I samarbete med Norconsult och kund ska denna rapport undersöka inomhusklimatet i ett museum och resultera i ett förslag på ett kontrollsystem för Heating, Vetilation and Air conditioning (HVAC) som genererar stabil temperatur och relativ luftfuktighet (RF) inom rekommenderade gränsvärden för konstbevaring. Genom litteraturstudier, fältstudier, dataanalys och skapandet av en simulerad modell av utrymmet, ska ett förslag om lämplig kontrollmetod av HVAC framläggas. Vid test av olika kontrollmetoder, tog sig MPC-kontrollen sig bäst ut. Litteraturstudien innefattar flera studier och rapporter som använt sig av MPC-kontroll för liknande projekt med fördelaktiga resultat. Resultaten av dataanalysen visar att under stor del av loggnings-perioden avvek temperatur och/eller RF från gränsvärdena. I vissa utrymmen var uppemot 99% av de loggade värdena utanför gränsvärdet för antingen temperatur eller RF. Av samtliga sensorsamplingar på museet låg 48,53% av dessa utanför de satta rekommendationerna. Generellt var luften i museet för varm och torr till syftet konstförvaltning. Vid jämförelse av de tre utvecklade MPC-kontrollerna, visar alla varianterna till att generera stabila resultat. Det framarbetade förslaget indikerar på ett energieffektivare kontrollsystem gentemot befintligt. Om simuleringsmodellen av utrymmet visar skilja sig från verkliga förhållanden, förändras dynamiken i systemet, och inställningarna för MPC-kontrollen gäller ej längre utan behövs konfigureras om. Projektets primära mål om att generera ett optimerat systemförslag som kontrollerar parametrarna temperatur RF, anses ha uppnåtts - om än endast i simulerade resultat. Vidare arbete innefattar att verifiera modellen mot befintligt system, och därefter inkludera kostnadsfunktioner till MPC-kontrollen. Efter systemimplementering bör faktiska utfall jämföras med simulerade utfall för att utvärdera modellens precision. / In collaboration with Norconsult and the customer, this report will examine the indoor climate in the museum and result in a proposal for a control system for HVAC that generates stable temperature and RH within recommended values ​​for the preservation of art. A proposal for an appropriate control method of the HVAC shall be presented through literature studies, field studies, data analysis, and the creation of a simulated model of the environment. The MPC control performed best during the testing of different control methods. The literature study includes several studies and papers that use MPC control for similar projects with beneficial results. The results of the data analysis show that during a large part of the logging period, the temperature and/or RH deviated from the limit values. In some areas, up to 99% of the logged values ​​were outside recommendations. Of all sensor samplings at the museum, 48.53% of these were registered outside limit values. In general, the air in the museum was too hot and dry for art preservation. When comparing the three developed MPC controllers, all variants show to generate stable results. The elaborated proposal indicates a more energy-efficient control system compared to the existing one. If the simulation model of the environment turns out to differ from real conditions, the dynamics of the system change , and the settings for the MPC control no longer apply and need to be reconfigured. The project's primary goal of generating an optimized system proposal that controls the temperature and relative humidity is considered to have been achieved - albeit only in simulated results. Further work includes verifying the model against the existing system and including cost functions to the MPC control. After system implementation, actual outcomes should be compared with simulated outcomes to evaluate model precision.

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Con el paso del tiempo, el concepto de un museo se ha sido sometido a cambios. Este proceso evolutivo se ha dado de ser un lugar de almacenamiento o “vitrina” a ser un lugar de estudio e investigación en constante evolución. Esta institución tiene el deber de desarrollarse en función al público al que se enfoca con la pretensión de educar y comunicar. Los museos del futuro serán tal cual hoy se conciba. El proyecto consiste en la implementación del Nuevo Museo de Arte Contemporáneo de Lima, cuya función radica en proteger y albergar obras artísticas desde los años 50 hasta la actualidad con el fin de ser un transmisor cultural. / Over time, the concept of a museum has undergone changes. This evolutionary process has turned from being a storage place or "showcase" to being a place of study and research in constant evolution. This institution has the duty to develop according to the public that it targets with the aim of educating and communicating. The museums of the future will be as they are conceived today. The project consists of implementing the new Museum of Contemporary Art of Lima, whose function is to protect and house artistic works from the 1950s to the present day in order to be a cultural transmitter. / Tesis

In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today. / text

Made available in DSpace on 2016-12-08T16:19:07Z (GMT). No. of bitstreams: 1 bibliotecaDISS.pdf: 37142 bytes, checksum: 083aa1c735cca8e75432a7af14e6f682 (MD5) Previous issue date: 2010-10-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this study is to analyze a research experience involving a group of visually impaired people in an inclusion process through contemporary art, with emphasis on these students learning process. In order to achieve this purpose, data from the Oficina de Arte: reflexões contemporâneas ( Art Workshop: contemporary reflections ) were collected and analyzed. a total of eight people participated in the ten meetings of this three-month workshop. This analysis is the result of reflections that came up during the period as an undergraduate student in a university extension project with a visually impaired group of people. This project entailed some mediation in an art museum, where it was possible to verify the non-presence of this audience in such places. To carry this study, a participative research of qualitative nature was applied. Therefore, data collected from the subjects researched; an investigation of contemporary art and its materials, poetics, contexts and works accessible to the visually impaired, and a pedagogical approach were all taken into consideration. The basic tools and materials used in contemporary art were adapted and analyzed as knowledge mediators in the workshop. For the investigation of the accessibility and inclusion of this audience, the participation of sighted people was requested in the same workshop. Thus, it was possible to establish relationships in the investigation with what concerns the learning process through contemporary art. This data analysis verified the following aspects: visually impaired people are able to appreciate contemporary art through multisensory learning and artwork that requires little or no adaptation; the inclusion may take place in art classes in formal and non-formal learning, with approaches that engage both visually impaired and sighted people / O objeto deste estudo é a análise de uma experiência de pesquisa com público com deficiência visual e sua inclusão por meio da arte contemporânea, com foco nas aprendizagens realizadas pelos estudantes. Foram, para tanto, coletados e analisados dados a partir da Oficina de Arte: reflexões contemporâneas , que contou com a participação de oito pessoas, em dez encontros, em um período de três meses. O presente estudo originou-se de inquietações surgidas no período de estudante de licenciatura e no trabalho em extensão universitária em um projeto com público deficiente visual, no qual ocorreram mediações em um museu de arte, possibilitando constatar a não frequência deste público nestes espaços. Para o desenvolvimento do estudo adotou-se a pesquisa participante, de natureza qualitativa. Assim sendo, organizaram-se os dados a partir do contexto dos pesquisados; investigou-se a arte contemporânea, seus materiais, poéticas, contextos e propostas que fossem acessíveis ao público com deficiência visual; teve-se como foco uma abordagem pedagógica em Arte. Os objetos do cotidiano presente na arte contemporânea foram adaptados e analisados, como mediadores de conhecimentos na oficina. Para que a acessibilidade e inclusão deste público fossem investigadas, na oficina de coleta de dados, optou-se pela participação de pessoas videntes, também. O que permitiu, estabelecer relações, no que diz respeito as aprendizagens por meio da arte contemporânea. Na análise de dados constatou-se, entre outros resultados, que os deficientes visuais podem conhecer a arte contemporânea por meio de aprendizagens multissensoriais e obras que necessitem de pouca ou nenhuma adaptação; que a inclusão pode acontecer nas aulas de Arte no ensino formal e não formal, utilizando-se abordagens que envolvam tanto os deficientes visuais quanto os videntes

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims investigate three spaces of exhibitions, where each one guards its specificity: The Art & Fact Gallery, a commercial space; the Contemporary Art Museum of Rio Grande do Sul MACS/RS, a institutional space and the Torreão, a collective initiative of artists, in a meaningful time covering the years of 1985 and 1997, in Porto Alegre City. What interested us searching, mainly, was the feature common on all three, that is, the extent to which each contributed as a space of legitimation of artists who were beginning their careers in the mid 80's and 90's. From the historiography did the analysis of the performances of such spaces in relation to production, distribution and consumption of art in that period, despite the relationships between spaces, the artists and arts system in force, noting the changes that promoted into the field of art in Porto Alegre. The survey, regarding the methodology, procedures relating to research combines theoretical and field. The first will have its foundation in important authors who wrote about the period as Iclaia Cattani, Blanca Brites, Marilene Burtet Pieta, Anna Maria Albani de Carvalho and Maria Amelia Bulhões, like Gomes and Paulo Tadeu Chiarelli, and other influential theorists different areas such as Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum and Ligia Canongia. To reach our goals the field research was fundamental because the interviews with officials, directors and managers, was instructive, because understanding its dynamic presentation of art, we understand them as spaces of legitimation. / A presente pesquisa tem por objetivo investigar três espaços de exposições, em que cada um guarda a sua especificidade: a Galeria Arte & Fato, espaço de cunho comercial; o Museu de Arte Contemporânea do Rio Grande do Sul MAC/RS, espaço institucional; o Torreão, iniciativa coletiva de artistas, em um recorte temporal que abrange os anos entre 1985 e 1997, na cidade de Porto Alegre. O que interessou pesquisar, principalmente, foi a característica comum aos três, ou seja, em que medida cada um deles contribuiu como espaço de legitimação de artistas que estavam iniciando as suas trajetórias em meados dos anos 80 e na década de 90. A partir da historiografia, realizou-se a análise das atuações dos referidos espaços no que tange à produção, à divulgação e ao consumo de obras de arte no citado período, estabelecendo relações entre os espaços, artistas e sistema de artes vigente, constatando as mudanças que promoveram para o campo da arte em Porto Alegre. A pesquisa, no que diz respeito à metodologia empregada, conjuga procedimentos referentes à pesquisa teórica e à de campo. A primeira tem o seu embasamento em autores importantes que escreveram sobre o período, como Icleia Cattani, Blanca Brites, Marilene Burtet Pieta, Ana Maria Albani de Carvalho e Maria Amélia Bulhões, assim como Paulo Gomes e Tadeu Chiarelli, além de outros teóricos influentes de áreas diferenciadas, dentre eles, Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum e Ligia Canongia. Para atingir os objetivos, a pesquisa de campo revelou-se fundamental, pois as entrevistas com os responsáveis, os diretores e os gestores mostraram-se elucidativas; assim, entendendo as dinâmicas de apresentação da arte, compreende-se tais locais como espaços de legitimação.

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KM II. An analysis of Malmö Art Museum’s satellite space as extra-institutional practice maps the activities of the hitherto unexplored satellite exhibition space KM II, including the 14 exhibitions that were shown in KM II’s two spaces in Malmö’s harbor and in the suburb Rosengård. The essay contributes new perspectives on extra-institutional exhibition practices by analyzing KM II as an actor on the then much discussed art scene of Malmö, during the years 1992 to 1994. The essay also describes trans-local artistic connections over the Baltic Sea, pri- marily between Malmö and Hamburg. I describe the extra-institutional practice of KM II through the model “The Public as Alternative” (Det offentliga som alternativ). The practice created favorable conditions for extensive and often paid artistic work in an unconventional exhibition space, which also made KM II meet the strained situation on the local art scene, partly caused by the financial crisis of 1992. Last, the essay examines the complex relationship between the exhibitions, the institution, the place, and the audience, that made the extra-institutional status of KM II dissolve at Rosengård, during a time that can be described as a transitional phase in museum education.

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