Exegesis (MA--Art and Design) -- AUT University, 2008. / Includes bibliographical references. Also held in print (130 leaves : col. ill. ; 30 cm. + 1 booklet + 2 discs) in the Archive at the City Campus (T 709 KAI)

Culture is an active process. It does not lie dormant in things (that is, any commodity, object or event that can be made to signify), waiting patiently to be awoken by an appropriate consumer. It is the practice and making of meanings. Culture is not in the object but in the experience of the object: how we make it meaningful, what we do with it, how we value it. John Storey (2003) Inventing Popular Culture, page viii The traditional arts, dance theater, music, visual arts and multi media are all accepted as being part of culture. In the same way that culture can be defined by the perceptions and feelings of each individual the arts belong to everyone. Bruno Frey (2003) in his book Arts and Economics: Analysis and Cultural policy considers the ways in which the arts are funded and supported and argues that a decision making system involving the diverse participants, audience, experts, artists and administrators is best equipped to establish and safeguard the constitutional rights to artistic expression (Frey, 2003:17). Can the experience of the arts be protected in the same way? This is an examination of the process, physical, historical and emotional issues that all play a part in the definition of the arts in Taipei. Entering the experience as a mother, artist, foreigner and long time resident of Taipei gave the researcher the opportunity to use many lenses simultaneously. This multifaceted view informed the choice of this topic. Can heritage sites and old buildings be successfully made into public arts venues? Do the underlying elements of history and conservation contribute to the venue’s ability to reach a large audience? Can free access be in part supported by in these sites through the use volunteers instead of paid staff? In order to better understand the role of the arts in contemporary Taipei life, the researcher, under the parameters of the Volunteer Services Act of Taiwan, conducted her research while a volunteer in the venues.

In the context of negative consequences following an economic growth paradigm, in the urban sphere, such as uneven urban development, marginalization, gentrification and austerity measures, the present study directs the focus towards the spaces of civic promise. These spaces have the potential to challenge the commoditized and consumerist urban practices and imagine alternative futures. The present paper applies an infrastructural approach to neighborhood art spaces with the purpose of identifying and understanding urban solidarity. Urban solidarity is conceptualized as civic sociality that negotiates difference. To pursue this line of inquiry, the thesis analyzes practices, relations, encounters and socialities that are allowed at Konsthall C, a neighborhood art space located in Hökarängen, a southern suburb of Stockholm, Sweden. The three research questions that guide the thesis are discussing the qualities of the art space, the civic sociality and how it negotiates difference and the dynamics between the qualities of the spaces and the civic social relations manifested in the space. These dynamics reveal that there is not a simple straightforward relationship between the two. Moreover, the importance of the background is reiterated for these types of spaces. Besides this, a nuanced perspective on the types of civic sociality and how it works towards negotiating differences is highlighted.

Thesis (M.A.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed February 10, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 39-41).

viii, 77 p. : ill. / The focus of this study was a free site-specific dance and music performance for the general public in Alton Baker Park (Eugene, Oregon), designed to enhance public engagement with the park and with dance. Collaborative processes with participating dancers, composers, and musicians fostered community building between the artists. Informing literature covers the impact of site-specific dance performances on communities, choreographic methodology, the history of site-specific artwork, the impact on, and consideration of, the audience in site-specific projects, and collaboration in the arts. Consideration of the surrounding community and the inherent political nature of site-specific work directly influenced every decision throughout the process. Themes emerged from the focus on building community, engaging the patrons with the site, and investigating process. Themes include the Culminating Performance, Common Values, Collaboration, Audience, Process, Journaling and Research, and a Final Summary. Reflection on the process reveals insights and suggestions for future endeavors. / Committee in charge: Dr. Jenifer P. Craig, Chairperson; Christian Cherry, Member; Walter Kennedy, Member

No description available.

El crecimiento vertical y exponencial de la ciudad de Lima es innegable. A la par, la ubicación y promoción de centros y/o instituciones culturales, coincidentemente se desarrollan en distritos con espacios urbanos amplios que no contemplan una cantidad desmesurada de niveles en sus perfiles urbanos. Magdalena del Mar es un distrito que apunta a un crecimiento vertical influenciado por distritos aledaños. Sin embargo, su esencia no recae en la vivienda multifamiliar o en las torres de oficinas; sino que, se caracteriza por las interacciones en comunidad, su historia, arte y cultura. Al distrito le hace mucha falta espacios en dónde desarrollar las múltiples actividades propuestas para la comunidad. Bajo el concepto de arquitectura flexible, se propone implementar un centro cultural entre calles con poca libertad para el peatón. ¿Por qué? Porque es necesario tener este tipo de planteamientos en una ciudad que apuesta por el auto y los edificios de gran altura. Dicho ocasiona espacios muy poco atractivos para el peatón y la arquitectura se pierde con ellos. El desarrollo de este centro cultural pretende demostrar la influencia positiva de una infraestructura pública entre proyectos de inversión privada. El centro no solo contará con ambientes interiores de calidad espacial; sino que, se complementará con un gran espacio público que permita la producción y fomentación de actividades cotidianamente realizadas al aire libre en el distrito. De esta manera, se mantiene el espíritu comunitario y artístico con el que ya cuenta Magdalena del Mar. / The vertical and exponential growth of the city of Lima is undeniable. At the same time, the location and promotion of cultural centers and/or institutions, are coincidentally developed in districts with wide urban spaces that do not contemplate a boundless quantity of levels in its urban profile. Magdalena del Mar is a district that contemplates a vertical growth influenced by nearby districts. Nevertheless, its essence does not relapse in multifamily housing or office towers; but its distinguished for the interactions in the community, its history, art and culture. The district needs a lot of spaces where to develop the multiple activities designed for the community. Under the concept of flexible architecture, it is proposed to design a cultural center between streets with few liberties to the pedestrians. ¿Why? Because it is necessary to have this type of planning in a city that wager for the car and buildings of great height. That situation causes unattractive spaces for the pedestrian and the architecture gets lost with them. The developing of this cultural center pretends to demonstrate how positive a public infrastructure can be between projects of private investment. The center will not only have interior spaces of spatial quality; but it will be complemented with a vast public space that allows the production and promotion of daily outdoor activities in the district. This way, the community and artistic spirit that Magdalena del mar already has, is maintained. / Tesis

A partir dos anos 2000, o Centro da cidade de São Paulo voltou a vibrar como polo atrativo de novos moradores, entre eles artistas. Favorecidos com boa infra-estrutura, preços baixos e uma (re) conexão cultural e afetiva com o centro histórico, os novos moradores passaram a se reunir em espaços autônomos de arte, onde criam laços e se influenciam pelo espaço urbano singular da região central da cidade. Tais espaços autônomos se configuram pela independência do circuito institucional e do mercado de arte, estando livres para criar, refletir e apresentar seus trabalhos no contexto da cidade. As trajetórias da arte contemporânea em um circuito independente e experimental no distrito da Sé conduzem esta pesquisa. O mapeamento dos espaços autônomos de arte na região mostra como eles se articulam no centro histórico da maior cidade brasileira, formando uma teia de relações entre artistas, espaços autônomos e a cidade. / From the 2000s, the São Paulo city downtown has once again vibrated as an attractive pole of new residents, among them artists. Favored by good infrastructure, low prices and a cultural and affective (re) connection with the historic center, the new \"residents\" get together in autonomous art spaces, where they create bonds and are influenced by this unique urban space of the center of the city. These autonomous spaces are shaped by the independence of the institutional circuit and the art market, being free to create, reflect and present their works in the context of the city. The trajectories of contemporary art in an independent and experimental circuit in the Sé district lead this research. The mapping of autonomous art spaces in the region shows how they are articulated in the historical center of the largest Brazilian city, forming a web of relations between artists, autonomous spaces and the city.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims investigate three spaces of exhibitions, where each one guards its specificity: The Art & Fact Gallery, a commercial space; the Contemporary Art Museum of Rio Grande do Sul MACS/RS, a institutional space and the Torreão, a collective initiative of artists, in a meaningful time covering the years of 1985 and 1997, in Porto Alegre City. What interested us searching, mainly, was the feature common on all three, that is, the extent to which each contributed as a space of legitimation of artists who were beginning their careers in the mid 80's and 90's. From the historiography did the analysis of the performances of such spaces in relation to production, distribution and consumption of art in that period, despite the relationships between spaces, the artists and arts system in force, noting the changes that promoted into the field of art in Porto Alegre. The survey, regarding the methodology, procedures relating to research combines theoretical and field. The first will have its foundation in important authors who wrote about the period as Iclaia Cattani, Blanca Brites, Marilene Burtet Pieta, Anna Maria Albani de Carvalho and Maria Amelia Bulhões, like Gomes and Paulo Tadeu Chiarelli, and other influential theorists different areas such as Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum and Ligia Canongia. To reach our goals the field research was fundamental because the interviews with officials, directors and managers, was instructive, because understanding its dynamic presentation of art, we understand them as spaces of legitimation. / A presente pesquisa tem por objetivo investigar três espaços de exposições, em que cada um guarda a sua especificidade: a Galeria Arte & Fato, espaço de cunho comercial; o Museu de Arte Contemporânea do Rio Grande do Sul MAC/RS, espaço institucional; o Torreão, iniciativa coletiva de artistas, em um recorte temporal que abrange os anos entre 1985 e 1997, na cidade de Porto Alegre. O que interessou pesquisar, principalmente, foi a característica comum aos três, ou seja, em que medida cada um deles contribuiu como espaço de legitimação de artistas que estavam iniciando as suas trajetórias em meados dos anos 80 e na década de 90. A partir da historiografia, realizou-se a análise das atuações dos referidos espaços no que tange à produção, à divulgação e ao consumo de obras de arte no citado período, estabelecendo relações entre os espaços, artistas e sistema de artes vigente, constatando as mudanças que promoveram para o campo da arte em Porto Alegre. A pesquisa, no que diz respeito à metodologia empregada, conjuga procedimentos referentes à pesquisa teórica e à de campo. A primeira tem o seu embasamento em autores importantes que escreveram sobre o período, como Icleia Cattani, Blanca Brites, Marilene Burtet Pieta, Ana Maria Albani de Carvalho e Maria Amélia Bulhões, assim como Paulo Gomes e Tadeu Chiarelli, além de outros teóricos influentes de áreas diferenciadas, dentre eles, Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum e Ligia Canongia. Para atingir os objetivos, a pesquisa de campo revelou-se fundamental, pois as entrevistas com os responsáveis, os diretores e os gestores mostraram-se elucidativas; assim, entendendo as dinâmicas de apresentação da arte, compreende-se tais locais como espaços de legitimação.