The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse-dependent concept, all art professionals seek something that is an inherent quality of the artwork. However, regardless of the existence of such inherent value, judgments on quality are constructed by and subjected to power-struggle. / Art History, Visual Arts and Musicology / M.A. (Art History)

Orientador: Luise Weiss / A biblioteca do IA acompanha 2 DVD-R / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T02:45:00Z (GMT). No. of bitstreams: 1 Cardoso_SilviaHelenadosSantos_D.pdf: 204143936 bytes, checksum: 8684d797a1436e3233a9c041032a67bb (MD5) Previous issue date: 2011 / Resumo: Estrada, Paisagem e Capim - Fotografias e Relatos no Jalapão é uma pesquisa em Poética Visual constituída por viagens - como deslocamento e experiência estética - ao cerrado jalapoeiro, no interior do Estado do Tocantins. A fotografia digital e as anotações se constituem como expressão e desenvolvimento do percurso processual do trabalho realizado. As referências teóricas e visuais contaram com a Antropologia como essência, metodologia e inserção no campo de pesquisa e a Arte como espaço de reflexão e criação para o caminho poético. Diferentes questionamentos surgiram ao longo do desenvolvimento do fazer artístico e acabaram por delimitar o trabalho. Nesta pesquisa, arte, natureza e cultura tornam-se pares no processo de registro e percepção da intuição criativa fotográfica, enfatizando assim, o caráter de "work in progress". Um Livro de Fotografias e um DVD sonorizado com 170 imagens são apresentados como processo e resultado do trabalho poético / Abstract: Road, Landscape and Grass - Photographs and Reports in the Jalapão is a research in Poetic Visual consisting of travels - such as displacement and aesthetic experience - to the brazilian savannah, in the State of Tocantins/BR. The digital photography and the written summary notes are as expression and development of the proceedings of the visual work done. The theoretical and visual references counted with the Anthropology as well as essence, methodology and insertion in the field of research, and the Art to be a space for reflection and creation for the poetic way. Different questions have arisen in the course of the development of artistic making and ultimately define the work. In this research, art, nature and culture have become parts in the process of registration and perception of the creative intuition photographic, emphasizing the character of "work in progress". A book of photographs and a DVD with sound and 170 images are presented as a process and outcome of the research poetic / Doutorado / Artes Visuais / Doutor em Artes

This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work

Orientador: Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T11:20:26Z (GMT). No. of bitstreams: 1 Pereira_AdrianaCamargo_M.pdf: 5246882 bytes, checksum: cf0d620ec8d8535bb1019ffa7415bdf4 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação reflete sobre a necessidade de pensar, investigar e estudar o corpo na arte contemporânea. O local que se elegeu para abordar o objeto de estudo foi o Instituto Inhotim - Centro de Arte Contemporânea, que se encontra em Brumadinho - MG. O texto está dividido em quatro capítulos. O primeiro capítulo busca compreender de quais corpos se está tratando, das suas especificidades, dos seus entrelugares e de que forma esses corpos se manifestam na arte contemporânea. O segundo capítulo aborda a discussão do corpo, seus reflexos e sua duplicidade segundo as instalações das artistas Valeska Soares e Yayoi Kusama. No terceiro capítulo, trava-se uma discussão entre os artistas e as respectivas obras de Matthew Barney e Tunga, onde o corpo se coloca em constantes questionamentos e diálogos entre o híbrido e o metamorfoseado. E no quarto e último capítulo, referendam-se questões acerca do corpo e da tecnologia onde novas geografias sonoras e audiovisuais são pensadas e executadas como forma de incorporar os dispositivos e os meios eletrônicos quase inseparáveis e indispensáveis para os indivíduos, hoje, no espaço da arte e como prolongamento do corpo; para tanto foram selecionados o casal Cardiff & Miller e o artista Doug Aitken / Abstract: This essay shows the need that one has to think, investigate and study the body in contemporary art. Inhotim Institute - Center of Contemporary Art, located at Brumadinho - MG was the chosen place for this thesis. The text has been divided into four chapters. The first chapter searches to understand which bodies are being discussed; their specificities, their "in-between-places" and most of all how these bodies are manifested in contemporary art. The second chapter addresses the discussion of the body, its reactions and its duplicity; all in accordance with the installations of the artists Valeska Soares and Yayoi Kusama. The third chapter welcomes you into a debate between the artists Matthew Barney and Tunga, and their works. Where the body is put into questioning, and an open dialogue surges between the hybrid and the modified. The fourth and final chapter indorses questions about body and technology; where the new sound and audiovisual characteristics are thought and executed as a way to integrate gadgets and electronic media. Showing that it could become almost an inseparable and indispensable tool for anybody in today's art; where art is an extension of the body; for this, I've selected the couple Cardiff & Miller and the artist Doug Aitken / Mestrado / Artes Visuais / Mestra em Artes Visuais

This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

Orientador: Francisco Elinaldo Teixeira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T09:40:46Z (GMT). No. of bitstreams: 1 Rios_EdnaMaria_M.pdf: 1169066 bytes, checksum: 9f2ceefed4050cc633a6ae7802e6de8a (MD5) Previous issue date: 2015 / Resumo: A presente dissertação, apropria-se da experiência audiovisual do dispositivo-jantar como objeto de reflexão, perpassa as seis cerimônias realizadas entre as cidades de Salvador e São Paulo, e encontra, nos rituais instalados em situação de rua, a possibilidade tanto de situar-se no devir criativo do projeto aqui esboçado: Entre ruas e calçadas, como de penetrar diferentes territórios audiovisuais com montagens e apropriações de sua malha imagética. O que o presente texto oferece é o sopro de uma criação que tem a incompletude como condição, a incerteza como única certeza. Em seu começo, uma disposição primeira: a cerimônia do jantar. Em seu percurso, a escultura de uma força criativa que se fez e refez no encontro com seus intercessores. Da inoperância temática, a abertura de possibilidades de seu dispositivo de escritura em diferentes montagens, por entre diferentes domínios do audiovisual / Abstract: This present work is resulted by the reflection about the audiovisual experience acquired from using the dinner ritual as a dispositif. It passes through six dinner rituals that took place in São Paulo and Salvador, two of which being done in the street with homeless people. These two particular dinners opened the possibility to go through a more creative path, here drawn by the Entre ruas e calçadas project, or to get into other audiovisual territories with different settings and different uses of its imagetic grid. This text offers a glimpse of a creation having the incompleteness as a condition, the uncertainty as the only assurance. When the project began, there was just one thought: the dinner ritual. During its course: the sculpture of a creative strength that elaborates and re-elaborates itself while understands its intermediators; of its thematic ineffectiveness: the possibilities opened to fit the installation dispositif to other different settings and different audiovisual domains / Mestrado / Multimeios / Mestra em Multimeios

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:02:44Z (GMT). No. of bitstreams: 1 Lima_VeraFerreira_M.pdf: 17948557 bytes, checksum: 19c248c3e9867a869c23cd112712c983 (MD5) Previous issue date: 2015 / Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas / Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained / Mestrado / Artes Visuais / Mestra em Artes Visuais

As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)