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[ES] Esta tesis doctoral se enfoca en explorar las potencialidades discursivas que se dan al construir una genealogía situada del arte de acción. Nuestra investigación se centra en el concepto de «lo mínimo» y analiza una serie de ideas que ayudan a definir tipologías específicas en este campo. En particular, utilizamos tres conceptos clave que nos guían en un recorrido histórico del arte de acción, destacando sus convergencias en lo mínimo perceptible -un sutil acontecimiento de la experiencia-, el espacio mínimo -una vacuidad experiencial- y el tiempo mínimo -un instante elusivo de experiencia-. Para lograr este objetivo, hemos desarrollado una narrativa híbrida, una suerte de historia acumulativa, que busca identificar repeticiones y elementos comunes en las prácticas artísticas que tomamos como objetos de estudio. Para respaldar nuestros argumentos, consideramos los contextos políticos y cronológicos específicos en los que estas prácticas surgieron, y utilizamos expresiones discursivas que ayudan a dar un sentido más completo y situado a nuestra interpretación. / [CA] Aquesta tesi doctoral s'enfoca a explorar les potencialitats discursives que es donen en construir una genealogia situada de l'art d'acció. La nostra investigació se centra en el concepte de «el mínim» i analitza una sèrie d'idees que ajuden a definir tipologies específiques en aquest camp. En particular, utilitzem tres conceptes clau que ens guien en un recorregut històric de l'art d'acció, destacant les seues convergències quant el mínim perceptible -un subtil esdeveniment de l'experiència-, l'espai mínim -una vacuïtat experiencial- i al temps mínim -un instant elusiu d'experiència-. Per a aconseguir aquest objectiu, hem desenvolupat una narrativa híbrida, una espècie d'història acumulativa, que busca identificar repeticions i elements comuns en les pràctiques artístiques que prenem com a objectes d'estudi. Per a recolzar els nostres arguments, considerem els contextos polítics i cronològics específics en els quals aquestes pràctiques van sorgir, i utilitzem expressions discursives que ajuden a donar un sentit més complet i situat a la nostra interpretació. / [EN] This doctoral thesis focuses on exploring the discursive potentials that arise when constructing a situated genealogy of action art. Our research centers on the concept of «the minimal» and analyzes a series of ideas that help define specific typologies in this field. Particularly, we employ three key concepts that guide us through a historical journey of performance art, highlighting their convergences regarding the minimally perceptible -a subtle occurrence of experience-, minimal space -an experiential void- and minimal time -an elusive moment of experience-. To achieve this goal, we have developed a hybrid narrative, a sort of cumulative history, that seeks to identify repetitions and common elements in the artistic practices we take as objects of study. To support our arguments, we consider the specific political and chronological contexts in which these practices emerged and utilize discursive expressions that contribute to a more comprehensive and situated interpretation. / Porras Soriano, Á. (2023). No pasa nada. Vinculaciones discursivas en torno al arte de acción mínima [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/201112

Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages. / AFRIKAANSE OPSOMMING: Hierdie tesis behels 'n praktyk-geleide teoretiese bespreking oor generatiewe kunsproduksie binne 'n wyer ekologiese raamwerk. Dit is gebaseer op my werk in Eyemvelo Kosbos (2010 - ), 'n interdissiplinêre gesamentlike projek wat daarop gemik is om voedsel binne ekologies verantwoordelike perke te produseer. In my hoedanigheid as inwonende kurator van hierdie agri-ekologiese projek, het ek 'n reeks biologiese generatiewe kunswerke geformuleer wat bekend staan as Ecological Concept Objects (2011- ), wat dien as die primêre praktiese komponent van hierdie navorsing. Met die vestiging van filosofiese realisme as die kern teoretiese uitgangspunt, formuleer ek 'n begrip van my kunspraktyk as 'n ‘samewerking met die wêreld.’ Die teoretiese fondasies van my werk word uitgelig deur verwysing te maak na kern filosofiese bronne soos Graham Harman, Bruno Latour en Manuel DeLanda, onder andere. 'n Argument word geformuleer waarvolgens die term estetika in sy klassieke sin verstaan moet word - as 'n diskoers oor sintuiglike persepsie, in teenstelling tot ‘n bespreking oor visuele smaak of skoonheid. Sleutelkonsepte soos opkoms (emergence) en self-organisasie word geïdentifiseer as deurslaggewend vir ‘n sinvolle bespreking van generatiewe praktyke. By die bespreking van relevante voorbeelde van kontemporêre generatiewe kuns, saam met die teoretiese insigte van verskeie praktiserende kunstenaars, word 'n werkende begrip van generatiewe kuns ontwikkel waarvolgens die kunstenaar kreatiewe agentskap en besluitneming vrywillig afstaan aan onpersoonlike kragte. 'n Historiese konteks word verder verskaf wat 'n presedent aandui vir soortgelyke kunspraktyke. Die wêreld word dan daarvolgens geposisioneer as 'n groot netwerk van werklike outonome entiteite wat verhoudings met ander werklike outonome entiteite aanknoop. Hierdie opvatting daag verder 'n wedersyds-eksklusiewe dualisme van 'Natuur' en kultuur uit, deur voor te stel dat hierdie twee veronderstelde binêre teenstrydighede sό verstrengel is dat enige skeiding daarvan inderdaad voorkom as 'n blatante vorm van idealisme. 'n Geïntegreerde ekologiese praktyk word egter aangemoedig om deurgaans as 'n sentrale tema of primêre konseptuele riglyn vir beide hierdie tesis en die gepaardgaande praktiese werk te dien. Permaculture, 'n stelsels-georiënteerde ontwerpwetenskap gerig op volhoubaarheid, word geïdentifiseer en aanvaar as 'n werkende voorbeeld van 'n ekologiese praktyk wat ‘sorg van mense’ met 'sorg van die planeet" vereenselwig, aangesien laasgenoemde daarvolgens die eersgenoemde insluit . Derhalwe, is die doel van hierdie navorsing om ondersoek in te stel tot 'n praktyk waar die kunstenaar, ten spyte daarvan dat sy beperk is tot lineêre aksie, in so 'n manier te werk gaan dat die nie-lineêre dinamika van ontluikende potensiaal geopenbaar kan word. So 'n metode staan in kontras met 'n eenrigting antroposentriese bemeestering van voorspelbare materie - waar daar min voorsiening vir ongerymdhede, ongelukke of ontluikende vorms gemaak word. Daar word egter bevind dat generatiewe kunspraktyk wel hierdie voorsienings maak, aangesien dit self-organisasie aan die medium toe staan, sodat entiteite tyd en ruimte verskaf kan word om hulself uit te druk in unieke samestellings.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists.

Este estudo pretende apresentar e analisar a trajetória do artista Gastão de Magalhães (1953 - ), nos anos 1970 e 80, denominada aqui \'carreira curta\'. A pesquisa, em princípio, parte de suas obras encontradas no Acervo de Arte Conceitual do Museu de Arte Contemporânea da Universidade de São Paulo (MAC/USP) e, posteriormente, em outras instituições. Diante das poucas e dispersas informações encontradas sobre elas, o trabalho busca trazer à luz documentos que tornem possível identificá-las. Para analisá-las, é preciso se apoiar numa visão transdisciplinar, estabelecendo relações entre elas e os arranjos políticos, econômicos e sociais que lhe são subjacentes.Da mesma forma, se faz necessário discutir a construção da narrativa histórica em que este e outros artistas não são incluídos, como forma de compreender os conflitos envolvidos em sua poética. / This work seeks to present and analyse the trajectory of the 1970\'s-80\'s artist Gastão de Magalhães (1953 - ), called here a \'short career\'. This study starts with his work found in the Archive of the University of São Paulo\'s Contemporary Art Museum (MAC/USP), and later includes work found in other institutions. Facing the fact that his work has little and disperse information about it, this research tries to bring to light documents which make their identification possible. Their analysis demands a transdisciplinary effort, identifying the political, economical and social aspects that underlie them. It is also necessary to discuss the construction of the historical narrative in which this and other artists are not included, as a mean of understanding the conflicts involved in his poetics.

Thesis (M.V.A.)--University of Sydney, 2009. / Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.

<p>This dissertation analyzes experimental art movements in Hungary and the former Yugoslavia from 1968 to 1989, examining the variety of ways that artists responded to the ideological and practical failures of communism. I also deliberate on how artists, living in the specter of Marxist ideology, negotiated socio-political and cultural systems dominated by the state; how they undermined the moral consciousness that state socialism imposed from above; and how they created alternative ways of being in an era that had promised the opening of society and art but that failed that pledge. I suggest that some artists increasingly questioned the state's hegemony in everyday relationships, language, and symbols, and attempted to neutralize self-censorship and gain sovereignty over their own bodies and minds through "decision as art." The dissertation approaches authoritarian domination within the context of the artists' aesthetic choices, especially the development of conceptual and performance art as a mode of opposition. Deliberating on the notion of decision as central to the conceptualization and execution of resistance to the state, I focus on the alternative ways in which Yugoslavian and Hungarian artists made art in variegated forms and modes of ethical commitment. I argue that such art must be understood as an active decision to live in and through art while enduring political circumstance.</p> / Dissertation

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.