As palavras no titulo desta tese \"Tipotretaletra\", se referem ao lugar da letra na pesquisa em poéticas na forma do trabalho escrito de cárater acadêmico. A treta por um lado é tensão; de outro são as estratégias necessárias para conviver a produção artística e produção acadêmica. O tipo pode ser uma maneira, um jeito ou o suporte físico para a impressão da letra, a treta como estratégia e método, a letra como letreiramento, a letra desenho e projeto; e o letramento, a letra como alfabetização, habilidade com o código desenvolvida por meio da educação. Todas as três palavras se relacionam de algum modo à pesquisa e ampliação de suportes é uma palavra em questão nesta tese a proposito dos vários caminhos e materialidades que compõem os trabalhos, desde a pintura, a performance, a tipografia, o objeto. / The title ofthis thesis \"Tipotretaletra\" refer to the place ofthe word in a research ofvisual arts, about the form ofwritten word in a academic work. The \"treta\" as confusion as a tension; are strategies needed to live together the artistic production and academic production. The \"tipo\" can be like a typeface or a way to do anything. the \"treta\" as a strategy and method. The lettering, like a particular style ou the process ofwrinting, drawing or print words, the design ofthe letter; and the letter as literacy, like the ability to read and write acquired through education. All three words are related in some way to researches Mukambu which can be translated as support in Kikongo, refers from the stick with two people carry an object; Also can be a technology that use forks to support the ridge ofa house; support is a word in this thesis like several materiality that was made de art work, from painting, performance, typograpy, object.

Thesis (Ph.D.) -- University of Western Sydney, 2003. / Includes bibliography.

Entre les décennies 1960 et 1980 émergent les courants de l’« art de la performance », du « happening », du « body art », de l’« art corporel » ou encore de l’« art de l’action », qui désignent les démarches des nombreux plasticiens qui font directement intervenir le corps, souvent leur propre corps, dans leurs travaux. À travers les productions des acteurs qui soutiennent ces courants le corps est fabriqué comme un sujet légitime d’attention et de valeur. La thèse décrit l’émergence de ces courants artistiques pendant la décennie 1970 en soutenant qu’ils peuvent et doivent être interrogés comme des phénomènes sociaux. En effet, jamais auparavant autant d’acteurs des mondes de l’art visuel n’avaient décidé simultanément de se tourner vers le corps lui-même, et de le mettre à l’œuvre, à l’ouvrage, à l’épreuve. Interroger leurs productions du point de vue du corps peut permettre de dérouler de comprendre en profondeur la présence incisive et percutante du phénomène. Ces courants viennent poser des questions cruciales à l’anatomie du travail créateur : rapports sociaux de sexe, interactions avec les spectateurs, engagements politiques, marchandisation. L’étude, sociohistorique, focalise autour de trois scènes (France, côtes est et ouest des États-Unis) à partir d’un corpus d’archives documentaires (entretiens, critiques, essais, manifestes, notations, photographies). La thèse comprend un volet d’enquête qui mesure la reconnaissance de ces pratiques, un second volet d’histoire institutionnelle et intellectuelle qui décrit les savoir-faire et les modalités d’énonciation liés aux actions et aux événements et enfin, une topographie qui résume les modèles du corps produits par les gestes les raisonnements des artistes et de leurs commentateurs. / « Performance art », « body art » and « happenings » appeared on the art scene between the 1960s and the 1980s. The human body was at the heart of these artistic movements, to the extent that many artists embodied their own works. Within such creative processes and productions, the body undeniably became a legitimate subject of attention and value. This dissertation describes the initial stages of the art movements aforementioned, and argues that they must be analyzed as sociological phenomenons. Never before had such a larger of artists within the same time period decided to focus on the entity of the body itself, to use and misuse it so intensely. Observing their approaches through the lens of the body allows us to voice critical questions about the anatomy of a creative work - gender relations, interactions with the viewers, political commitments, and marketing. This sociohistorical research studies three landmark art scenes of the time (France, the east coast, and the west coast of the USA), by delving into a documentary material of archives (interviews, reviews, essays, manifestos, notations and photographs). The thesis begins with a sociological inquiry which measures the visibility of these artistic movements ; it is followed by a history of the institutional and critical apparatus which described the atistic skills and statements at work within body actions and happenings ; lastly, the dissertation presents a topography of the workings of the body, drawn from the artists’ performances and theoretical stances, as well as art critics’ viewpoints and analyses.

No description available.

Le présent mémoire propose de croiser les démarches de deux auteures et artistes contemporaines, Sophie Calle et Miranda July, dont les quatre œuvres à l’étude – Douleur exquise (2003), Aveugles (2011), Rachel, Monique (2012) de Calle et Il vous choisit (2013) de July – se fondent sur des expériences en amont de l’écriture qui mobilisent le corps même des auteures, les engagent dans une action concrète et, bien souvent, dans des interactions avec autrui. Cet art de la contrainte, cet art action qui devient le sédiment de leurs écrits s’inscrit dans la filiation hypothétique des théories du philosophe pragmatique John Dewey et de celles de l’artiste Allan Kaprow – l’un des premiers à réfléchir l’art de la performance. L’écriture intermédiale qu’elles pratiquent – ce jeu de relations entre différents médias au sein même de l’œuvre – permet à la fois de réactiver la valeur performative de l’expérience qui a impulsé la création littéraire et d’embrayer une expérience de lecture qui devient elle-même performative. Exemplaires d’une esthétique relationnelle, polyphoniques dans les voix qui s’expriment, les quatre ouvrages du corpus donnent à sentir le bruissement d’une communauté. Il s’agit d’une littérature interdisciplinaire et intersubjective, mais surtout performative dans son questionnement incessant sur le pouvoir de l’art pour transformer la vie. / This master’s thesis proposes to establish a dialogue between the practices of two contemporary writers and artists, Sophie Calle and Miranda July. The four studied pieces of work – Calle’s Douleur exquise (2003), Aveugles (2011) and Rachel, Monique (2012) and July’s Il vous choisit (2013) – are based on concrete experiences occurring beforehand, prior to the act of writing itself. Those experiences mobilize the body of the writers engaging them in a real action and often in interactions with other people. This form of action art becomes the foundations of their writing and could be linked to the theories of pragmatic philosopher John Dewey and artist Allan Kaprow – one of the first to develop a reflexion on performance art. The intermedial writing that Calle and July practice as a game of relations between different medias in the same work allows both artists to revive the performative value of the experience. It impulses the writing and initiates a reading experience which itself becomes performative. Exemplary of a relational aesthetic, polyphonic in the voices that are expressed, the studied body of work reveals glimpses of community to feel and experiment. It is a literature that is interdisciplinary and intersubjective but primarily performative in its constant questioning of art’s capacity to transform life.