Thèse (M.A.) -- Université du Québec à Chicoutimi, [2003]. / Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de la maîtrise en art, concentration Création, pour l'obtention du grade maître ès arts (M.A.). CaQCU Bibliogr.: f. 54-55. Document électronique également accessible en format PDF. CaQCU

Tendo como objetivo principal destrinchar o conceito do vazio e a forma como este permeou a produção artística e o pensamento humano ao longo dos tempos, esta pesquisa faz uma incursão por teorias filosóficas desde a Antiguidade Clássica ocidental até conceitos filosóficos e religiosos do Oriente, a fim de compreender como o interesse pela ideia de vazio migrou para a produção artística e, mais do que isso, consolidou-se como um importante fundamento para a Arte Moderna e para a produção contemporânea. Partindo de exemplos e momentos da História da Arte que permitam a compreensão das várias formas como o pensamento artístico incorporou o conceito nas obras de arte, a partir desta primeira busca histórica e conceitual, será feita uma investigação pela produção de artistas visuais cujas trajetórias foram marcadas por ideias de esvaziamento. Num segundo momento, uma análise da 28 Bienal de São Paulo cujo eixo curatorial manteve todo um pavimento vazio durante o período expositivo buscará compreender a forma como a presença do vazio pode se ampliar para além do objeto artístico e se incorporar ao próprio espaço institucional / As its main objective to disentangle the concept of emptiness and how it permeate the artistic production and the human thought over time, this research makes an incursion through philosophical theories from Western Classical Antiquity to Eastern philosophical and religious concepts, aiming to comprehend how the interest around the idea of emptiness migrated into the artistic production and, more than that, became an important foundation for the Modern Art and for the contemporary production. Taking examples and moments in Art History that allow us to understand how the artistic thought incorporated such concept in works of art, from this first historical and conceptual search we'll investigate the production of artists in whose trajectories the idea of emptiness was notorious. On a second moment, from an analysis of the 28th São Paulo Art Biennial - that had a whole floor empty throughout the exhibition period as a curatorial strategy - we'll try to understand the way the presence of the emptiness could expand beyond the artistic object and incorporate the institutional space

Tendo como objetivo principal destrinchar o conceito do vazio e a forma como este permeou a produção artística e o pensamento humano ao longo dos tempos, esta pesquisa faz uma incursão por teorias filosóficas desde a Antiguidade Clássica ocidental até conceitos filosóficos e religiosos do Oriente, a fim de compreender como o interesse pela ideia de vazio migrou para a produção artística e, mais do que isso, consolidou-se como um importante fundamento para a Arte Moderna e para a produção contemporânea. Partindo de exemplos e momentos da História da Arte que permitam a compreensão das várias formas como o pensamento artístico incorporou o conceito nas obras de arte, a partir desta primeira busca histórica e conceitual, será feita uma investigação pela produção de artistas visuais cujas trajetórias foram marcadas por ideias de esvaziamento. Num segundo momento, uma análise da 28 Bienal de São Paulo cujo eixo curatorial manteve todo um pavimento vazio durante o período expositivo buscará compreender a forma como a presença do vazio pode se ampliar para além do objeto artístico e se incorporar ao próprio espaço institucional / As its main objective to disentangle the concept of emptiness and how it permeate the artistic production and the human thought over time, this research makes an incursion through philosophical theories from Western Classical Antiquity to Eastern philosophical and religious concepts, aiming to comprehend how the interest around the idea of emptiness migrated into the artistic production and, more than that, became an important foundation for the Modern Art and for the contemporary production. Taking examples and moments in Art History that allow us to understand how the artistic thought incorporated such concept in works of art, from this first historical and conceptual search we'll investigate the production of artists in whose trajectories the idea of emptiness was notorious. On a second moment, from an analysis of the 28th São Paulo Art Biennial - that had a whole floor empty throughout the exhibition period as a curatorial strategy - we'll try to understand the way the presence of the emptiness could expand beyond the artistic object and incorporate the institutional space

Das Kunstobjekt aus Carbonbeton soll vor dem Gebäude des Instituts für Massivbau der RWTH Aachen stehen. Forschung, Wissenschaft und große Innovationen sind wichtigster Baustein unserer Zukunft. Das Kunstobjekt kann ein Denkmal für Forschung und Wissenschaft sein. Die natürliche Farbe von Carbonbeton ist grau, und das Grau deprimiert uns besonders im Winter. Daher sollte die Farbe des Carbonbetons verändert werden, genau wie das Denkmal in fröhlichen Farben, um alle Leute zu erfreuen und zu erfrischen, um die Umgebung zu verschönern. Das Rot versprüht die Frühlingsstimmung, die Offenheit, Ehrlichkeit und Kraft des Kampfgeists der Wissenschaftler*innen. Das Blau wirkt beruhigend, verströmt die Ruhe, die Gelassenheit und unendliche Weite der Forschungsbereiche der Wissenschaftler*innen. Das Gelb verbreitet die Heiterkeit, den Optimismus und den Mut der Wissenschaftler*innen. Das Zusammentreffen der Farben bildet ein Elysium der Wissenschaftler*innen. Das Strahlen der Farben vertreibt die Depression der Rückschläge der Forschung der Wissenschaftler*innen.

This dissertation highlights the general problems of musealization and the ways of preservation of contemporary art. The object of research is contemporary art in the system of relations with museum institutions. The subject of the dissertation is methods of preserving such contemporary art practices as collage, object and installation. In the study of foreign and russianexperience in preservation of contemporary art objects, the author comes to the conclusion that, despite the wide variety of mediums and techniques used in the process of creation of contemporary art objects, three types of preservation activities can be distinguished. The first are aimed primarily at maintaining the physical state of the work –there are restoration and conservation. The second one is a specific way of archiving the maximum information about the work - the documentation. The third way depends on the conceptual solution laid by the artist - reinstallation, which is applicable to those objects whose representation requires their new reproduction. / Данная диссертация освещает общие проблемы музеефикации и способы сохранения современного искусства. Объектом исследования является современное искусство в системе отношений с музейными институциями. Предметом исследования диссертации стали методы сохранения таких современных практик, как коллаж, объект и инсталляция. В ходе исследования зарубежного и отечественного опыта сохранения объектов современного искусства автор приходит к выводу, что, несмотря на большое разнообразие используемых методов и технологий при создании современных произведений искусства, можно выделить три вида деятельности по их сохранению. Первые, прежде всего, направлены на поддержание физического состояния произведения – это реставрация и консервация. Второй – своеобразный способ архивации максимальной информации о произведении – документация. Третий способ зависит от заложенного художником концептуального решения – реинсталляция, которая применима к тем объектам, репрезентация которых требует их нового воспроизведения.

The dissertation work is devoted to the study of the influence of art design tools on the formation of ecological consciousness of children. The work reveals the essence and specifics of such concepts as environmental awareness, art design, and art object. The necessity of developing the ecological consciousness of children for sustainable development is substantiated. The problems and prospects of the development of ecological consciousness of children in Russia are considered. The analysis of art objects has been carried out, as well as aspects affecting the development of environmental consciousness have been identified. Based on the conclusions, the principles of art design in the development of ecological consciousness of children are formulated and tested. / Диссертационная работа посвящена исследованию влияния средств арт-дизайна на формирование экологического сознания детей. В работе раскрыта суть и специфика таких понятий, как экологическое сознание, арт-дизайн, арт-объект. Обоснована необходимость развития экологического сознания детей для устойчивого развития. Рассмотрены проблемы и перспективы развития экологического сознания детей в России. Проведен анализ арт-объектов, а также выявлены аспекты, влияющие на развитие экологического сознания. На основании выводов сформулированы и апробированы принципы арт-дизайна в развитии экологического сознания детей.

The topic of this diploma thesis is the development and transformation of a collage which overlaps to non-traditional expression means and art techniques. The theoretical part deals with the change of a collage and its peripetials. It presents reflections on what still can be considered a collage, not only in terms of techniques with collages closely related (eg, assemblages, de-collage), but mainly in terms of the individual principles that allow to grasp collage as a concept and to observe it in various domains. The issue of a collage, examined in the theoretical part, is transformed into a thematic serie, which is presented in the form of didactic structures that were implemented in school practice and reflected by the teachers. The artistic part depicts an author's project using one of the presented collage principles - joining of individual components into the resulting whole. The project, among other things, deals with the question of whether it is possible to construct an identity of a certain place using visual records of different participants separate pages of the book. Key words: collage, assemblage, de-collage, montage, crumple technique, technique of stratification, cumulation, art object, installation, concept, body art, digital collage, net art, art education

The dissertation is devoted to the study of the communicative potential of industrial heritage. The subject of the study is the methods of forming the communicative potential in the cultural cluster "Summer at the Factory" in the city of Sysert. The purpose of the dissertation is to identify the techniques and methods of design for the development of design support for the festival. Part of the study is devoted to the problems of rethinking the functions of the territories and buildings of abandoned factories. The world and domestic experience of rethinking the industrial heritage, examples of creative centers, creative clusters, exhibition galleries located in such objects are studied. The methods and techniques of design support in creative clusters are identified. Graphic and environmental objects for the design support of the festival "Summer at the Factory" are developed. / Диссертационная работа посвящена исследованию коммуникативного потенциала индустриального наследия. Предметом исследования являются методы формирования коммуникативного потенциала в культурном кластере «Лето на заводе» в городе Сысерть. Цель диссертационной работы — выявить приемы и методы дизайна для разработки дизайн-сопровождение фестиваля. Часть исследования посвящена проблемам переосмысления функций территорий и зданий заброшенных заводов. Изучен мировой и отечественный опыт переосмысления индустриального наследия, примеры творческих центров, креативных кластеров, выставочных галерей, размещенных в подобных объектах. Выявлены методы и приемы дизайн-сопровождения в креативных кластерах. Разработаны графические и средовые объекты для дизайн-сопровождения фестиваля «Лето на заводе».