Com o advento dos movimentos modernistas e pós-modernistas, o mercado da arte sofreu modificações bastante particulares que se refletem nas relações entre vários agentes do campo. Hoje, a lógica de funcionamento do sistema de artes associa o mundo da arte contemporânea ao do espetáculo e do entretenimento. Existem complexas redes de relações entre o sistema das artes com o sistema econômico, político e cultural, e as exposições configuram-se como uma interface entre o setor de produção cultural erudita e o público. Dentre essas relações, interessa a este trabalho aquela referente às instituições artístico-culturais e seus visitantes. Nesse contexto, a Gestão do Design se destaca por ser um campo de conhecimento que abrange muitos pontos de contato entre um agente e o outro. Possui potencial para ser aplicada também em instituições artístico-culturais uma vez que é um meio para gerenciar o design tanto no planejamento como na elaboração e disseminação de projetos, traduzindo os objetivos estratégicos da organização em produtos/serviços. O escopo deste trabalho consiste na investigação de como instituições artísticas de Porto Alegre gerenciam o design. Para tanto, foi realizada uma fundamentação teórica sobre assuntos relacionados ao tema, como Gestão do Design, design de exposição e arte enquanto mercado. Também foram realizados dois estudos de caso sobre o uso da Gestão do Design no MAC-RS e na FIC para tentar compreender as possíveis semelhanças e diferenças de abordagem nos setores público e privado dessas instituições. / The advent of modernist and postmodernist movements, the art market was subjected to modifications which are reflecedt in the relationship between various actors of the field. Today, the operating logic of the Art system associates the world of contemporary art to that of spectacle and entertainment. There are complex networks of relationships between the Art system and the economic, political and cultural systems; exhibitions appear as an interface between the scholarly cultural production sector and the public . Among these relations, interests to this project those referring to artistic and cultural institutions and their visitors. In this context, Design Management stands out as a field of knowledge that covers many common points between one agent and the other. It has the potential to be applied also in artistic and cultural institutions since it is a way to manage design both in planning and in developing and disseminating projects, converting the organization's strategic goals in products / services. The scope of this study is to investigate how artistic institutions of Porto Alegre manage design. To achieve this goal, a theoretical foundation was held on issues related to the topic, as Design Management, Exhibition Design and art as a market. There were also conducted two case studies on the use of Design Management in MAC-RS and FIC to try to understand the possible similarities and differences in the approach to public and private sectors of these institutions.

A presente pesquisa busca compreender a elaboração de um discurso institucional sobre arte em Goiás no período de 1990 a 2012, a partir dos agentes envolvidos nos museus e galerias de arte do Estado, e os artistas em destaque e circulação neste circuito artístico. Para tanto, retomo alguns processos históricos e políticos vinculados à construção de Goiânia apresentando o projeto de modernidade com o qual Goiás envolveu-se na criação de suas primeiras instituições culturais e artísticas. Esse discurso foi contraposto, durante os anos 90, por uma nova produção que promoveu um intenso trânsito pelo país através de salões, prêmios e exposições. Diante deste panorama, a partir da década de 2000, observa-se a entrada de alguns agentes nas instituições artísticas pesquisadas e o processo de incorporação da produção contemporânea que desencadeiam. Ao operarem a legitimação de artistas e obras, eles, concomitantemente, realizam sua própria legitimação dentro do circuito e, por conseguinte, a institucionalização da arte contemporânea no Estado. Para proceder o exame das questões modernas e contemporâneas proponho como chave interpretativa a ideia de continuidade, mais que de ruptura. Como suporte metodológico foi usado o paradigma indiciário para análise dos dados coletados como exposições e/ou salões, agentes envolvidos e em trânsito por estas instituições e os artistas e obras que são incorporadas aos acervos museológicos da região, demonstrando um movimento direcionado mais no sentido do deslocamento. / This research attempted to understand how the people - from the agents involved in the museums and art galleries in the state to the artists who were prominent in this artistic circuit - elaborated an institutional discourse about art in Goiás in the period between 1990 and 2012. In order to do that, I retook historical and political processes related to the construction of Goiânia by introducing what was the project of modernity with which Goiás became involved on the creation of its first cultural and artistic institutions. These discourse was rejected by a new production that promoted an intense displacement through the country in awards and exhibitions during the nineties. Some agents entered the researched artistic institutions and unleashed the contemporary production incorporation process from the year 2000 because of this scenario. At the same time that they operated the legitimacy of artists and works, they held their own legitimization within the circuit; as a result, they legitimated the institutionalization of contemporary art in Goiás. I propose the idea of continuity rather than a rupture as a interpretation key to conduct the examination of these phenomenon related to modern and contemporary issues. The methodological support was based on the evidence paradigm for data collected analysis such as the exhibitions, the agents involved and in transit through the institutions, and the artists and works that are incorporated into museum collections in the region, affirming a movement that is more directed towards displacement.

Com o advento dos movimentos modernistas e pós-modernistas, o mercado da arte sofreu modificações bastante particulares que se refletem nas relações entre vários agentes do campo. Hoje, a lógica de funcionamento do sistema de artes associa o mundo da arte contemporânea ao do espetáculo e do entretenimento. Existem complexas redes de relações entre o sistema das artes com o sistema econômico, político e cultural, e as exposições configuram-se como uma interface entre o setor de produção cultural erudita e o público. Dentre essas relações, interessa a este trabalho aquela referente às instituições artístico-culturais e seus visitantes. Nesse contexto, a Gestão do Design se destaca por ser um campo de conhecimento que abrange muitos pontos de contato entre um agente e o outro. Possui potencial para ser aplicada também em instituições artístico-culturais uma vez que é um meio para gerenciar o design tanto no planejamento como na elaboração e disseminação de projetos, traduzindo os objetivos estratégicos da organização em produtos/serviços. O escopo deste trabalho consiste na investigação de como instituições artísticas de Porto Alegre gerenciam o design. Para tanto, foi realizada uma fundamentação teórica sobre assuntos relacionados ao tema, como Gestão do Design, design de exposição e arte enquanto mercado. Também foram realizados dois estudos de caso sobre o uso da Gestão do Design no MAC-RS e na FIC para tentar compreender as possíveis semelhanças e diferenças de abordagem nos setores público e privado dessas instituições. / The advent of modernist and postmodernist movements, the art market was subjected to modifications which are reflecedt in the relationship between various actors of the field. Today, the operating logic of the Art system associates the world of contemporary art to that of spectacle and entertainment. There are complex networks of relationships between the Art system and the economic, political and cultural systems; exhibitions appear as an interface between the scholarly cultural production sector and the public . Among these relations, interests to this project those referring to artistic and cultural institutions and their visitors. In this context, Design Management stands out as a field of knowledge that covers many common points between one agent and the other. It has the potential to be applied also in artistic and cultural institutions since it is a way to manage design both in planning and in developing and disseminating projects, converting the organization's strategic goals in products / services. The scope of this study is to investigate how artistic institutions of Porto Alegre manage design. To achieve this goal, a theoretical foundation was held on issues related to the topic, as Design Management, Exhibition Design and art as a market. There were also conducted two case studies on the use of Design Management in MAC-RS and FIC to try to understand the possible similarities and differences in the approach to public and private sectors of these institutions.

A presente pesquisa busca compreender a elaboração de um discurso institucional sobre arte em Goiás no período de 1990 a 2012, a partir dos agentes envolvidos nos museus e galerias de arte do Estado, e os artistas em destaque e circulação neste circuito artístico. Para tanto, retomo alguns processos históricos e políticos vinculados à construção de Goiânia apresentando o projeto de modernidade com o qual Goiás envolveu-se na criação de suas primeiras instituições culturais e artísticas. Esse discurso foi contraposto, durante os anos 90, por uma nova produção que promoveu um intenso trânsito pelo país através de salões, prêmios e exposições. Diante deste panorama, a partir da década de 2000, observa-se a entrada de alguns agentes nas instituições artísticas pesquisadas e o processo de incorporação da produção contemporânea que desencadeiam. Ao operarem a legitimação de artistas e obras, eles, concomitantemente, realizam sua própria legitimação dentro do circuito e, por conseguinte, a institucionalização da arte contemporânea no Estado. Para proceder o exame das questões modernas e contemporâneas proponho como chave interpretativa a ideia de continuidade, mais que de ruptura. Como suporte metodológico foi usado o paradigma indiciário para análise dos dados coletados como exposições e/ou salões, agentes envolvidos e em trânsito por estas instituições e os artistas e obras que são incorporadas aos acervos museológicos da região, demonstrando um movimento direcionado mais no sentido do deslocamento. / This research attempted to understand how the people - from the agents involved in the museums and art galleries in the state to the artists who were prominent in this artistic circuit - elaborated an institutional discourse about art in Goiás in the period between 1990 and 2012. In order to do that, I retook historical and political processes related to the construction of Goiânia by introducing what was the project of modernity with which Goiás became involved on the creation of its first cultural and artistic institutions. These discourse was rejected by a new production that promoted an intense displacement through the country in awards and exhibitions during the nineties. Some agents entered the researched artistic institutions and unleashed the contemporary production incorporation process from the year 2000 because of this scenario. At the same time that they operated the legitimacy of artists and works, they held their own legitimization within the circuit; as a result, they legitimated the institutionalization of contemporary art in Goiás. I propose the idea of continuity rather than a rupture as a interpretation key to conduct the examination of these phenomenon related to modern and contemporary issues. The methodological support was based on the evidence paradigm for data collected analysis such as the exhibitions, the agents involved and in transit through the institutions, and the artists and works that are incorporated into museum collections in the region, affirming a movement that is more directed towards displacement.

Com o advento dos movimentos modernistas e pós-modernistas, o mercado da arte sofreu modificações bastante particulares que se refletem nas relações entre vários agentes do campo. Hoje, a lógica de funcionamento do sistema de artes associa o mundo da arte contemporânea ao do espetáculo e do entretenimento. Existem complexas redes de relações entre o sistema das artes com o sistema econômico, político e cultural, e as exposições configuram-se como uma interface entre o setor de produção cultural erudita e o público. Dentre essas relações, interessa a este trabalho aquela referente às instituições artístico-culturais e seus visitantes. Nesse contexto, a Gestão do Design se destaca por ser um campo de conhecimento que abrange muitos pontos de contato entre um agente e o outro. Possui potencial para ser aplicada também em instituições artístico-culturais uma vez que é um meio para gerenciar o design tanto no planejamento como na elaboração e disseminação de projetos, traduzindo os objetivos estratégicos da organização em produtos/serviços. O escopo deste trabalho consiste na investigação de como instituições artísticas de Porto Alegre gerenciam o design. Para tanto, foi realizada uma fundamentação teórica sobre assuntos relacionados ao tema, como Gestão do Design, design de exposição e arte enquanto mercado. Também foram realizados dois estudos de caso sobre o uso da Gestão do Design no MAC-RS e na FIC para tentar compreender as possíveis semelhanças e diferenças de abordagem nos setores público e privado dessas instituições. / The advent of modernist and postmodernist movements, the art market was subjected to modifications which are reflecedt in the relationship between various actors of the field. Today, the operating logic of the Art system associates the world of contemporary art to that of spectacle and entertainment. There are complex networks of relationships between the Art system and the economic, political and cultural systems; exhibitions appear as an interface between the scholarly cultural production sector and the public . Among these relations, interests to this project those referring to artistic and cultural institutions and their visitors. In this context, Design Management stands out as a field of knowledge that covers many common points between one agent and the other. It has the potential to be applied also in artistic and cultural institutions since it is a way to manage design both in planning and in developing and disseminating projects, converting the organization's strategic goals in products / services. The scope of this study is to investigate how artistic institutions of Porto Alegre manage design. To achieve this goal, a theoretical foundation was held on issues related to the topic, as Design Management, Exhibition Design and art as a market. There were also conducted two case studies on the use of Design Management in MAC-RS and FIC to try to understand the possible similarities and differences in the approach to public and private sectors of these institutions.

A presente pesquisa busca compreender a elaboração de um discurso institucional sobre arte em Goiás no período de 1990 a 2012, a partir dos agentes envolvidos nos museus e galerias de arte do Estado, e os artistas em destaque e circulação neste circuito artístico. Para tanto, retomo alguns processos históricos e políticos vinculados à construção de Goiânia apresentando o projeto de modernidade com o qual Goiás envolveu-se na criação de suas primeiras instituições culturais e artísticas. Esse discurso foi contraposto, durante os anos 90, por uma nova produção que promoveu um intenso trânsito pelo país através de salões, prêmios e exposições. Diante deste panorama, a partir da década de 2000, observa-se a entrada de alguns agentes nas instituições artísticas pesquisadas e o processo de incorporação da produção contemporânea que desencadeiam. Ao operarem a legitimação de artistas e obras, eles, concomitantemente, realizam sua própria legitimação dentro do circuito e, por conseguinte, a institucionalização da arte contemporânea no Estado. Para proceder o exame das questões modernas e contemporâneas proponho como chave interpretativa a ideia de continuidade, mais que de ruptura. Como suporte metodológico foi usado o paradigma indiciário para análise dos dados coletados como exposições e/ou salões, agentes envolvidos e em trânsito por estas instituições e os artistas e obras que são incorporadas aos acervos museológicos da região, demonstrando um movimento direcionado mais no sentido do deslocamento. / This research attempted to understand how the people - from the agents involved in the museums and art galleries in the state to the artists who were prominent in this artistic circuit - elaborated an institutional discourse about art in Goiás in the period between 1990 and 2012. In order to do that, I retook historical and political processes related to the construction of Goiânia by introducing what was the project of modernity with which Goiás became involved on the creation of its first cultural and artistic institutions. These discourse was rejected by a new production that promoted an intense displacement through the country in awards and exhibitions during the nineties. Some agents entered the researched artistic institutions and unleashed the contemporary production incorporation process from the year 2000 because of this scenario. At the same time that they operated the legitimacy of artists and works, they held their own legitimization within the circuit; as a result, they legitimated the institutionalization of contemporary art in Goiás. I propose the idea of continuity rather than a rupture as a interpretation key to conduct the examination of these phenomenon related to modern and contemporary issues. The methodological support was based on the evidence paradigm for data collected analysis such as the exhibitions, the agents involved and in transit through the institutions, and the artists and works that are incorporated into museum collections in the region, affirming a movement that is more directed towards displacement.

El proyecto consiste en la creación de una Escuela Superior de Artes Aplicadas, la cual estará ubicada en el distrito de San Juan de Lurigancho en Lima, Perú. Las Escuelas de Educación Superior son instituciones educativas que pueden estar destinadas a impartir su enseñanza en el campo de la ciencia, la tecnología o las artes. En Lima existen muy pocas escuelas que se dedican a la enseñanza especializada de las artes, las instituciones más representativas se encuentran ubicadas en distritos céntricos, dejando así una demanda por cubrir hacia los conos de la ciudad. Este déficit de instituciones artísticas, responde a la poca difusión y a la falta de interés por el arte en el país, esto conlleva a que las carreras artísticas no sean tan tomadas en cuenta y se les reste importancia. Por estas razones, se plantea la creación de una Escuela Superior de Artes Aplicadas, la cual tendrá como objetivo brindar conocimientos especializados, enfocandose en enseñar arte y a la vez actividades conexas las cuales le permitan al alumno generar ingresos económicos haciendo uso de su creatividad para materializar sus ideas. / The project consists in the creation of a Superior School of Applied Arts, wich will be placed in San Juan de Lurigancho district in Lima Perú. Schools of higher education are institutions in wich people study science, tecnology or arts. In Lima, there are few art schools. The most representative institutions are located in central districts, leaving a demand to cover towards the peripheries of the city. This deficit of art institutions responds to the lack of diffusion and interest in art in our country, which causes artistic carrers to lose importance. For this reasons, the creacion of a School of Applied Arts is propoused, in wich people will recieve specialized knowledge, focusing on teaching arts and activities wich will allow the students to generate money by using their creativity to materialize their ideas. / Tesis

Depuis longtemps déjà, les arts visuels se démarquent par leurs rapports proches quoique créatifs avec les développements technologiques des sociétés modernes. Pour les musées, Internet constitue une opportunité de rejoindre des publics qui s’avèrent de prime abord moins accessibles. Ce nouvel acteur dans le monde de l'art occupe une place croissante dans la présentation des oeuvres tout en jouant un rôle déterminant dans la diffusion et donc dans le retentissement qu'elles ont auprès de publics aux attentes changeantes. Alors que le musée diffusait autrefois ses collections et connaissances par les expositions et les catalogues, le cyberespace est aujourd’hui un nouveau lieu public qu’il lui convient d’investir. L’internaute est souvent isolé dans sa quête d’une « trouvaille » parmi la diversité de l’offre technologique. Nous proposons l’image alternative du flâneur comme métaphore opérationnelle afin d’analyser la relation entre l’internaute et l’exposition. Les oeuvres sont transposées dans le virtuel par le médium numérique, le même langage qui sous-tend l’exposition dans son ensemble, un transfert dont les implications sont nombreuses. La reproduction, par sa nature désacralisée, autorise la manipulation virtuelle. C’est une nouvelle forme de participation qui est exigée des spectateurs, non pas en termes d’acquisition rationnelle de connaissances, mais de manière ludoéducative, par cette même manipulation de l’image. Dans le but de souligner l’authenticité de l’oeuvre originale par la présentation de son équivalent numérique, l’exposition virtuelle est souvent médiatrice et documentaire avant tout, privilégiant l’observation technologique didactique. / Art and technology have long developed close relationships allowing both to be inspired by the other. Today, the Internet constitutes an opportunity for art museums to reach to publics previously unattainable. It is determining ways in which works of art or their numerical representation thereof are presented, transmitted, and perceived. Since their founding, museums have broadcasted their collections and knowledge in the public sphere by means of exhibitions and catalogues, but the Internet is now a space they have to inaugurate. In the perspective of cyberspace being both vast and varied, the internet user is often isolated in his search of a “find” or “discovery” amongst the array of virtual exhibitions available. It is necessary to offer an alternative to the often unique image of the internet user as “searcher” to propose the image of the flâneur as an operational metaphor for the analysis of the relationship between user and exhibition in cyberspace. The representation – by means of the digital language underlying both exhibition and image – allows virtual manipulation of the work of art. This entails new forms of participation on the part of exhibition viewers who are now also internet users. Often undertaking to highlight the authentic nature of the original work of art by displaying its digital representation, the virtual exhibition is often presented as a didactic counterpart to a “real” exhibition, thus avoiding the delicate question of the work of art experience in favor of a technological observation aimed at acquiring knowledge.

Depuis longtemps déjà, les arts visuels se démarquent par leurs rapports proches quoique créatifs avec les développements technologiques des sociétés modernes. Pour les musées, Internet constitue une opportunité de rejoindre des publics qui s’avèrent de prime abord moins accessibles. Ce nouvel acteur dans le monde de l'art occupe une place croissante dans la présentation des oeuvres tout en jouant un rôle déterminant dans la diffusion et donc dans le retentissement qu'elles ont auprès de publics aux attentes changeantes. Alors que le musée diffusait autrefois ses collections et connaissances par les expositions et les catalogues, le cyberespace est aujourd’hui un nouveau lieu public qu’il lui convient d’investir. L’internaute est souvent isolé dans sa quête d’une « trouvaille » parmi la diversité de l’offre technologique. Nous proposons l’image alternative du flâneur comme métaphore opérationnelle afin d’analyser la relation entre l’internaute et l’exposition. Les oeuvres sont transposées dans le virtuel par le médium numérique, le même langage qui sous-tend l’exposition dans son ensemble, un transfert dont les implications sont nombreuses. La reproduction, par sa nature désacralisée, autorise la manipulation virtuelle. C’est une nouvelle forme de participation qui est exigée des spectateurs, non pas en termes d’acquisition rationnelle de connaissances, mais de manière ludoéducative, par cette même manipulation de l’image. Dans le but de souligner l’authenticité de l’oeuvre originale par la présentation de son équivalent numérique, l’exposition virtuelle est souvent médiatrice et documentaire avant tout, privilégiant l’observation technologique didactique. / Art and technology have long developed close relationships allowing both to be inspired by the other. Today, the Internet constitutes an opportunity for art museums to reach to publics previously unattainable. It is determining ways in which works of art or their numerical representation thereof are presented, transmitted, and perceived. Since their founding, museums have broadcasted their collections and knowledge in the public sphere by means of exhibitions and catalogues, but the Internet is now a space they have to inaugurate. In the perspective of cyberspace being both vast and varied, the internet user is often isolated in his search of a “find” or “discovery” amongst the array of virtual exhibitions available. It is necessary to offer an alternative to the often unique image of the internet user as “searcher” to propose the image of the flâneur as an operational metaphor for the analysis of the relationship between user and exhibition in cyberspace. The representation – by means of the digital language underlying both exhibition and image – allows virtual manipulation of the work of art. This entails new forms of participation on the part of exhibition viewers who are now also internet users. Often undertaking to highlight the authentic nature of the original work of art by displaying its digital representation, the virtual exhibition is often presented as a didactic counterpart to a “real” exhibition, thus avoiding the delicate question of the work of art experience in favor of a technological observation aimed at acquiring knowledge.

Cette thèse analyse les échanges artistiques entre la France et l’URSS durant l’entre-deux-guerres, leurs rouages et les avantages mutuels qu’ils présentent. Cette période connaît quatre phases successives, ce qui permet de découper la recherche en autant de parties. La première étudie la période d’avant la reconnaissance de l’URSS par la France et la mise en place des relations diplomatiques (avant 1924) ; la deuxième se penche sur les premiers liens officiels qui suivent ladite reconnaissance (1925-1928) ; la troisième s’intéresse aux années 1928-1934, période du « Grand Tournant » dans l’économie soviétique, et enfin la quatrième englobe les années qui suivent l’instauration du réalisme socialiste en 1934 et se termine avec la guerre. Notre projet tente d’évaluer la pertinence de l’approche stéréotypée portant sur le lien entre art et idéologie, de voir si la peinture soviétique, telle que présentée lors des expositions en France, était similaire à celle exposée en URSS et constituait un outil de propagande à part entière. Sous quelle forme l’art soviétique est-il présenté en France et quel est le rôle des instances dans la mise en place de ces manifestations ? Il s’agit d’étudier le rôle des acteurs de ces échanges : instances étatiques, associations, galeries, spécialistes d’art, intellectuels, collectionneurs ou enfin les artistes eux-mêmes. Nous nous intéressons également aux expositions d’artistes français et à l’organisation de leurs voyages en URSS. Ce travail montre que les maillons de la chaîne « politique-idéologie-finances » sont intimement liés entre eux et que l’argent a souvent un rôle décisif pour les instances soviétiques. / This dissertation focuses on artistic exchange between France and the USSR in the interwar period, its mechanisms and the benefits it presented. This period can be divided into four successive phases, accounting for the four parts this research falls into. The first part studies the years leading up to the recognition of the USSR by France and the setting up of diplomatic relations (prior to 1924); the second part deals with the first official links following the recognition (1925-1928); the third part focuses on the years 1928-1934, a period of economic change also known as « the Great Turn » in Soviet economy and the fourth and final part spans the years after socialist realism was established from 1934 on up to the outbreak of the war. This research questions the stereotypical approach to the link between art and ideology and asks whether Soviet painting, as shown during exhibitions in France, was similar to that shown in the USSR and whether it was, or not, a sheer tool for propaganda. Under what form was Soviet art presented in France and what role did authorities play in organizing artistic events? The role played by the actors of this exchange is studied: state authorities, associations, art galleries, art specialists, intellectuals, collectors, intellectuals, and last but not least the artists themselves. Also studied are the exhibitions of French artists and how their trips to the USSR were organized. This research shows that politics, ideology and money are tightly linked together and that money played a decisive role for Soviet authorities.