Este trabalho tem por objetivo investigar o significado das obras de arte pública permanentes, comissionadas pela 5.ª Bienal do Mercosul, em Porto Alegre, entre 2004 e 2006, sob o prisma das questões da site-specificity e/ou place-specificity. As esculturas de Mauro Fuke, José Resende, Carmela Gross e Waltercio Caldas, são tomadas como estudo de caso para a discussão dessas questões, ou seja, para investigar as possibilidades de transformação de um local (espaço físico) em lugar (local dotado de significados), por meio de obras de arte projetadas especificamente com esse objetivo. / The paper aims at searching for the meaning of perennial public artworks done under the 5th Mercosul Biennial (Porto Alegre, 2004-2006) order, looking at the issues of site-specificity and/or place-specificity. Mauro Fuke, José Resende, Carmela Gross and Waltercio Caldas’s sculptures are the case study for the debate of such issues. Investigating the possibility of transforming spaces into sites through the placement of artworks produced for that purpose.

Esta tese discorre sobre a Bienal de Artes Visuais do Mercosul. Exposição de arte contemporânea que ocupa vários espaços expositivos e interfere na cidade de Porto Alegre através de intervenções na paisagem e, principalmente, cultural, social, artística e economicamente. Mais especificamente buscou-se a apresentação das relações de estado e mercado na construção do projeto Bienal do Mercosul, pois ao analisar as edições iniciais das Bienais de Artes Visuais do Mercosul (1997-2003) encontramos convergências políticas entre as iniciativas públicas e privadas associadas ao evento. Este projeto cultural rapidamente se tornou referência regional e modelar para o setor local. A Bienal do Mercosul surgiu e se constituiu, com sucesso, numa era de fluxos, câmbios e impermanências de riquezas, culturas e identidades, que desafiam a promoção internacional da produção artística regional, bem como de seus agentes e mercados. Nesse processo surgem estratégias narrativas de afirmação, sistematicamente noticiadas pela mídia impressa, fonte de consulta referencial para esse trabalho. Através dos jornais e dos catálogos da mostra buscamos os pronunciamentos dos presidentes da Fundação Bienal de Artes Visuais do Mercosul, de dirigentes estatais e representantes políticos além de artistas, dos curadores da mostra, críticos de arte e jornalistas que analisam e justificam suas escolhas, opiniões e avaliações a partir dos postulados contemporâneos do mundo globalizado, evidenciando protagonismos e utopias presentes nas Bienais do Mercosul. Nessa tese procuram-se os efeitos e demonstrativos locais (Rio Grande do Sul / Porto Alegre) da afirmação corrente de que o poder faz cultura e que a cultura estabelece o poder, de acordo com a qual, os circuitos culturais e artísticos, nos moldes das Bienais do Mercosul configuram cenários privilegiados, também para a disputa de liderança e hegemonia. A relevância das Bienais do Mercosul, apesar do nome que refere a formação de um bloco para o Mercado Comum do Sul, está hoje muito mais associada ao poder de inserção internacional desse evento e seus agentes do que a capacidade de promoção e crítica da arte latinoamericana contemporânea, restrita aos países do Cone Sul e ou, fora dos padrões hegemônicos da arte globalizada. Assim, a indicação da formação de um bloco de países do Sul, MERCOSUL, expressa no nome, não significa um movimento de resistência, mas uma forma de apresentar esta Bienal, distintivamente, num mercado internacional que ostenta inúmeras bienais, como a maior mostra de arte latino-americana. / This thesis is about the Mercosul Visual Art Biennial. Exhibition of contemporary art that takes up several spaces of exposition and interferes in the city of Porto Alegre through interventions in the landscape and, above all, cultural, social, artistic and economic aspects. More specifically sought to presentation of the relations of state and market in the construction of the project Mercosul Biennial, because, when analyzing the original editions of the Mercosul Visual Art Biennial (1997-2003) we find political convergences between public and private initiatives related to the event. This project quickly became a cultural reference model for regional and local industry. The Mercosul Biennial emerged and whether it became successful in an era of flows, exchange rates and impermanence of things, cultures and identities that defy the international promotion of regional artistic production, as well as their agents and markets. In that case arise, narrative strategies of affirmation, routinely reported by the print media, consulting source of reference for this work. Through newspapers and catalogs of shows seek the pronouncements of the presidents of the Mercosul Visual Art Biennial foundation, the state leaders, political representatives as well as artists, the curators of the show, of art critics and journalists who analyze and justify their choices, opinions and assessments from the postulates of the contemporary globalized world, showing players and utopias present in the Mercosul Biennial. In this thesis attempts to test the effects and locations (Rio Grande do Sul / Porto Alegre) assertion that the current power is growing and that culture provides the power, according to which the cultural and artistic circuits, in the manner the Mercosul Biennial preferential up scenarios, also for the dispute of leadership and hegemony. The relevance of the Mercosul Biennial, despite the name that refers to the formation of a bloc for the Southern Common Market, is now much more linked to the power of international insertion of this event and its agents than the ability to promote and criticism of Contemporary Latin American Art, restricted to countries of the Southern Cone and, or, outside the hegemonic patterns of global art. Thus, an indication of the formation of a bloc of southern countries, Mercosul, expressed in name, not a movement of resistance, but a way of presenting this Biennial, clearly, in a market that boasts numerous international biennials, as the largest show of Latin American art.

Este trabalho teve como objetivo investigar o papel da Bienal do Mercosul - uma exposição bianual de artes visuais realizada em Porto Alegre, com participação de países da região - como expressão do processo de empresariamento na administração urbana da cidade, de forma a dar uma contribuição para o entendimento do significado da exposição no bojo das políticas urbanas locais de gestão cultural e turística. O estudo investigou, com base nas seis edições da Bienal, a sua relação com três categorias principais do processo de empresariamento urbano: (1) a parceria público-privada, focalizando o papel do poder público local na captação de financiamentos e investimentos privados e na criação de novas fontes de empresariamento; (2) o papel dos atores estratégicos na criação da Fundação Bienal de Artes Visuais do Mercosul, entre os quais políticos, empresários, curadores e artistas plásticos; (3) as intervenções relacionadas à promoção da imagem da cidade e à transformação da paisagem. A análise dos dados empíricos mostrou que apenas duas categorias, a parceria público-privada e os atores estratégicos, tiveram um papel significatiovo na Bienal do Mercosul para associar a cultura e o turismo à promoção da cidade no cenário internacional. Neste sentido, os resultados do estudo permitem concluir que a Bienal do Mercosul e a sua Fundação constituem sim como expressões parciais do processo de empresariamento urbano na administração da cidade. / The main objective of this study is to investigate the role of Mercosul Biennial - a visual art exhibition that happens every two years in Porto Alegre, in wich many countries in the region participate - as a partial expression of the entrepreneurialism process in the urban administration of the city, in order to understand its meaning, related to local urban policies in cultural and touristc management. It is a historical descriptive study that investigated, based on the six editions of Mercosul Biennial, its relation to the three main indicators in the urban entrepreneurialism: (1) the public-private partnership, focusing on the role of the local public power, considering foreign financing, investiments and criation of the new sources of the entrepreneurialism; (2) the role of the estrategic actors in the criation of Mercosul Visual Arts Biennial Foundation: politics, entrepreneurs, curators and artistis (painters, sculpturs); (3) the interventions related to the promotion of the image of the city. The analyzis of the indicators showed that only two of them: public-private partnership and strategic actors had an important role in Mercosul Bienal to associate culture and tourism to the promotion of the city in an international context. Through the results of the study, we concluded that Mercosul Biennial and Mercosul Visual Arts Biennial Foundation as a partical expression of entrepreneurialism process in the urban administration of the city.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T09:20:23Z (GMT). No. of bitstreams: 1 Lodo_GabrielaCristina_M.pdf: 3456860 bytes, checksum: 053cf872db2ed3a411b9c455b81a5d5e (MD5) Previous issue date: 2014 / Resumo: A presente pesquisa tem como objetivo estudar a realização de uma exposição de arte específica na história da arte brasileira, a I Bienal Latino-Americana de São Paulo, ocorrida no ano de 1978. A mostra pensada como um espaço de apresentação e discussão dedicado exclusivamente à produção artística da América Latina ocorreu paralelamente às edições internacionais da Bienal de São Paulo. Originalmente, a I Bienal Latino-Americana fora criada com o intuito de substituir as edições das Pré-Bienais, mostras de arte brasileira, que também ocorreram entre os certames internacionais a partir de 1970. As exposições organizadas pela Fundação Bienal de São Paulo na década de 1970 foram consideradas por parte da crítica de arte brasileira de qualidade inferior quando comparadas às edições anteriores. Em parte, a crise enfrentada pela Fundação decorre do difícil período político e social vivido pelo Brasil no momento, com a Ditadura Militar, o cerceamento cultural e boicote às Bienais de São Paulo. Tanto as mostras nacionais quanto a latino-americana exerceram a função de renovar as discussões no cenário artístico nacional e reaver o prestígio das Bienais de São Paulo, abalado com a crise enfrentada pela instituição no período. No entanto, o projeto de valorização da cultura e da arte latino-americana foi prematuramente finalizado no ano de 1980, mesma data em que deveria ocorrer a segunda edição da mostra. A pesquisa se concentrou em estudar o projeto que envolveu a I Bienal Latino-Americana de São Paulo e sua não continuidade, levando em consideração os principais fatores que possibilitaram sua criação, sua organização e realização no ano de 1978 e o seu consequentemente fim no ano de 1980 / Abstract: This research project aims at studying the hosting of an specific art exhibition in the Brazilian Art History, the I Latin American Biennial of São Paulo, which happened in 1978. The exhibition was conceived as a space for presentation and discussion exclusively dedicated to Latin American artistic production, and it took place simultaneously to the international editions of Biennial of São Paulo. Originally, the I Latin American Biennial was created to replace the "Pré-Bienais" editions, national art exhibitions that had occurred since 1970 between the international editions. The art exhibitions organized by the Biennial Foundation of São Paulo in 1970s were considered of low quality by Brazilian art critics when compared to previous editions. Partly, the crisis faced by the Foundation derives from the difficult political and social period that Brazil faces at the moment, like the military dictatorship, the cultural curtailment and the boycott of Biennial of São Paulo. Both national exhibitions and Latin American exhibitions had the function of renewing discussions in the national artistic scene and retrieving prestige for Biennial of São Paulo, which had been hard-hit by the institution crisis at that moment. However, the project of valorization of Latin American culture and art was early terminated in 1980, at the same time the second edition of the exhibition would take place. The research focused on studying the project that involved the I Latin American Biennial of São Paulo and its non-continuation, taking into consideration the main factors that enabled its creation, its organization and hosting in 1978, and its consequently end in 1980 / Mestrado / Historia da Arte / Mestra em História

Abstract This thesis studies the long-term relation between the solar wind driven energetic particle forcing into the atmosphere and the tropospheric circulation in the Northern Hemisphere winter. The work covers the period of more than one hundred years since the turn of the 20th century to present. The thesis makes a statistical analysis of satellite measurements of precipitating energetic electrons, sunspot number data and geomagnetic activity, and compares them with temperature and pressure measurements made at the Earth's surface. Recent results, both observational and from chemistry climate models, have indicated significant effects in the Earth's middle atmosphere due to the energetic electrons precipitating from the magnetosphere. These effects include the formation of reactive hydrogen and nitrogen oxides in the high latitude mesosphere and the depletion of ozone caused by them. Ozone is a radiatively active and important gas, which affects the thermal structure and dynamics of the middle atmosphere. Accordingly, the depletion of ozone can intensify the large scale stratospheric circulation pattern called the polar vortex. Winter weather conditions on the surface have been shown to be dependent on the polar vortex strength. This thesis shows that there is a significant relation between the average fluxes of medium energy (ten to hundred keVs) precipitating electrons and surface temperatures in parts of the Northern Hemisphere in winter time. Temperatures are positively correlated with electron fluxes in North Eurasia and negatively correlated in Greenland during the period 1980-2010 which is covered by direct satellite observations of precipitating particles. This difference is especially notable when major sudden stratospheric warmings and the quasi-biennial oscillation (QBO), which both are known to affect the polar vortex strength, are taken into account. When extended to the late 19th century, the analysis shows that a similar temperature pattern is predominated during the declining phase of the sunspot cycle. The high speed solar wind streams and energetic particle precipitation typically maximize also at the declining phase of the solar cycle. This specific temperature pattern is related to the variability of the northern annular mode (NAM), which is the most significant circulation pattern in the Northern Hemisphere winter. Before the space era, geomagnetic activity measured by ground observations can be used as a proxy for energetic particle precipitation. Earlier studies have found a significant positive correlation between geomagnetic activity and NAM since the 1960s. We find that, when the QBO measured at 30 hPa height is in the easterly phase, a positive correlation is extended to the beginning of 1900s. We also show that high geomagnetic activity causes a stronger effect in the Northern Hemisphere winter than high sunspot activity, especially in the Atlantic and Eurasia. A comprehensive knowledge of the Earth's climate system and all its drivers is crucial for the future projection of climate. Solar variability effects have been estimated to produce only a small factor to the global climate change. However, there is increasing evidence, including the results presented in this thesis, that the different forms of solar variability can have a substantial effect to regional and seasonal climate variability. With this new evidence, the solar wind related particle effects in the atmosphere are now gaining increasing attention. These effects will soon be included in the next coupled model inter comparison project (CMIP6) as an additional solar related climate effect. This emphasizes the relevance of this thesis.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-03T14:19:01Z No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-03T14:21:12Z (GMT) No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5) / Made available in DSpace on 2015-12-03T14:21:12Z (GMT). No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5) Previous issue date: 2015-03-05 / A partir do contexto de emergência e consolidação da atividade do curador de exposições de arte contemporânea na esfera artística internacional, esta análise direciona-se a duas edições da Bienal de São Paulo (as 18ª e 19ª, promovidas em 1985 e 1987, respectivamente) para compreender as condições e desdobramentos dessa profissão no Brasil. As curadorias da crítica de arte Sheila Leirner são estudadas aqui em sua singularidade e em relação com diversas exposições realizadas em instituições congêneres. Colocamos em perspectiva a historiografia já estabelecida acerca dessas duas propostas curatoriais (“O Homem e a Vida” e “Utopia versus Realidade”), e esquadrinhamos o debate crítico suscitado por elas dentro e fora do país. Seleções de obras artísticas e artistas, expografia, discurso teórico e poder de legitimação são articulados com a trajetória crítica da curadora e as transformações nas políticas públicas para a cultura e no status das instituições culturais na década de 1980, em diálogo com a os processos de globalização da arte e redemocratização política no Brasil. / From the context of emergency and consolidation of the curator’s activity of organizing contemporary art exhibitions in the international artistic sphere, this analysis focuses on two editions of the Sao Paulo Art Biennial (the 18th and 19th ones, promoted in 1985 and 1987, respectively) to understand the conditions and consequences of this profession in Brazil. Here we study the curatorial projects of the art critic Sheila Leirner in its uniqueness and in relation to other events held in similar institutions. Questioning the approach already established by the Brazilian historiography about these two curatorial proposals ("Man and Life" and "Utopia vs. Reality"), this research scrutinizes the critical debate raised by them within and outside the country. We also link selections of art works and artists, expography, theoretical discourse and legitimation power to Leirner’s critic production and the transformations in public policy for culture and cultural institutions status during the 1980s, connecting them to the processes of globalization of art and political redemocratization in Brazil.

Este estudo trata da crítica de arte de Geraldo Ferraz durante o período das primeiras Bienais de São Paulo. Foi dada especial atenção aos artigos sobre as IV, V e VI Bienais, publicados no jornal O Estado de São Paulo. Através da pesquisa nos arquivos da Fundação Bienal (Arquivo Histórico Wanda Svevo), do Museu de Arte Moderna de São Paulo (MAM SP), do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), do Arquivo Edgard Leuenroth da Universidade Estadual de Campinas (AEL UNICAMP), do Centro de Documentação e Memória da Universidade Estadual de São Paulo (CEDEM UNESP) e do Arquivo do Estado de São Paulo, foram selecionados e analisados documentos em critica de arte. O crítico Geraldo Ferraz, proveniente do jornalismo e da literatura, contribuiu para difusão da crítica de arte e para o desenvolvimento do jornalismo na área da cultura. Na análise de sua trajetória como crítico, destacou-se a sua reflexão sobre a organização das Bienais e seus posicionamentos estéticos. / This paper regards the art criticism articles written by Geraldo Ferraz about the early Art Biennials in São Paulo. We focused our analysis in the articles written about the 4th, 5th and 6th Biennials, published by the newspaper O Estado de S. Paulo. We used articles, documents and other materials from the following institutions: Fundação Bienal (Historic Archive \'Wanda Svevo\'), Museum of Modern Art of São Paulo (MAM SP), Museum of Contemporary Art of São Paulo University (MAC USP), State University of Campinas\' Arquivo Edgard Leuenroth (AEL UNICAMP), Documentation and Archive Center of the State Universty of São Paulo (CEDEM UNESP) and Archives of the State of São Paulo. The art critic Geraldo Ferraz was an author and journalist, and his work contributed to the establishment of art criticism sections in Brazil\'s media, as well as the development of cultural journalism in the country. In this analysis of his career as a critic, the study highlights his reflections about the organization of the Art Biennials and its aesthetic postures.

[ES] La presente investigación consiste en un estudio de la política cultural dominicana y su incidencia en el desarrollo de las artes visuales, partiendo del caso de la Bienal Nacional de Artes Visuales, en el período comprendido desde el año de su nacimiento (1942) hasta el 2015. Partimos de la hipótesis de que las políticas culturales asumidas por los diversos gobiernos, en el período histórico estudiado, han incidido en su desarrollo. El objetivo general de este estudio es analizar la evolución histórica de la política cultural dominicana y su nivel de repercusión en el proceso evolutivo de las artes visuales dominicanas, visto a través del caso de la Bienal Nacional de Artes Visuales. En ese sentido hemos investigado las principales acciones de la política cultural del estado que influyeron en el nacimiento y desarrollo de la Bienal Nacional de Artes Visuales; incluyendo el análisis histórico de la inversión estatal en el sector cultural, así como el contexto artístico dominicano, que incluye un análisis comparativo de las 28 ediciones estudiadas, con la intención de contribuir en la recuperación de la memoria histórico-visual del más importante evento oficial de las artes visuales de la República Dominicana. Aportando en la solución de uno de los principales problemas de los estudios culturales nacionales, consistente en la inexistencia y/o escasez, dispersión y desactualización de los datos y publicaciones alusivas al tema estudiado. Para alcanzar los objetivos propuestos empleamos fuentes documentales mixtas de carácter físico y virtuales: libros, catálogos y fuentes hemerográficas en bibliotecas y archivos del sector artístico-cultural, así como del sector legislativo, administrativo y financiero del gobierno. Esta tesis está estructurada en cinco capítulos que abordan inicialmente diferentes aspectos del marco conceptual y contextual, como los conceptos de cultura, política cultural y el contexto histórico-artístico del tema objeto de estudio. Asimismo, se compilaron en los subsiguientes capítulos datos e informaciones relevantes -actualmente dispersos- de cuestiones fundamentales de la historia y desarrollo de la Bienal, como una amplia cronología que incluye aspectos organizativos del evento; así como un amplio compendio de imágenes de las obras ganadoras en las 28 ediciones realizadas entre 1942 y el 2015. Concluyendo que la Bienal Nacional de Artes Visuales es el principal evento oficial de las artes visuales de la República Dominicana, que se ha ido constituyendo a través del tiempo en patrimonio tangible de la nación y en una plataforma y un espacio imprescindible para el posicionamiento, promoción, proyección y legitimación tanto de artistas como de movimientos, a partir de la incidencia desigual de la política cultural del estado en los diferentes períodos de gobierno abordados en esta investigación. / [CA] La present investigació consisteix en un estudi de la política cultural dominicana i la seua incidència en el desenvolupament de les arts visuals, partint del cas de la Biennal Nacional d'Arts Visuals, en el període comprés des de l'any del seu naixement (1942) fins al 2015. Partim de la hipòtesi que les polítiques culturals assumides pels diversos governs, en el període històric estudiat, han incidit en el seu desenvolupament. L'objectiu general d'aquest estudi és analitzar l'evolució històrica de la política cultural dominicana i el seu nivell de repercussió en el procés evolutiu de les arts visuals dominicanes, vist a través del cas de la Biennal Nacional d'Arts Visuals. En aqueix sentit hem investigat les principals accions de la política cultural de l'estat que van influir en el naixement i desenvolupament de la Biennal Nacional d'Arts Visuals; incloent l'anàlisi històrica de la inversió estatal en el sector cultural, així com el context artístic dominicà, que inclou una anàlisi comparativa de les 28 edicions estudiades, amb la intenció de contribuir en la recuperació de la memòria històric-visual del més important esdeveniment oficial de les arts visuals de la República Dominicana. Aportant en la solució d'un dels principals problemes dels estudis culturals nacionals, consistent en la inexistència i/o escassetat, dispersió i *desactualización de les dades i publicacions al·lusives al tema estudiat. Per a aconseguir els objectius proposats emprem fonts documentals mixtes de caràcter físic i virtuals: llibres, catàlegs i fonts hemerogràfiques en biblioteques i arxius del sector artístic-cultural, així com del sector legislatiu, administratiu i financer del govern. Aquesta tesi està estructurada en cinc capítols que aborden inicialment diferents aspectes del marc conceptual i contextual, com els conceptes de cultura, política cultural i el context historicoartístic del tema objecte d'estudi. Així mateix, es van compilar en els subsegüents capítols dades i informacions rellevants -actualment dispersos- de qüestions fonamentals de la història i desenvolupament de la Biennal, com una àmplia cronologia que inclou aspectes organitzatius de l'esdeveniment; així com un ampli compendi d'imatges de les obres guanyadores en les 28 edicions realitzades entre 1942 i el 2015. Concloent que la Biennal Nacional d'Arts Visuals és el principal esdeveniment oficial de les arts visuals de la República Dominicana, que s'ha anat constituint a través del temps en patrimoni tangible de la nació i en una plataforma i un espai imprescindible per al posicionament, promoció, projecció i legitimació tant d'artistes com de moviments, a partir de la incidència desigual de la política cultural de l'estat en els diferents períodes de govern abordats en aquesta investigació / [EN] The current investigation consists of a study of the Dominican political culture and its impact on the development of visual arts, based on the case of the National Biennial of Visual Arts and covering the period from the year of its birth in 1942 until 2015. We started from the hypothesis that the cultural policies adopted by the various governments, in the historical period studied, have influenced their development. The overall objective of this study is to analyse the historical evolution of Dominican political cultural policies and the level of repercussions it had on the evolutionary process of Dominican visual arts, using the National Biennial of Visual Arts as our study case. Thus, we have investigated the main actions of the state's cultural policies that influenced the birth and the development of the National Biennial of Visual Arts, including the historical analysis of state investments in the cultural sector as well as the Dominican artistic context which includes a comparative analysis of the 28 National Biennials done with the intention of contributing to the recovery of the historical and visual memory of the most important official event of visual arts in the Dominican Republic. This will contribute to solving one of the main problems of national cultural studies, i.e. the absence of and/or scarcity, dispersion and availability of outdated data and publications referring to the subject studied. To achieve the intended objectives, we have used a combination of both physical and virtual documentary sources: books, catalogues and newspaper sources from libraries and archives of the artistic-cultural sector, as well as sources from the government's legislative, administrative and financial sector. The study is structured into five chapters initially addressing different aspects of the conceptual and contextual framework, such as the concepts of culture, cultural policy and the historical-artistic context of the topic being studied. Similarly, in the subsequent chapters, relevant data and information - currently dispersed - on fundamental issues of the history and development of the Biennial were compiled, such as an extensive chronology that includes organisational aspects of the event as well as a wide compendium of images of the award winning works in the 28 editions which took place between 1942 and 2015. Our conclusion is that the National Biennial of Visual Arts is the main official event of Visual Arts of the Dominican Republic. Over time, it became a tangible national heritage and a platform and essential space for the positioning, the promotion, the projection and legitimization of both artists and artistic movements, based on the unequal incidence of the state's cultural policy during the different periods of government addressed by this study. / Ditrén Flores, ME. (2023). Aproximación a la política cultural dominicana y su incidencia en el desarrollo de las artes. El caso de las bienales de artes visuales (1942-2015) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/196733

Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.