« Que nul n’entre ici s’il n’est subversif » ! Cette sentence pourrait orner le frontispice du Cabaret Voltaire, célèbre lieu qui a vu naître le dadaïsme en 1916. Les spectacles Dada subvertissaient les conventions esthétiques, remettant en question le statut de l’oeuvre d’art et mêlaient les médiums et les styles jusqu’à incorporer des objets, photomontages, masques, marionnettes… dans la sphère artistique. Ce caractère interdisciplinaire et transgressif réapparaît chez les surréalistes connus pour leurs scandales, leurs manifestes, leurs inventions littéraires et plastiques mais aussi leur engagement politique. Ces deux avant-gardes marquent une rupture dans l’histoire de l’art. Leur caractère subversif influence encore aujourd’hui de nombreux artistes contemporains occidentaux sur le plan des formes, des sujets abordés ou des processus de création. Néanmoins, le changement de contexte amène à redéfinir la subversion qui se transforme parfois en provocation chez les artistes actuels, encourant le risque de devenir une nouvelle norme et d'être récupérée par le marché de l'art. Ce sont ces différences entre subversion et provocation que cette thèse se propose d’étudier en confrontant deux contextes : celui des avant-gardes historiques et le contexte contemporain avec la fin des « grands récits ». / « Do not enter if you are not subversive ». This sentence could decorate the frontispiece of Cabaret Voltaire, the famous place where Dadaism was born in 1916. Dada 's shows subverted aesthetic conventions, questioned the status of the work of art and mixed styles and mediums even integrating objects, photomontages, masks, marionettes in artistic area. This interdisciplinary and transgressive characteristic reappears with Surrealists, well-known for their scandals, manifestoes, literary and artistic inventions but also for their political involvement. These both avant-gardes broke with academic history of art. Their subversive characteristic is still influencing nowadays a lot of occidental contemporary artists on a formal, thematic or creative way. Nevertheless, the change of context leads to redefine the subversion which sometimes turns into provocation in contemporary artists' practices, taking the risk of changing into a new norm and being taken over by the art market. This thesis intends to study these differences between subversion and provocation comparing two contexts : the context of the historical avant-gardes' and the contemporary one with the end of the grand narratives.

This study investigates to what extent the curatorial project of Documenta 11 offered an operative cultural concept beyond multiculturality by favouring a transcultural approach to difference in the global sphere. It questions whether the central strategy employed – of postcoloniality as tactical manoeuvre to expand both the public and aesthetic spheres in order to create the conditions for an ethical engagement with difference – could facilitate a workable exemplar for showing art from different production sites, yet resist levelling of differences for an ever-expanding global art market. Proceeding from the postcolonial institutional critique envisioned by the artistic director, Okwui Enwezor, this study engages critically with the notion of opening-out Documenta in terms of inclusivity and equality of representation. It is argued that while the proposed postcolonial reinvigoration of overlapping public spheres held the promise of heterogeneous participation and minimised the formation of hegemonies, the expansion-project of Documenta 11 could on another level be interpreted to function as a globalising instrument usurping previously unexplored territories and discover marketable ‘others’ for a neocolonial cultural marketplace. Documenta 11 set out to subvert the expansionism of a global art market by constructing the global as postcolonial space in which proximity became the ethical space of engagement. It is the contention of this study that by emphasising the production of locality, the five Platforms localised the global discourse and expressly addressed how inclusivity and pluralism could be approached against the disparities created by globalisation processes. Historically, for artists from the South denial of proximity and coevalness based on colonial conceptions of space and time had meant exclusion from the canon and, where modernist notions persist, being labelled as deficient. In order to breach gaps, de-hegemonise cultural coding and aid transcultural translation, Documenta 11 located its project in its entirety in Homi K. Bhabha’s in-between space, in the gap, as it were. This orientation towards the gap is examined in terms of homelessness, displacement and nomadic subjectivity that impact the archiving logic of Documenta to become anarchival: memory production turned into counter-memory and the work of remembrance was shaped as counter-memorials. Criticised for a skewed commitment to social engagement, rather than aesthetics, the exhibition of Documenta 11 was nonetheless informed by a threshold aesthetic. Different kinds of oppositionality employed by artists, and adversarial approaches reinvigorated by Situationist and Third Cinema strategies put forward by the curators, are evaluated in this regard. An agonistic positioning is explored as, firstly, a counter-localisation to multiculturalism in a transcultural exhibition and, secondly, to resist assimilation and co-optation. It is argued that the embrace of the threshold, of thirdness and littoral curating by Documenta 11 could be considered an exemplar of a global trickster positioning aiming for an expansion of critical visual strategies. The contention of this study is that, having set out to grapple with the construction of multiple public spheres and the space of the transnational exhibition as a creole location, this Documenta at the very least opened up discursive spaces that could expand artistic discourses. At best, Documenta 11 uncovered routes by which difference in the transcultural field could be (re)negotiated. / Thesis (PhD)--University of Pretoria, 2008. / Visual Arts / unrestricted

[ES] La investigación empieza con un análisis y cartografiado del sistema global del arte en la actualidad, así como la contextualización histórica del avance y desarrollo del concepto de arte asociado a la economía. El desarrollo del financiamiento de las artes y sus situación estructural es estudiado para poder analizar el fenómeno desde la perspectiva del materialismo dialéctico. La importancia de la economía radica en que es el motor del cambio en la percepción del arte entre su utilidad y un bien suntuario. Esta situación es relevante para establecer un vínculo entre la actividad artística y su relación social. Eso es lo que nos da las bases socio-económicas estructurales para ligarlo a la filosofía política anarquista. Estudiamos las características del pensamiento libertario desde las dos perspectivas, los clásicos anarquistas que dividían su pensamiento entre las cuatro ramas clásicas, el Anarquismo Individualista, el Anarquismo Comunista, el Anarquismo Sindicalista y el Mutualismo. Las cuatro vertientes del pensamiento ácrata contemporáneo Anarquismo Feminista, Anarquismo Cibernético, Anarquismo Ecologista y el Neo-zapatismo son estudiados para definir sus bases estructurales y los cambios al pensamiento clásico anarquista y nos ayuden a resolver las dinámicas de dichos cambios, para trasponerlos al estudio y práctica de las artes. Finalmente demostramos que las prácticas artísticas contemporáneas poseen el mismo espíritu de libertad que el pensamiento anarquista, una búsqueda constante por lo nuevo no puede darse dentro de los sistemas reconocidos o interpretados en el espacio-tiempo que define a los periodos artísticos. Ello lleva a los artistas a rebelarse de forma natural a los patrones existentes, no existirá nada nuevo dentro de lo conocido, y la transgresión se hace absolutamente necesaria. Esto comprueba la idea inicial de que la filosofía política anarquista posee las bases fundamentales para una creación artística, ambas son formas de alcanzar la libertad como forma de responsabilidad y el uso de la praxis como forma de conseguirla. Sentando así las bases teóricas para una de las posibles Teorías Anarquistas del Arte. / [CAT] La investigació comença amb una anàlisi i cartografiat de el sistema global de l'art en l'actualitat, així com la contextualització històrica de l'avanç i desenvolupament del concepte d'art associat a l'economia. El desenvolupament de l'finançament de les arts i els seus situació estructural és estudiat per poder analitzar el fenomen des de la perspectiva de l'materialisme dialèctic. La importància de l'economia radica que és el motor de l'canvi en la persepción de l'art entre la seva utilitat i un bé sumptuari. Aquesta situació és rellevant per establir un vincle entre l'activitat artística i la seva relació social. Això és el que ens dóna les bases socio-econòmiques estructurals per lligar-ho a la filosofia política anaquista. Estudiem les característiques de la pensada liebrtario des de les dues perspectives, els clàssics anarquistes que dividien el seu pensament entre les quatre branques clàssiques, l'Anarquisme Individualista, l'Anarquisme Comunista, l'anarquisme Sindicalista i el mutualisme. Les quatre vessants de la pensada àcrata contemporani Anarquisme Feminista, Anaquismo Cibernètic, Anarquisme ecologista i el Neozapatismo són estudiats per definir les seves bases estructurals i els canvis a la pensada clàssic anarquista i ens ajudin a resoldre les dinàmiques d'aquests canvis, per traspolarlos a l'estudi i pràctica de les arts. Finalment vam demostrar que les pràctiques artístiques contemporànies posseeixen el mateix espírutu de llibertat que el pensament anarquista, una recerca constant per la novetat no pot donar-se dins dels sistemes reconeguts o interprestados en l'espai-temps que defineix els períodes artístics. Això porta als artistes a rebel·lar de forma natural als patrons existents, no hi haurà res de nou dins del conegut, i la transgressió es fa absolutament necessària. Això comprova la idea incial que la filosofia política anarquista posseeix les bases fonamentals per a una creació artística, ambdues són formes d'aconseguir la llibertat com a forma de responsabilitat i l'ús de la praxi com a forma d'aconseguir-la. Establint així les bases teòriques per a una de les possibles Teories Anarquistes de l'Art. / [EN] This thesis begins with an analysis and mapping of the global art system today. The historical contextualisation of the advancement and development of the concept of art which we associate with the economy. The development of arts financing and its structural situation is studied to analyse the phenomenon from the perspective of dialectical materialism. The importance of the economy is that it is the engine of change in the pursuit of art between its utility and luxury good. This situation is relevant to establish a link between artistic activity and their social relationship. This is what gives us the structural socio-economic bases to link it to the anarchist political philosophy. We study the characteristics of Anarchist thought from two perspectives, the classic anarchists who divided their thinking between the four classical branches, Individualist Anarchism, Communist Anarchism, Syndicalist anarchism and Mutualism. The four strands of contemporary anarchist thought. Feminist Anarchism, Cybernetic Anarchism, Ecological Anarchism and Neozapatism are studied to define their structural bases and changes to classical anarchist thought and help us to resolve the dynamics of such changes, to transfer them to the study and practice of the arts. Finally, we demonstrate that contemporary artistic practices have the same spirit of freedom as anarchist thought; a constant search for the new cannot take place within the systems recognized or interpreted in the space-time that defines artistic periods. This leads artists to naturally rebel against existing patterns, there will be nothing new within the known, and transgression is necessary. This proves the initial idea that anarchist political philosophy has the fundamental bases for artistic creation, both are ways of achieving freedom as a form of responsibility and the use of praxis as a way of achieving it. Thus laying the theoretical foundations for one of the possible Anarchist Theories of Art. / Lugo Martínez, PÁ. (2020). Hacia una teoría libertaria del arte. Propuesta teórica sobre las relaciones y fundamentos de la filosofía política anarquista con las prácticas transgresoras artísticas contemporáneas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/158594 / TESIS

La photographie numérique a transformé les comportements sociaux, en devenant un élément important de nos vies quotidiennes. Ne restant pas à l’écart, le milieu de l’art contemporain a suivi cette tendance. La fin des années 1960 marque l’apparition de l’art éphémère, y compris la performance. Сes courants artistiques au 20e siècle ont incité une documentation des œuvres qui est passée par la photographie. Progressivement, elle a pris une position plus forte, intervenant comme support majeur de la création artistique. En documentant ces œuvres, la dimension éphémère de la performance est remplacée par une certaine matérialité qui devient un moyen de posséder ces œuvres. Vanessa Beecroft, une artiste italienne-américaine, est un exemple parfait qui réunit ces tendances et ces paradoxes. Attaquée par les uns qui critiquent son approche qui « exploite » les femmes, elle est glorifiée comme « féministe » par les autres. Sa production artistique efface en effet les frontières entre le monde réel et l’imaginaire, ainsi qu’entre le monde de l’art légitime et celui de la culture populaire, du marché de l’art et du commerce. Dans notre mémoire, nous étudions les photographies prises pendant les performances de Beecroft en tant qu’objets indépendants, ce qui nous permet de pousser l’analyse sociologique de l’œuvre plus loin, démontrant une série de médiations qui sont au cœur de l’œuvre de l’artiste et qui créent la valeur de son œuvre. Enfin, cette analyse nous permet de placer l’œuvre de Beecroft dans un contexte du marché de l’art plus global. / Digital photography has transformed our social behaviour and has become an important part of our daily lives. The contemporary art scene also followed this trend. The late 1960s were marked by the emergence of ephemeral art practices, including performance. These twentieth-century artistic trends prompted an intensified usage of photographic documenting in art. The photographic medium has gradually become a major support for ephemeral artistic creation. The ephemeral dimension of photography has thus become more material, which has in turn allowed possessing these works of art. Vanessa Beecroft, an Italian American artist, is a perfect example of this phenomenon, as her art brings together these tendencies and paradoxes. She has been both criticized for her exploitative approach toward women who participate in her performances and glorified as a feminist artist. Her artistic production erases the boundaries between the real world and the imaginary, as well as between the world of legitimate art and that of popular culture, the art market, and commerce. In my thesis, I study the photographs taken during Beecroft’s performances as independent works of art. This allows me to push the sociological analysis further and to trace a series of mediations that are at the heart of her work and that create the value of these artworks. Lastly, this analysis places Beecroft’s work in the global context of the current art market.

Le trafic d’objets culturels est une manne illicite qui approvisionne partiellement le marché de l’art. Ce commerce clandestin se veut d’ampleur internationale bien que certains pays se trouvent plus touchés que d’autres. Afin de limiter ces pratiques et les conséquences irréversibles qu’elles entraînent, la communauté internationale tente depuis la seconde moitié du XXe siècle de mobiliser la population et de produire des instruments juridiques en faveur de la protection de l’héritage mondial. Pourtant, en août 2015, une cargaison de quatre-vingt- trois objets culturels d’origine syrienne est livrée au port de Long Beach, en Californie. Le chargement en provenance de Turquie s’avère alors composé de poteries, mais aussi de trois mosaïques, dont une pièce datée entre le IIIe et le IVe siècle de notre ère. Saisie et confisquée à son propriétaire par la justice américaine, cette mosaïque ne sera néanmoins jamais retournée à son pays d’origine. L’objectif de cette étude est d’analyser et de comprendre le cheminement d’un objet culturel illicite. Cependant, le trafic demeure un phénomène complexe et ses ramifications sont nombreuses. Afin de rendre cette étude intelligible, notre mémoire se divisera en trois axes autour d’une étude de cas. Le contexte dans lequel se place la fresque est examiné au premier chapitre. Celui-ci met en lumière l’impact d’un environnement instable sur les crimes perpétrés contre l’art. Il implique aussi une analyse globale des intermédiaires participants au trafic et apporte une analyse formelle et iconographique de la fresque. Ensuite, et pour comprendre le cheminement de l’objet d’art jusqu’aux États-Unis, le second chapitre de cette étude participe à un court état des lieux du marché de l’art dans toutes ses nuances : soit du marché licite dit « blanc » au marché « gris » ou encore « noir ». Il dévoile alors l’importance des technologies dans l’expansion du trafic illicite d’objets d’art. Enfin, le dernier chapitre étudie les institutions internationales majeures ainsi que leurs actions en faveur de la protection du patrimoine culturel. Cette section dresse la chronologie des différents instruments juridiques qui auraient pu prévenir l’exportation illicite de la mosaïque ou qui pourraient encore actuellement permettre son retour en Syrie. Mais ces outils sont-ils suffisants ? / Trafficking in cultural objects is an illicit source of income that partially supplies the art market. This clandestine trade is international even if some countries are more affected than others. In order to limit these practices and the consequences they generate, the international community has been trying since the second half of the 20th century to mobilize the population and to produce legal tools for the protection of the world's heritage. However, in August 2015, a shipment of eighty-three objects of Syrian origin was delivered to the port of Long Beach, California. The shipment sent from Turkey was composed of pottery, and three mosaics, including one piece dated between the 3rd and 4th centuries AD. This mosaic has been seized and confiscated from its owner by the District Court of California but has never been returned to its country. The purpose of this study is to analyze and understand the path of an illicit cultural object. However, trafficking remains a complex phenomenon and its ramifications are countless. In order to make this study intelligible, our dissertation will be divided into three chapters that will anchored into a case study. The historical context of the mosaic is studied in the first chapter. It highlights the impact of an unstable environment on crimes against art. The chapter also provides a global analysis of the intermediaries involved in the traffic and provides a formal and iconographic analysis of the mosaic. Then, in order to understand the journey of the artifact to the United States, the second chapter of this study focuses on established yet illicit practices of the art market, both the legal « white » market and the illicit or «black» market. It also underlines the importance of technology in the expansion of the illicit traffic of art objects. Finally, the last chapter studies the international institutions and their pronoucement (if not always their actions) in favor of the protection of cultural heritage. This section creates a history of the different legal instruments that could have prevented the illicit export of the mosaic or that could still currently allow its return to Syria. But are these tools efficient ?

Die vorliegende Arbeit widmet sich der Darstellung des Kunstmarktgeschehens und der Entscheidungsfindung von Galeristen. Ziel ist es aufzuzeigen, welche Auswirkungen Erfahrung und Expertise sowie ein begrenzter Informationszugang auf die angewandte Entscheidungslogik und das Entscheidungsverhalten von Galeristen haben. Sie behandelt die Thematik der kausalen und effektualen Entscheidungslogik und der unterschiedlichen Entscheidungsansätze von Novizen und Experten. Gemäß Sarasvathy (2001) tendieren Novizen zu kausaler und Experten zur effektualer Logik. Sie unterscheiden sich durch ihren Grad an Expertise, welche auf Deliberate Practice, Erfahrung und kontinuierlich erbrachter überragender Leistungserbringung basiert (Ericsson 2006; Mitchell et al. 2005:3, Dew et al. 2009: 289). Gegenstand der Untersuchung war die Beantwortung der Fragen, ob sich die Berufserfahrung, das Geschlecht und der akademische Werdegang des Galeristen auf die angewandte Entscheidungslogik auswirken. Die Ergebnisse belegen, dass die Berufserfahrung einen signifikanten Einfluss auf die angewandte Entscheidungslogik der Galeristen hat: Novizen-Galeristen präferieren die kausale Entscheidungslogik, Experten-Galeristen die effektuale. In Bezug auf das Geschlecht ist nachweisbar, dass Galeristinnen am häufigsten die kausale Entscheidungslogik anwenden. Dasselbe Bild stellt sich bei Galeristen – ungeachtet ihres Geschlechts – ohne akademische Ausbildung ein. Die Arbeit setzt zudem ihren Fokus auf die experimentelle Untersuchung des Preisbildungsverfahrens durch Galeristen, wobei insbesondere der etwaige Einfluss der Overconfidence im Mittelpunkt steht. Die Studienergebnisse lassen darauf schließen, dass ein signifikantes Maß an Overconfidence dazu führt, dass die Preise für Kunstwerke niedriger gesetzt werden. Zudem konnte ein Wissenseffekt festgestellt werden: Je versierter ein Galerist im Kunstmarkt ist, desto höher setzt er den Preis für ein als „ausstellungswürdig" deklariertes Kunstwerk. / The objective of this dissertation is to shed more light on the primary art market and the decision-making processes of its protagonists, the gallery owners. The doctoral thesis focuses on the potential impact of experience and expertise on the gallerists‘ applied decision-making logic and the consequences of limited access to information for the gallery owners‘ decision-making behaviour. In particular, the distinction between novices and experts and their decision-making is addressed. According to Sarasvathy (2001), novices tend to use a predictive decision-making logic (causation), whereas experts apply a non-predictive logic (effectuation). They differ in their level of expertise, which is based on deliberate practice, experience and continuous outstanding and superior performance in a particular domain (Ericsson 2006; Mitchell et al. 2005:3, Dew et al. 2009: 289). The studies conducted examined whether the professional experience, gender and academic career of the gallery owner affects the applied decision-making logic. The results show that professional experience has a significant influence on the applied decision-making logic of the gallery owner: novice-gallerists prefer the causal approach, expert gallery owners favour the effectual decision-making logic. With regard to gender and the academic career, it can be proven that female gallery owners and gallerists without academic training most often apply the causal decision-making logic. This dissertation also focuses on the experimental analysis of the influence and impact of overconfidence on the price setting processes of gallery owners. The results indicate that a significant level of overconfidence leads to lower prices for works of art. In addition, a knowledge effect could be observed: the more sophisticated the gallery owners are, the higher will be the price they set for an art work they consider to be suitable for an exhibition.

Background: NFTs (non-fungible tokens) have raised much attention within last year’s media. Many uses can be addressed by and benefit from the underlying technology that enables NFTs. NFTs have already found applications in various industries and are representing a disruptive technological innovation. Nevertheless, the hype goes along with a lot of resistance. As NFTs gained some traction in the art market, this setting is a good example to demonstrate this controversy. The focus of this study lies on the driving forces behind resistance and acceptance in the context of the NFT Art market.    Purpose: This thesis investigates the perceptions of psychological and functional barriers regarding the innovation of NFT Art resulting in active innovation resistance.    Method: This study meets its purpose by conducting a qualitative, exploratory study using technology-mediated interviews for data collection. Participants included in the study were surrounding the NFT Art market displaying different perspectives, touchpoints and levels of engagement within the market. Interview participants were purposefully selected and contacted through online platforms. The interview followed a semi-structured approach using an interview guide that was inspired by the active innovation theory. The data analysis method related to grounded analysis by following the Gioia approach   Conclusion: Perceived functional barriers identified in relation to NFT Art are complexity-, co-dependence-, and norm barriers while perceived psychological barriers emerged due to information asymmetries, economic risks, and the image barrier. Next to the initially targeted innovation-specific factors, this study showed the impact of situation-specific factors when it comes to the emergence of barriers leading to active innovation resistance. The large impact of individual characteristics influencing the evaluation and interpretation of innovation-specific factors explains the controversial perceptions regarding the NFT Art market. Examples are perceptions about the value of the innovation, surrounding communities or environmental impact. Further, the research also revealed perceived opportunities relating to potential uses NFT Art offers for both artists and buyers. Here, the ideological value attached to the underlying technology contributed to this completion.

Les manifestations d’un intérêt populaire pour les jetons non fongibles (non fungible tokens (NFT)) à la suite de ventes spectaculaires par des artistes star du monde de l’art crypto en 2021 ont accentué le discours dichotomique art-argent et les positions orientées sur la marchandisation et l’hyper-financiarisation du marché contemporain. Pourtant, les conditions de production, de diffusion et de distribution des NFT et autres œuvres qui circulent sur la blockchain demeurent méconnues et ce, malgré la récente ouverture des instances du monde de l’art contemporain pour les diffuser et les commercialiser. Cette thèse s’appuie sur le travail théorique de Nathalie Heinich (2011 à 2019) et d’Arjun Appadurai (1986, 2014) afin de répondre à la question suivante : comment s’articule la construction des valeurs des œuvres qui circulent sur la blockchain ? La théorie des échanges et l’anthropologie sociale d’Arjun Appadurai permettra l’ancrage méthodologique selon lequel les objets en action (things-in-motion) révèlent leur contexte humain et social (1986, 5). Ainsi, il sera d’abord question de définir les objets – les « commodités » – et leur trajectoire afin d’être à même de constituer l’ensemble des termes du régime de valeur qui les soutient. L’analyse de quatre principales valeurs (d’authenticité, économique, éthique et relationnelle) en lien avec des productions natives de la blockchain produites entre 2011 et 2021, révèlera que ces objets démontrent finalement une approche fortement collaborative selon laquelle la création de valeur réside dans l’inclusivité, l’accessibilité, le relationnel et la propriété communautaire. / The burgeoning of popular interest in non-fungible tokens (NFT) following spectacular sales by star artists in the crypto art world have accentuated the dichotomous art-money narrative, and positions focused on commodification and hyper-financialization of the contemporary market. However, the conditions of production, dissemination and distribution of NFT and other works circulating on the blockchain remain unknown, despite the recent openness of gatekeepers in the contemporary art world to disseminate and market them. This thesis is based on the theoretical work of Nathalie Heinich (2011 to 2019) and Arjun Appadurai (1986, 2014) in order to answer the following question: how is constituted the regime of value of the works circulating on the blockchain? The exchange theory and social anthropology of Arjun Appadurai will allow the methodological anchoring according to which things-in-motion reveal their human and social context (1986, 5). Thus, we will define the objects – the “commodities” – and their trajectory in order to be able to constitute the terms of the value regime that supports them. The analysis of four main values (authenticity, economic, ethical, and relational) in connection with blockchain-native artworks produced between 2011 and 2021, will reveal that these objects ultimately demonstrate a strongly collaborative approach, according to which the creation of value resides in inclusivity, accessibility, relationality and community ownership.

[ES] La presente investigación de doctorado tiene como objetivo reivindicar una mayor importancia para la actividad del conservador de las instituciones museológicas, partiendo de un cambio de paradigma que coloque al conservador en el centro de las discusiones referentes a la toma de decisiones relacionadas con las obras de arte pertenecientes a colecciones de estas instituciones. Partiendo del presupuesto de que es posible, por analogía, comparar a la institución museo con un ecosistema, es decir como un sistema mayor formado por varios sistemas menores, se pretende examinar como tienen lugar las relaciones entre los conservadores, que actúan en un subsistema específico, y los diversos agentes que actúan en otros subsistemas. Los museos, como otros campos sociales, son espacios de relación en los cuales estructuras jerárquicas de poder pueden generar conflictos entre los agentes que allí actúan. Esta constatación expone problemas variados que pueden afectar a las obras de arte, desde la adquisición, pasando por la conservación y guarda y por la restauración propiamente dicha, hasta llegar a la exhibición entre otros. El entendimiento del conservador como gestor se propone como una alternativa, que busca dar respuesta a los diversos problemas relacionados al proceso de toma de decisiones en beneficio de las obras de arte. La hipótesis defendida es la de que el conservador, como agente poseedor de las prerrogativas para operar como interlocutor político en la interfaz entre los diversos subsistemas del sistema museo, es el agente que puede conducir las discusiones y opinar sobre los diversos aspectos relacionados a los objetos que confieren identidad a la institución museo. De esta manera, el cambio de paradigma propuesto puede contribuir para el equilibrio del ecosistema museo, en favor de todos los que allí comparten relaciones de trabajo buscando el bien común. / [CA] La present investigación de doctorat té com a objectiu reivindicar una major importància per a l'activitat del conservador de les institucions museològiques, partint d'un canvi de paradigma que col.loque al conservador en el centre de les discussions referents a la pressa de decisions relacionades amb les obres d'art pertanyents a col.leccions d'aquestes institucions. Partint del pressupost que és possible, per analogía, comparar a la institució museu amb un ecosistema, és a dir com un sistema major format per diversos sistemes menors, es pretén examinar com tenen lloc les relacions entre els conservadors, que actuen en un subsitema específic, i els diversos agents que actuen en altres subsistemes. Els museus, com altres camps socials, són espais de relació en els quals estructures jeràrquiques de poder poden generar conflictes entre els agents que allí actuen. Aquesta constatació exposa problemes variats que poden afectar les obres d'art, des de l'adquisició, passant per la conservación i guarda i per la restauració pròpiament dita, fins a arribar a l'exhibició entre altres. L'enteniment del conservador com a gestor es proposa com una alternativa, que busca donar resposta als diversos problemes relacionats amb el procés de presa de decisions en benefici de les obres d'art. La hipòtesi defensada és la que el conservador, com a agent poseeïdor de les prerrogativas per a operar com a interlocutor polític en la interfície entre els diversos subsistemes del sistema museu, és l'agent que pot conduir les discussions i opinar sobre els diversos aspectes relacionats amb els objectes que confereixen identitat a la institució museu. D'aquesta manera, el canvi de paradigma proposat pot contribuir per a l'equilibri de l'ecosistema museu, en favor de tots els que allí comparteixen relacions de treball buscant el bé comú. / [EN] The aim of this doctoral research is to assert that the activity of the conservator of museological institutions is of great importance, emanating from a paradigm shift that places the conservator at the centre of discussions regarding decision-making on works of art belonging to the collections of these institutions. Starting from the presupposition that it is possible, by analogy, to compare the museum institution to an ecosystem, that is, as a larger system made up of several minor systems, it is intended to examine the relationships between conservators, acting within a specific subsystem, and various individuals acting within other subsystems. Museums, like other social fields, are spaces of social interaction in which hierarchical structures of power can generate conflicts between the individuals who participate in them. The acknowledgement of this exposes various problems that can affect works of art, from acquisition, through to conservation and storage and restoration itself, and even the exhibition of these works, amongst other things. As an alternative, it is proposed that the conservator must be recognised as a kind of manager, who seeks to react to the various problems related to the decision-making process for the benefit of the works of art. The hypothesis asserts that the conservator, as an individual possessing the power to operate as a political interlocutor at the interface between the various subsystems of the museum system, is the person best-placed to lead discussions and give opinions on the various aspects related to the objects that confer an identity upon the museum institution. Thus, the proposed paradigm shift can contribute to the balance of the museum ecosystem, to the benefit of all those who share working relationships there, in search of the common good. / Farias De Carvalho, H. (2022). El conservador como gestor: posibilidad de acción política en la interfaz institucional [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190097

This thesis in two volumes is a study of the paintings of David ill Ryckaert (1612- 1661 ). Ryckaert grew up in a family of artists, and painted within a close community of fellow artists. According to several twentieth-century critics, Ryckaert was no more than a minor imitator of other Flemish painters. Underlying such relegation of Ryckaert is an uncritical and distinctly Modernist glorification of originality, or merely novelty. The chief argument of this thesis is that a careful reconstruction of the socio-cultural circumstances ofRyckaert's work calls into question the destructive employment of originality as a criterion of artistic greatness. Much of the vocabulary of Flemish art of the time was established. Artists thus proved their excellence both to fellow painters and a public fully conversant with the artistic traditions of subject and style, if such pictorial conventions were notably refmed or treated with a remarkable grace. Embracing the criteria of personal style and the beauty of the work, this environment is clearly averse to the blank veneration of new or original art. I argue that the term originality is itself dangerous therefore and that to neglect Ryckaert's work as that of a minor imitator is invalid and unhelpful. A careful examination of Ryckaert's known oeuvre reveals that his work is distinguished by a fine modelling, harmonious composition and a warm palette with colourful highlights. Although he relied on an established iconographic repertory, he maintained creative variation, thereby ensuring a steady demand. Ryckaert's imitation of other artists' work requires us to adjust twentieth-century criteria which tend to be pejorative of those who borrow from fellow artists. In fact Ryckaert could be said to have refmed his individuality as a painter through the testing creative encounter with and imitation of other artists. / Art / D.Litt. et Phil. (History of Art)