'Institutional critique' is a term that refers to a range of diverse artistic practices and discourses that emerged at the end of the 1960s and that continue in the present. In spite of their differences, they all share a concern with the institutional conditioning of artists and artworks. Various historicizations of institutional critique (Alberro and Stimson, 2009; Raunig and Ray, 2009; Welchman, 2006) concur that one could distinguish two 'phases': artists of the 1960s and 1970s allegedly investigated the possibilities of an escape towards an 'outside' of the art institution, whereas those of the 1990s analysed the ways in which the artistic subject reproduced the structures of the art institution. Since the beginning of the 2000s various artists and authors have revisited the histories and legacies of institutional critique. This growing interest was triggered by the perceived intensification of a process that began at the end of the 1960s; it refers to the recuperation and neutralization of artistic types of critique by what Boltanski and Chiapello (2005) have called the 'new spirit' of capitalism. In this context, the Austrian philosopher Gerald Raunig and the members of the European Institute for Progressive Cultural Policies have proposed the hypothesis that 'a new phase' of institutional critique was to emerge. However, this proposition was based less on empirical evidence, than on a 'political and theoretical necessity to be found in the logic of institutional critique' (Raunig, 2009, 3). This thesis is a response to this set of circumstances. By asking 'what are the conditions and possibilities of institutional critique?' it investigates the categories of institutional critique's logic. My main argument is that a 'phase change' of institutional critique could and should be understood through the apparatus of Derridean deconstruction. This implies a criticism of the idea that one needs to escape the art institution in order to respond to urgencies stemming from the social, economic, and political realms (Truth Is Concrete Platform, 2012). At the same time, I will also refute the idea that institutional critique is trapped in the art institution (Fraser, 2009a). Institutional critique works on the remainder and rest that necessarily escapes the instituting will and intention of defining and describing in an exhaustive manner the whatness of what (art) is (Boltanski, 2011). I show that between critique and the art institution there is an irreducible relation of symbiosis and cohabitation, and that the deconstructive logic of institutional critique allows it to be both partner and adversary, at the same time, of the art institution.

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In recent years the arts institutions’ role in society have changed. With increased demands on attracting greater number of visitors they use concepts from corporate marketing to communicate with greater success. Theories from museum studies show that the importance of rendering authenticity now has become the new imperative in order to retain the status of a reputable institution. This thesis aims to discuss the development of a new visual identity for the public and non-profit institution Malmö konsthall. Through a collaborative working process, the project’s practice part resulted in a visual identity designed to reflect authenticity. The conclusion indicates that it is difficult without extensive studies of the produced design to find out if authenticity is really something that can be rendered intentionally.

本文從美國藝術社會學的理論介紹開始，並試圖藉由台灣畫家陳澄波聲譽建構的過程從事雙向性的探討：一為對台灣藝術制度內各個角色的互動形態有所了解；另一為對美國藝術社會學這門新興的學科發展有所省思。整個美國藝術社會學的發展一開始就是以社會學裡強調的「制度」為主要的方向，舉凡制度內的各個地位角色所扮演的功能、互動的狀態等等，都是探討的議題。這樣的研究角度有其優點，相對於人文學科只著重藝術家和藝術品在藝術世界的價值；社會學的觀點將研究的焦點，從美學的創造性轉移到藝術世界之社會關係的網絡中。只是這樣的觀點也有所欠缺：首先是不同於基本的社會制度，所謂的藝術制度其實尚未完全整合，制度內各個地位角色之間也不盡然會有所互動。其次是美國藝術社會學只談「社會關係」，不談「藝術」破壞了藝術社會學作為次領域的自我描述的基礎。最後則是藝術社會學著重制度內的角色互動，往往會形成靜止、不具歷史性的社會結構。 　　藉由陳澄波的百年境遇，從陳澄波的聲望建構、遺忘及重建的過程，我們可以了解制度面的關照雖有其關鍵性，但整個陳澄波所存在的台灣特殊的政治生態及所關連的台灣新美術運動的發展也在其中有所作用。也就是單從美國藝術社會學所強調的制度面是無法有其全面性的關照。就以日據時期的陳澄波為例，要了解日據時代陳澄波的聲譽構築，當時環繞著整個美術展覽的酬賞機制就不能不談。但不能體察當時台灣的政治命運，也就不能了解當時也是酬賞機制其中一環的輿論報導及「應援會」設立的意義。而藉由台灣美術的發展，我們才能對當時的前輩畫家有著體諒，不管是在當時酬賞制度的跟進，以及政治上是否具有抗日的意識。在一個「不知藝術家為何物」的年代，畫家從自身遠赴他鄉學習基本的西畫技巧，這批畫家是從無到有的過程，全然對西方美學的接受，且必須由最原初的模仿自然的寫實技法開始。所以從整個陳澄波的聲譽構築過程中，我們可以了解整個政治的大環境與藝術自身的發展領域，都是與美國藝術社會學所強調的藝術制度相互影響的，少了其任何一環，都無法窺視全貌。

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa refere-se à necessidade de se pensar a arte como mecanismo de resistência à crescente institucionalização do campo artístico que se intensificou a partir do século XIX, no Ocidente. Nosso intuito é reunir diferentes práticas artísticas que refletem esta tomada de posição contra os preceitos da Instituição Arte e investigar as possíveis tensões e abalos daí gerados. Na primeira parte, trataremos do conceito de Crítica Institucional tal como pensada por Andrea Fraser, uma das principais teóricas do termo, analisando alguns textos de autores como Benjamin Buchloh que nos ajudem a melhor compreender as práticas de artistas que exerceram algum tipo de resistência ou tensão no âmbito institucional da arte. Na tentativa de alargar o conceito e enxergar novas possibilidades de aplicação teórica, continuamos o capítulo através do pensamento de Foucault e Deleuze acerca da possibilidade de atuação fora da instituição. Em seguida, buscaremos relacionar o conceito de Crítica Institucional com as teorias pós-coloniais, analisando, sobretudo, o pensamento de Walter Mignolo e Antonio Negri. Baseados nesta teoria, nossa pesquisa irá investigar práticas de resistência por meio das obras e ações artísticas. Interessa-nos examinar de que forma o artista formulou visualmente esta crítica ao próprio sistema da arte. Nossa intenção é expandir o conceito de Crítica Institucional para que, na segunda parte, possamos melhor compreender as práticas de artistas como Flavio de Carvalho, Nelson Leirner, Cildo Meireles e Paulo Bruscky, em um contexto brasileiro / This research refers to a need of thinking art as a mechanism of resistance against the growing institutionalization of the artistic field that has intensified since the nineteenth century in the West. Our aim is to bring together different artistic practices that reflect this position towards the precepts of Art Institution and investigate the possible tensions and upheavals generated therefrom. The first part will deal with the concept of Institutional Critique as understood by Andrea Fraser, one of the main theorists on the subject, analyzing some texts from authors such as Benjamin Buchloh to help us better understand the practices of artists who have resisted or even pressured the institution. In an attempt to broaden the concept and see new possibilities for theoretical application, we continue through the chapter on Foucault and Deleuze on the possibility of acting "outside" of the institution. Then, we try to relate the concept of Institutional Critique to postcolonial theories, analyzing especially the writings of Walter Mignolo and Antonio Negri. Based on this theory, our research will investigate practices of resistance by means of works and artistic actions. We are interested in examining how the artist made this visually critical to his own art system. Thus, in the second part we examine the practices of artists like Flavio de Carvalho, Nelson Leirner, Cildo Meireles and Paulo Bruscky in the Brazilian context

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa refere-se à necessidade de se pensar a arte como mecanismo de resistência à crescente institucionalização do campo artístico que se intensificou a partir do século XIX, no Ocidente. Nosso intuito é reunir diferentes práticas artísticas que refletem esta tomada de posição contra os preceitos da Instituição Arte e investigar as possíveis tensões e abalos daí gerados. Na primeira parte, trataremos do conceito de Crítica Institucional tal como pensada por Andrea Fraser, uma das principais teóricas do termo, analisando alguns textos de autores como Benjamin Buchloh que nos ajudem a melhor compreender as práticas de artistas que exerceram algum tipo de resistência ou tensão no âmbito institucional da arte. Na tentativa de alargar o conceito e enxergar novas possibilidades de aplicação teórica, continuamos o capítulo através do pensamento de Foucault e Deleuze acerca da possibilidade de atuação fora da instituição. Em seguida, buscaremos relacionar o conceito de Crítica Institucional com as teorias pós-coloniais, analisando, sobretudo, o pensamento de Walter Mignolo e Antonio Negri. Baseados nesta teoria, nossa pesquisa irá investigar práticas de resistência por meio das obras e ações artísticas. Interessa-nos examinar de que forma o artista formulou visualmente esta crítica ao próprio sistema da arte. Nossa intenção é expandir o conceito de Crítica Institucional para que, na segunda parte, possamos melhor compreender as práticas de artistas como Flavio de Carvalho, Nelson Leirner, Cildo Meireles e Paulo Bruscky, em um contexto brasileiro / This research refers to a need of thinking art as a mechanism of resistance against the growing institutionalization of the artistic field that has intensified since the nineteenth century in the West. Our aim is to bring together different artistic practices that reflect this position towards the precepts of Art Institution and investigate the possible tensions and upheavals generated therefrom. The first part will deal with the concept of Institutional Critique as understood by Andrea Fraser, one of the main theorists on the subject, analyzing some texts from authors such as Benjamin Buchloh to help us better understand the practices of artists who have resisted or even pressured the institution. In an attempt to broaden the concept and see new possibilities for theoretical application, we continue through the chapter on Foucault and Deleuze on the possibility of acting "outside" of the institution. Then, we try to relate the concept of Institutional Critique to postcolonial theories, analyzing especially the writings of Walter Mignolo and Antonio Negri. Based on this theory, our research will investigate practices of resistance by means of works and artistic actions. We are interested in examining how the artist made this visually critical to his own art system. Thus, in the second part we examine the practices of artists like Flavio de Carvalho, Nelson Leirner, Cildo Meireles and Paulo Bruscky in the Brazilian context

L’hypothèse centrale de notre recherche porte sur les processus de symbolisation du sujet qui sont multiples et singuliers et sur le fait qu’il existe, en dehors d’une voie commune, toute tracée, qui consiste à « symboliser la symbolisation », d’autres chemins psychiques, d’autres formes de symbolisation, d’autres voies d’invention subjective alternatives à ce qu’on appelle la symbolisation, mais qui viennent occuper chez le sujet des fonctions similaires dans son économie subjective et relationnelle (rapport au corps, à l’autre, à l’inscription dans le lien social). Pour mettre à l’épreuve de la clinique ces hypothèses et ces questionnements, nous avons utilisé la médiation théâtrale comme laboratoire offrant quelque chance de saisir ce qui, pour les sujets qui y sont engagés, était susceptible d’acquérir un statut d’invention, de relever le cas échéant leur diversité, leurs caractéristiques et les fonctions psychiques qu’elles peuvent remplir pour le sujet qui l’élabore. Cette recherche a permis de mettre au jour la singularité des solutions repérées, celle des points d’appui et des fonctions y associées, l’importance du parcours de vie pour repérer à la fois la logique du sujet, ses anciennes solutions, et les fonctions qu’il se construit et, enfin, l’importance du cadre, du groupe et du transfert dans le travail d’invention du sujet. Par ailleurs, les fonctions de ces dynamiques inventives présentent également une grande diversité. Que ce soient la remise à l’honneur de l’imaginaire, sa relance, le réglage de la distance à l’autre, l’appui sur le cadre, sur le méta-cadre (avec la notion d’habit, d’étoffe, de masque, de peau psychique qui se tisse, de confrérie), que ce soient les idéaux en « prêt-à-porter » ou même un délire plus à même de cadrer la jouissance, que ce soient encore la polysémisation, l’approche de l’équivoque par la métaphore, par la poésie, par ce que nous avons appelé « la mise en trou », nous pouvons conclure, au terme de ce travail, que si la symbolisation au sens classique du terme constitue bien une suppléance possible pour le sujet, il existe beaucoup d’autres voies d’invention lui permettant de se construire des points d’appui singuliers. Enfin, même si les dynamiques inventives vont souvent concerner plusieurs de ces appuis, leurs fonctions peuvent se regrouper autour de quatre grands axes. Nous avons d’abord les relances de l’imaginaire, et le plaisir à inventer, à représenter ce qui n’est pas là. Nous avons encore la fonction d’un mode d’emploi pour régler son existence, des balises sur lesquelles s’appuyer pour répondre à « que suis-je là » et « que me veut l’autre ». Par ailleurs, le témoignage, la transformation, ou la métaphorisation de ces récits (dans un usage poétique qui permet d’approcher le réel, le hors-sens), demeurent également une fonction possible de l’invention du sujet, mais avec toujours en filigrane le travail de la place du sujet, quand il s’agit d’être aux commandes de son récit et de sa mise en forme. Enfin, le branchement-débranchement est une des fonctions majeures du travail d’invention repéré au cours de l’atelier. Reconstruire du sens, de l’identitaire, du pulsionnel, se bâtir un nouveau mode d’emploi, une nouvelle façon d’habiter le monde, et de « faire avec » soi et l’autre, selon la logique singulièrement subjective de chaque sujet, il nous semble que cette clinique de l’invention ouvre par-là, pour le sujet, des possibilités de mise au travail fécondes. / Doctorat en Sciences psychologiques et de l'éducation / info:eu-repo/semantics/nonPublished

This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution. The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern. This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.

Uppsatsen behandlar Sven-Harrys (Konstmuseum) utifrån ett poststrukturalistiskt perspektiv, där institutionens olika delar ställs i relation till varandra samt förankras i dess olika samhälleliga kontexter och ursprung. Institutionen Sven-Harrys jämförs med en organism, i syftet att förklara dessa relationer. Resultatet av undersökningen visar att Sven-Harrys verksamhet huvudsakligen syftar till att upplösa gränserna mellan konsten och bostaden genom att kombinera olika verksamheter som sammanknyter dessa.