Se o que existiu e foi fotografado na paisagem urbana possibilitou a incorporação do que se tornou visível nos artefatos nominados Documentos poéticos, no acervo artístico e no projeto curatorial de exposições do Museu de Arte do Rio Grande do Sul Ado Malagoli (2011-2014), como O Cânone pobre: uma arqueologia da precariedade na arte; em contraste, propiciou a organização dos Relatórios imaginais correspondentes à Coleção Objetos de pesquisa em artes plásticas, os quais existem, foram fotografados durante o experimento e, pelo viés histórico, incorporados ao acervo do Museu Paranaense e socializados no Pergamum (2012- 2014). Esse princípio metodológico para estruturar a investigação sobre o gesto fotográfico como ato criativo em espaços transitórios, das ações museológicas praticadas por seres humanos em relação com os objetos circundantes, assegurou inteligentes graus de interação além da época de nossa cidade Curitiba, ao sul do Brasil. Neste duradouro work in progress, fragmentário, porque é aberto e comunicável como deve ser seu destino, o objetivo acentuado é o de dizer e mostrar algo que se veja da entropia e da ruína na forma de arte em processo observado desde o início. As noções de ‘transitoriedade’, encontrada na Origem do drama barroco alemão; do ‘progresso’ e da ‘atualização’, no Livro de los pasajes, em que estão dispostos, respectivamente, os papéis dos “rollos” D [El tedio, eterno retorno] e N [Teoría del conocimiento, teoría del progreso], obras de Walter Benjamin (1892-1940), são colocadas em movimento dialético com a ‘fenomenologia’ e a ‘comunicação’, de Vilém Flusser (1920- 1991), em Los gestos, de fotografar entre distintos de ‘buscar’ a relação concreta entre o ‘sujeito conhecedor’, o ‘objeto cognoscível’ e a adaptação entre ambos, dando sentido ao que ‘move o observador’. Para novos modos de concretizar, ver, refletir sobre a arte, a ciência, a partir da dúvida que enfrenta o informe, no presente, a noção de ‘espaço’ como resultado da ligação ação-objeto-sujeito com a totalidade, vem da obra A natureza do espaço: técnica e tempo, razão e emoção, de Milton Santos (1926-2001). Na direção do recorte com resultados, foram incluídas as visões de mundo de artistas qual Albrecht Dürer (1471-1528) e Paul Klee (1879-1940), Kurt Schwitters (1887-1948) e Hannah Höch (1889-1978), da vanguarda alemã e dos contemporâneos norte-americanos Robert Smithson (1938-1973) e Gordon Matta-Clark (1943-1978), aptos a recordar o que pensavam fazer. / If what existed and was photographed in the urban landscape has allowed the incorporation of what has become visible in the artifacts named Poetic documents, in the art collection and in the curatorial of exhibitions of Art Museum Ado Malagoli at Rio Grande do Sul (2011-2014), as The poor canon: the precariousness of archeology in fine arts; in contrast, this has led to the organization of Imaginal reports corresponding to the Collection Objects for research in Fine Arts, which exist, were photographed during the experiment, and for their historical bias, were incorporated in the collection of the Paranaense Museum as well as socialized in the Pergamum (2012-2014). This methodological principle of structuring research on the photographic gesture as a creative act in transitional spaces, of the museum actions taken by human beings in relation to surrounding objects, has assured intelligent degrees of interaction beyond the era of our city Curitiba, in the south of Brazil. In this long lasting work in progress, fragmentary, because it is open and communicable as its destination should be, the sharp goal is to show and tell something where entropy and ruin may be seen in the form of art in the observed process from the start. The notions of ‘transience’, found in the book Origin of the german baroque drama; of ‘progress’ and ‘updating’, in the Book of passages, in which are displayed, respectively, the roles of “rolls” D [Boredom, the eternal return] e N [Theory of knowledge, theory of progress], both writings by Walter Benjamin (1892-1940), are placed in dialectical movement with the ‘phenomenology’ and ‘communication’, by Vilém Flusser (1920-1991), in The Gestures, of photographing between differences of ‘searching for’ the concrete relationship between the ‘knowledgeable subject’, the ‘knowable object’ and adaptation between them, giving meaning to what ‘moves the observer’. For new ways of realizing, seeing, reflecting on the art, science, staring from doubt that emerges from the report, at present, the notion of ‘space’ as a result of the binding relationship action-object- subject with totality, comes from the work The nature of space: technique and time, reason and emotion, by Milton Santos (1926- 001). In the direction of the clipping with results, were included worldviews of artists such as Albrecht Dürer (1471-1528) and Paul Klee (1879- 1940), Kurt Schwitters (1887-1948) and Hannah Höch (1889-1978), of the German avant- garde and of the contemporary Americans Robert Smithson (1938-1973) and Gordon Matta- Clark (1943-1978), all able to remember what they thought to do.

This thesis document serves as a support paper for my exhibition titled, Selected Work. The goal of this document is to present and discuss a set of ideas and interests as they pertain to my studio practice and thesis project in particular, and to contemporary (ie. current) art practices in general. In this document I examine selected works from Marcel Duchamp, Andy Warhol, Andy Kaufman, Maurizio Cattelan and Richard Prince. Through the exploration of these artists and their works, I begin by examining the object and the conditions that give it approval as an art object. Using these conditions, I examine the effect that experience has on the object. This support paper will serve as a glossary of terms and theoretical concerns relevant to my thesis exhibition / vi, 64 leaves : col. ill. ; 29 cm

Ceramics has always existed on the fringes of craft and high art. The purpose of this thesis project is to elevate clay beyond the traditions of craft by examining the historical use of clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced object and reflecting upon it’s validity as high status art object. In this project I am also interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts vents-- with a specific focus on systems lurking inside walls and how these function to influence architectural space. With the advent of modern plumbing, concealing these elements was adopted as the new standard and still exists today. Through the presentation of defamiliarized handmade objects, my exhibition presents the appearance of manufactured material through the serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the material unrecognizable providing the viewer with a new view on the object's tradition. / v, 47 leaves : ill. ; 29 cm

The work deals with the theme of women's life through the stages it passes on its way to the conclusive process of ageing and dying. It tries to study this fenomen through the structure, shape changing and sarcolysis that permeates the cycle of human life.

This work deals with the possibilities to use modern art in the leisure time. The theoretical part charakterises the pedagogical conceptions of Bauhaus, Paul Klee and Wassily Kandinsky. It deals with the issue of the artwork reception and with the developement and present circumstances of the art education at schools but also in terms of the leisure time. The practically part makes use of this theoretical knowledge and apllies it to the practices. For a better orientation is the project divided into two sections. The aim of the first part is the aplication of the integral method in the art education. The second part focuses on the work with the expressive means.

Indiana University-Purdue University Indianapolis (IUPUI) / Finely-tuned solvent mixtures are used by art conservators for the difficult task of safely and selectively removing yellowed varnish, disfiguring grime, and discolored overpaint from the surface of oil paintings. This process is often referred to as “picture cleaning” and depends on the different solubilities of the obfuscating surface materials and the underlying paint medium. However, differential evaporation rates for the solvents used in these carefully formulated cleaning mixtures can change the potency of the mixture over time, which could potentially lead to solutions having solubility characteristics that are ineffective at cleaning, or worse yet, are deleterious to artists’ oil paints. Azeotropic blends of solvents have been proposed as an alternative for maintaining consistent solvent composition throughout the evaporation process while benefiting from their high vapor pressure relative to the pure solvents. Azeotropes are specific combinations of two or more solvents at a precise concentration that behave as a single solvent, maintaining a constant composition in both the liquid and vapor phases. The use of purportedly azeotropic solvent blends has appeared in the art conservation literature for the cleaning of historic objects and paintings. However, these solvent mixtures are taken from tables of azeotropic compositions given at their boiling point. We have studied one of these solutions, a 19:81 vol% mixture of isopropanol and n-hexane. For the first time, the actual evaporation behavior of this purported azeotropic mixture was followed in detail at room temperature conditions. Through the use of rudimentary vapor pressure measurements, gravimetric analysis, as well as sophisticated compositional determinations of both the liquid phase and headspace of evaporating mixtures by gas chromatography, this particular cleaning solution has been shown to be zeotropic (i.e. NOT an azeotrope) under the conditions typical of conservation studios. The true room temperature azeotropic composition was found instead to contain half as much isopropanol at 9.5 vol%. Art conservators should therefore be dubious of purportedly azeotropic mixtures reported at boiling points well above room temperature. Individual azeotropic cleaning blends are best determined chemically prior to their use in art restoration. Furthermore, the introduction of a model paint film to the evaporating room temperature azeotrope was shown to further confound its behavior, calling into question whether solvent systems can be configured to evaporate with constant composition from the surface of an artwork.

The dissertation studies the features and modes adopted by the street art in urban cultural space. The text presents an analysis of history and contemporary forms of street art in Russia. Through the works of major artists, themes and festivals, the author elucidates characteristic features of Ekaterinburg street art, explores the work of “Sweater” street art gallery and the experience of the All-Russian Street Art Festival “Stenograffia”. Sociological research conducted by the author helps to understand the attitudes of Ekaterinburg’s younger population towards specific street art objects and street art in general. / Диссертация посвящена изучению особенностей и форм проявления street art в культурном пространстве города на примере г. Екатеринбурга. Анализируется история и современные формы street art в России. Через работы значимых художников, темы и фестивали выявляются особенности стрит-арта в Екатеринбурге, исследуется деятельность галереи уличного искусства «Свитер» и опыт проведения Всероссийского фестиваля уличного искусства «Стенограффия». На основе проведенного социологического опроса выявляется отношение молодежи г. Екатеринбурга к отдельным объектам уличного искусства и стрит-арту в целом.

Магистерская диссертация посвящена исследованию стрит-арт-открыток и уличному искусству в целом: рассмотрению американской и французской традиций, рассмотрению особенностей российского стрит-арта и его правового регулирования. Также работа включает в себя анализ современного состояния уличного искусства г. Екатеринбурга и классификацию стрит-арт-объектов города. Для разработки концепции издательского проекта стрит-арт-открыток был осуществлен анализ рос¬сийского книжного рынка в специфике публикаций об уличном искусстве и анализ открыток, посвященных стрит-арту, проведена оценка востре¬бованности продукта посредством сегментирования целевой аудитории и выведения «персонажей», а также рассмотрены структурно-содержательные и визуально-полиграфические особенности издания. Издательский продукт представляет собой набор открыток в количестве 12 штук формата А6, посвященный уличному искусству Екатеринбурга. / The master's thesis is devoted to the study of street art postcards and street art in general: consideration of the American and French traditions, consideration of the features of Russian street art and its legal regulation. The work also includes an analysis of the current state of street art in Yekaterinburg and classification of street art objects in the city. To develop the concept of a publishing project street art-cards performed analysis of the Russian book market in the specific publications about street art and analysis of postcards dedicated to street art, evaluated demand for the product by segmenting the target audience and removing "characters", and discusses the structural and visual features of the edition. The publishing product is a set of postcards in the amount of 12 pieces of A6 format, dedicated to the street art of Yekaterinburg.