Orientadores: Anna Paula Silva Gouveia, Ana Paula de Campos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T11:24:27Z (GMT). No. of bitstreams: 1 Fernandes_Mirla_M.pdf: 111615006 bytes, checksum: 4dacb5c961d742397f77bff07ea4a1c6 (MD5) Previous issue date: 2013 / Resumo: Esta dissertação teve como objetivo uma investigação sobre a linha enquanto elemento comum do desenho e da joia. Esta última, é aqui entendida como produto da arte-joalheria, campo que se apresenta como resultado de intercâmbios e contaminações com outras linguagens e práticas em arte contemporânea. A pesquisa envolveu três estratégias de investigação realizadas simultaneamente, e que se influenciaram mutuamente: uma pesquisa bibliográfica, o desenvolvimento de um trabalho plástico, e a realização de entrevistas com artistas-joalheiros, que trazem a linha como elemento em seus trabalho, indicando uma possível fonte de novas e diversas relações desenho/joia. A pesquisa bibliográfica levantou conteúdos pertinentes ao desenho e, sobretudo, à arte-joalheria, buscando trabalhos que se caracterizassem por um diálogo entre linguagens artísticas, configurando produções transversais que se afinam a conceitos levantados por Bourriaud, e a inscrevem no campo da arte contemporânea. A investigação plástica levou ao desenvolvimento ao conjunto de trabalhos Ensaios de Imprecisões, exibidos pela primeira vez em Agosto de 2013, na Galeria da Casa do Lago, Campinas. As entrevistas foram uma solução encontrada para suprir a ausência de literatura específica sobre o assunto, e elucidaram os processos criativos e entendimento das poéticas dos artistas entrevistados: Otto Künzli, Doris Betz e Dani Soter. As reflexões e resultados, levantados nas diferentes estratégias, corroboraram para um entendimento da linha, como elemento comum entre o desenho e a joia, que ultrapassa o sentido formal evidente, ampliando-se em jogos simbólicos e estratégias relacionais. A linha tece novas relações de aproximação entre desenho/joia, reiterando a prática da arte-joalheria, como produção de arte contemporânea / Abstract: This dissertation had as objective an investigation on the line as common element of drawing and jewelry. This last one is here understood as a product of art-jewelry, field that presents itself as a result of exchanges and contaminations with other languages and practices in contemporary art. The research involved three strategies undertaken simultaneously, and that influenced each other: a bibliographical research, the development of an artistic work, and interviews with jewelry-artists, who had the line as an element in their work, indicating so a possible source of new and diverse relationships drawing/jewel. The bibliographical research revealed relevant content about drawing and especially art-jewelry, looking for works that were characterized by a dialogue between artistic languages, configuring crossing over productions that are in tune with the concepts raised by Bourriaud, and are inscribed in the field of contemporary art. The artistic practices led to the development of the body of works Ensaios de Imprecisões, shown for the first time in August 2013 at Galeria Casa do Lago, Campinas. Interviews were a solution to overcome the absence of specific literature on the subject, and elucidated the creative processes and understanding of the poetics of the artists interviewed: Otto Künzli, Doris Betz, and Dani Soter. The ideas and results, raised in the different strategies, corroborated to an understanding of the line, the common element between drawing and jewelry, that exceeds the formal evident sense, extending it into symbolic games and relational strategies. The line weaves new relations of proximity between design / jewelry, reiterating the practice of art-jewelry such as contemporary art production / Mestrado / Artes Visuais / Mestra em Artes Visuais

Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-27T12:24:08Z No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5) / Made available in DSpace on 2017-07-27T12:24:08Z (GMT). No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5) Previous issue date: 2017-06-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums / A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos

Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1 / The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)