parsifal. Through several ethnographic inquiries presented as a series of narratives and analysis, this monograph addresses the singular destiny of an artistic project that I followed in participant observation between 2014 and 2017: the conception of a staging for the opera Parsifal. This event allows the telling of the story of a paradoxical encounter between a contemporary artist, Jonathan Meese, born in 1970, and an artist of the past, Richard Wagner (1813-1883), two controversial polemicist creative figures in the Germany of their own times.The show was to take place in the 2016 edition of the Bayreuth Festival. The staging, with scenography and costumes, was designed by Meese and his team, and presented to the intendants. But the affair did not turn out as planned: they were not accepted for the Festival and the breach of contract was the occasion for a lively controversy. Yet the encounter took place, as a design process, in the performance of the artist, and brought forth another opera - the Mondparsifal - presented in Vienna and Berlin in 2017.Jonathan Meese holds an important position in the contemporary art landscape in Germany. A prolific visual artist, he has made his character the central medium of his work, by a permanent mise en abime of his position as a great artist, between romantic genius and art “brut”. He is famous for his provocative speeches - he proclaims the "dictatorship of art" and performs Hitler's salutes in an aesthetic influenced by the punk movement. Playing with the ambivalences of the Richard Wagner legacy, Meese brings into his work the figure of the Bayreuth master since the beginning of Wagner’s’ career – along with pop-culture figures and fairy-tales characters. The exploration of the stakes of his engagement by the Festival shows that the association of these two characters, by the strange resonance that it produces, has the potential to update a part of the heritage of Richard Wagner: the radical and total dimension of his controversial work. However, the ethnographic survey carried out among the Wagnerians, at the Richard-Wagner Circle of Paris and the Bayreuth Festival, shows that this heritage is the subject of a complex set of tensions that make renewal difficult. Personal concerns and long-established aesthetic musical values, discourses related to musical excellence, elitist worldliness and touristic convenience, favour a stiffening of public expectations.The first-person narrative of the staging's conception depicts the professional team struggling with the requirements of this encounter between contemporary art and musical drama. Significant divergences were observed as to how to proceed together on the "path" of creation - until the final presentation. I describe how the images of the staging emerge in the discussion space, how different media is used to let them evolve or to fix them temporarily. I show the cyclical evolution of the "versions" taken up at each session, as well as the skills of the collaborators of the artist in this effort of distributed cognition.Finally, I used ethnographic drawing to relate the rehearsals of the contemporary opera Mondparsifal. Through drawings, theoretical approaches, and ethnographic narrative this dissertation stays linked with the study of atmospheres as a central element in the account of the processes of creation. This interdisciplinary inquiry highlights the singularity of Jonathan Meese as an artist and theatre producer while engaging with larger questions about polemical creative processes
Diese Dissertation verbindet die Bereiche Anthropologie der Kunst und Performance Studies, um das Werk von Jonathan Meese um das Drama Parsifal zu untersuchen. Durch mehrere ethnografischen Untersuchungen, die als eine Reihe von Erzählungen und Analysen präsentiert werden, widmet sich die Monographie dem einzigartigen Schicksal eines künstlerischen Projekts, das ich zwischen 2014 und 2017 in teilnehmender Beobachtung verfolgt habe: die Konzeption einer Inszenierung für die Oper PARSIFAL. Dieses Ereignis ermöglicht die Narration der Geschichte einer paradoxen Begegnung zwischen einem zeitgenössischen Künstler, Jonathan Meese (Jahrgang 1970) und einem Künstler der Vergangenheit, Richard Wagner (1813-1883) - zwei umstrittene, polemische und schöpferische Figuren in Deutschland.Die Aufführung sollte 2016 im Rahmen der Bayreuther Festspiele stattfinden. Die Inszenierung mit Szenografie und Kostümen wurde von Meese und seinem Team entworfen und den Intendanten präsentiert. Aber die Sache lief nicht nach Plan: Sie wurden für das Festival nicht angenommen, der Vertragsbruch verursachte einen Skandal. Doch die Begebenheit fand als Entwurfsprozess und in einer Performance des Künstlers statt und brachte eine weitere Oper hervor - das MONDPARSIFAL -, das 2017 in Wien und Berlin aufgeführt wurde.Jonathan Meese nimmt eine wichtige Position in der zeitgenössischen Kunstlandschaft Deutschlands ein. Als bildender Künstler hat er seinen Charakter zum zentralen Medium seiner Arbeit gemacht, indem er seine Position als Künstler, zwischen romantischem Genie und der Art "brut", immer wieder hinterfragt. Er ist berühmt für seine provokanten Reden, proklamiert die "Diktatur der Kunst" und führt den Hitlergruß in einer von der Punk- Bewegung beeinflussten Ästhetik aus. Mit den Ambivalenzen des Richard-Wagner- Nachlasses spielend, bringt Meese die Figur des Bayreuther Meisters von Anfang an mit Popkulturfiguren und Märchenfiguren zusammen. Die Erforschung seines Auftrags bei den Bayreuther Festspiele zeigt, dass die Verbindung der beiden Charaktere, durch die besondere Resonanz, die sie erzeugt, das Potential hat, einen Teil des Erbes von Richard Wagner zu aktualisieren: die radikale und totale Dimension dieser kontroversen Arbeit. Die ethnografische Untersuchung der Wagnerianer, des Richard-Wagner-Verbandes in Paris und der Bayreuther Festspiele zeigt jedoch, dass dieses Erbe komplexe Spannungen erzeugt, die eine Erneuerung erschweren. Persönliche Anliegen und alteingesessene ästhetische Vorstellungen von Musik, Diskurse in Bezug auf musikalische Exzellenz, elitäre Weltläufigkeit und touristische Bequemlichkeit begünstigen eine Versteifung der öffentlichen Erwartungen.In der Erzählung des Konzeptionsprozesses wird das professionelle Team dargestellt, das sich mit der Begegnung zwischen zeitgenössischer Kunst und Musiktheater auseinandersetzt. Signifikante Konflikte wurden beobachtet, wie auf dem "Weg" der Schöpfung bis zur endgültigen Präsentation gemeinsam vorzugehen ist. Ich beschreibe, wie die Bilder der Inszenierung im Diskussionsraum entstehen, wie verschiedene Medien dazu benutzt werden, sich zu entwickeln oder temporär zu fixieren. Ich zeige die zyklische Entwicklung der "Versionen", die in jeder Sitzung aufgegriffen wurden, sowie die Fähigkeiten der Mitarbeiter des Künstlers in diesem Bemühen um verteilte Erkenntnis.Schließlich habe ich ethnografische Zeichnungen verwendet, um die Proben der zeitgenössische Oper MONDPARSIFAL zu erzählen. Durch Zeichnungen, theoretische Ansätze und ethnografische Narrationen ist die Dissertation mit dem Studium der Atmosphären als zentralem Element in der Darstellung der Schöpfungsprozesse verbunden. Diese interdisziplinäre Untersuchung beleuchtet die Einzigartigkeit von Jonathan Meese als Künstler und Theatermacher, und beschäftigt sich mit zentralen Fragen zu kreativen Prozessen

Cette thèse porte sur les enjeux esthétiques qui guident le processus de réalisation d'une action performative. Elle recherchera à analyser et à comparer des moyens de résolution et de cohabitation des éléments du discours des arts visuels en relation avec ceux des arts dramatiques et de la musique. Cette préoccupation, au centre de notre recherche, doit nous amener à comprendre la visée de l'art comme élément indissociable des pratiques individuelles et collectives dans la société africaine. C'est pour stigmatiser cette réflexion que notre thèse s'intitule « De la comédie vidéo performance à la performatologie, essai d’une théorisation de la performance en terre africaine et ailleurs ». Déterminer le champ de la performance en Afrique et répondre à sa culture revient à chercher à comprendre cet art, cette science dans la société, qui relève d'une analyse du vécu et des habitudes quotidiennes de l'Africain. Répondre aux préoccupations d'un tel sujet revient à traiter en outre des sources de connaissances, de conservation et d'enrichissement du langage de l'art performatif contemporain africain. Cette visée nourrit pratiquement les repères d'une histoire socioculturelle qui livre les formes du savoir de la comédie vidéo performance à travers la force du déclic instinctif et poïétique. Tel que nous le concevons, l'analyse systémique des enjeux esthétiques performatifs dans la reconfiguration du corps est un support de la créativité. Alors comment cette analyse de la créativité par la performance dans la comédie vidéo performance pourrait-elle participer à l'enrichissement du langage artistique contemporain ?
This thesis deals with the aesthetic issues that guide the process of performing a performative action. It will seek to analyze and compare means of resolution and cohabitation of the elements of visual arts discourse in relation to those of the dramatic arts and music. This concern, at the research center, must lead us to understand the aim of art as an indissociable element of individual and collective practices in African society. It is to stigmatize this reflection that our thesis is titled “Field and culture of performance in Africa: the comedy video performance”. To determine the field of performance in Africa and to respond to its culture is to seek to understand this art, this science in society, which is based on an analysis of the African's daily life and habits. Responding to the concerns of such a subject is to further address the sources of knowledge, conservation and enrichment of the language of contemporary African performative art. This aim practically nourishes the markers of a socio-cultural history that delivers the forms of knowledge of video performance comedy through the force of instinctive and poetic instincts. As we understand it, the systemic analysis of performative aesthetic issues in the re-configuration of the body is a support for creativity. So how could this analysis of creativity through performance in video comedy performance participate in the enrichment of contemporary artistic language?