Este trabalho é resultado de pesquisa de campo realizada com a artista plástica Flávia Ribeiro, abrangendo um período extenso de produção de sua obra. O objetivo é fazer uma leitura psicanalítica de sua poética, tecendo um fio condutor para a compreensão de trabalhos executados no decorrer de 10 anos, com materiais diferentes, dimensões extremamente variadas e linguagens plásticas que vão da pintura, desenho, gravura à escultura. Segue metodologia que utiliza entrevistas livres gravadas no ateliê da artista, cujo material transcrito é abordado à maneira da atenção flutuante da escuta psicanalítica; uma leitura flutuante que recorta a associação livre da artista em unidades temáticas. Assim, o trabalho de pesquisa concentra-se em duas frentes: o discurso do artista e o contato com a obra, a partir da psicanálise implicada, que trabalha as manifestações singulares da obra com seu leitor e insere o inconsciente do observador no campo observado como instrumento de pesquisa, tal como se dá no campo transferencial psicanalítico. Ora, é fato que a crítica contemporânea de arte, diferentemente da moderna, que supõe o crítico como legitimador da obra e mediador desta com o público, centra seu interesse na legibilidade das obras e a participação das situações propostas pelos artistas. Exige de seu crítico, portanto, o pensar sobre sua experiência. Deste modo, como não se trata da produção de conhecimento a partir de uma hipótese a priori e sim de uma reflexão efetuada a partir das questões suscitadas no decorrer do processo e em convívio com a artista, este trabalho inscreve-se na seara crítica. E, uma vez que se trata de uma leitura que organiza sua poética em recortes que a ele conferem novos sentidos, desenvolve-se como uma estratégia curatorial do universo poético de Flávia Ribeiro. / This paper is the result of field research conducted on plastic artist Flávia Ribeiro and encompasses an extensive period of her career. The aim is to apply a psychoanalytic reading to her poetic, drawing a connective thread through it and thus understanding her production spanning a period of ten years, including different subjects and a broad variety of dimensions and plastic expressions, ranging from painting, drawing and engraving to sculpture. The methodology makes use of open interviews conducted in the artists studio. This material, when transcribed, is approached with the same free floating attention as utilized in psychoanalysis an open ear that divides the artists free association into separate subjects. Concentrating on two fronts: the artists discourse and contact with her work, it is sustained within implied psychoanalysis which, as can be seen in the field of transference, processes the unique manifestations of the works with their reader and inserts the observers unconscious into the observed field as a research tool. Indeed, it is a fact that contemporary reviews of art focus their interest on the legibility of the works and participation in situations proposed by artists. Critics are therefore required to think about their experience and not focus on legitimizing the work or mediating it with the public. As this paper deals with reflections on issues arising during time spent with the artist, rather than with the production of knowledge based on an a priori hypothesis, it can be considered as a review and, as it is a reading that organizes its poetic in snippets which confer new meanings, the paper evolves as a curatorial strategy for Flávia Ribeiros poetic universe.

Exposições culturais são produtos de consumo de massa na programação de entretenimento das cidades. No Brasil das últimas duas décadas, essas exposições têm atraído crescentes recursos financeiros, públicos e privados. Na análise dos processos de concepção, projeto e realização de exposições narrativas é necessário considerar os papéis de seus principais autores: o curador (ou organizador) e o cenógrafo (ou arquiteto ou designer) -- no contexto do deslocamento do foco das exposições do acervo para o público, da ampliação e diversificação de temas de interesse para as mostras e de sua transformação em atividade transdisciplinar. Esta dissertação pretende contribuir para os estudos das exposições culturais brasileiras, enquanto instrumento de informação, educação e entretenimento. Traz um histórico da atividade no mundo e no Brasil, e apresenta um panorama do cenário nacional contemporâneo. Aborda os elementos constitutivos da linguagem narrativa inerente às exposições e faz a análise da mostra Rio São Francisco navegado por Ronaldo Fraga, reconhecendo-a como exemplo significativo desta manifestação cultural. / Cultural exhibitions are mass consumption products in cities entertainment program. In the last two decades, such exhibitions in Brazil have attracted na increasing flow of financial resources, public as well as private. To analyze processes of conception, project, and execution of narrative exhibitions, one needs to consider the roles of its main players -- the curator (or organizer) and the scenographer (or architect, or designer) -- in the context of the relocation of the exhibit\'s focus from the collection to the public, of broadening and diversification of themes of interest for the exhibit, and of their transformation in a interdisciplinar activity. This thesis intends to contribute to the study of Brazilian cultural exhibits as information, education and entertainment tools. It reviews the history of exhibits in the world and in Brazil, and presents a overview of the contemporary national scenario. Furthermore, it approaches the constitutive elements of the narrative language inherent to exhibits, and analyses the exposition Rio São Francisco navegado por Ronaldo Fraga (Ronaldo Fraga Navigates the San Francisco River), recognizing it as a distinguished example of such cultural events.

This thesis aims to contextualise my curation of 'Tretchikoff: The People's Painter' at the Iziko South African National Gallery by outlining the process by which I came to embark on this project and to examine the concepts of mass art and kitsch in relation to the painter. Mass art, in Noel Carroll's explication of the term, is art that utilises industrial processes of replication. Carroll argues that this leads to specific formal and structural tendencies in this art which have much in common with the pejorative concept of kitsch, or art that is lacking in taste or effuses excessive emotion. The latter term was and continues to be applied to Tretchikoff. Although some have attempted to 'reclaim' the word as a positive concept the negative associations that link this term to Tretchikoff are strong. Interrogating these concepts led me to decide to curate TretchikofPs retrospective by focusing on his painting and not including the prints for which he was so well known. Awareness of the complex associations and 'received knowledge' that his prints engender has influenced several curatorial decisions that I have taken. I consider the intellectual underpinnings of my curatorial strategy and argue for an 'open' exhibition which gives the viewer the opportunity to assess his work and legacy in an objective manner, free from as much curatorial mediation and didacticsm as possible. There are no answers to be offered in my curation of Tretchikxiff the People's Painter, rather I have aimed to set up dialogues, discussions, confrontations and challenges; I have offered simple relationships rather than complex juxtapositions I have aimed to position the artwork as the centre of the engagement relative to the viewer.

Este trabalho é resultado de pesquisa de campo realizada com a artista plástica Flávia Ribeiro, abrangendo um período extenso de produção de sua obra. O objetivo é fazer uma leitura psicanalítica de sua poética, tecendo um fio condutor para a compreensão de trabalhos executados no decorrer de 10 anos, com materiais diferentes, dimensões extremamente variadas e linguagens plásticas que vão da pintura, desenho, gravura à escultura. Segue metodologia que utiliza entrevistas livres gravadas no ateliê da artista, cujo material transcrito é abordado à maneira da atenção flutuante da escuta psicanalítica; uma leitura flutuante que recorta a associação livre da artista em unidades temáticas. Assim, o trabalho de pesquisa concentra-se em duas frentes: o discurso do artista e o contato com a obra, a partir da psicanálise implicada, que trabalha as manifestações singulares da obra com seu leitor e insere o inconsciente do observador no campo observado como instrumento de pesquisa, tal como se dá no campo transferencial psicanalítico. Ora, é fato que a crítica contemporânea de arte, diferentemente da moderna, que supõe o crítico como legitimador da obra e mediador desta com o público, centra seu interesse na legibilidade das obras e a participação das situações propostas pelos artistas. Exige de seu crítico, portanto, o pensar sobre sua experiência. Deste modo, como não se trata da produção de conhecimento a partir de uma hipótese a priori e sim de uma reflexão efetuada a partir das questões suscitadas no decorrer do processo e em convívio com a artista, este trabalho inscreve-se na seara crítica. E, uma vez que se trata de uma leitura que organiza sua poética em recortes que a ele conferem novos sentidos, desenvolve-se como uma estratégia curatorial do universo poético de Flávia Ribeiro. / This paper is the result of field research conducted on plastic artist Flávia Ribeiro and encompasses an extensive period of her career. The aim is to apply a psychoanalytic reading to her poetic, drawing a connective thread through it and thus understanding her production spanning a period of ten years, including different subjects and a broad variety of dimensions and plastic expressions, ranging from painting, drawing and engraving to sculpture. The methodology makes use of open interviews conducted in the artists studio. This material, when transcribed, is approached with the same free floating attention as utilized in psychoanalysis an open ear that divides the artists free association into separate subjects. Concentrating on two fronts: the artists discourse and contact with her work, it is sustained within implied psychoanalysis which, as can be seen in the field of transference, processes the unique manifestations of the works with their reader and inserts the observers unconscious into the observed field as a research tool. Indeed, it is a fact that contemporary reviews of art focus their interest on the legibility of the works and participation in situations proposed by artists. Critics are therefore required to think about their experience and not focus on legitimizing the work or mediating it with the public. As this paper deals with reflections on issues arising during time spent with the artist, rather than with the production of knowledge based on an a priori hypothesis, it can be considered as a review and, as it is a reading that organizes its poetic in snippets which confer new meanings, the paper evolves as a curatorial strategy for Flávia Ribeiros poetic universe.

The main rationale of prudential bank regulation and supervision of banks has traditionally been to ensure the safety and soundness of banks and protection of depositors. However, best practice standards in bank supervision acknowledge that it is impossible to completely prevent bank failures. Therefore, it is crucial to have regulatory measures in place to deal with banks that fail. Banks are core players in the financial system as the intermediaries between savers and users of capital. In addition, banks provide critical services to consumers, small and medium-sized businesses, large corporate entities and governments who rely on them to conduct their daily business, both at domestic and international level. Banks also fulfil a sui generis role that sets them apart from other financial institutions that are role players in the financial system because, inter alia, they hold “highly” liquid liabilities in the form of deposits that are repayable on demand; they extend long-term loans that may be difficult to sell or borrow against on short notice; they are the back-up source of liquidity to all other institutions (financial and non-financial); and, are also the transmission belt for monetary policy. Unlike other players in the financial system, banks are vulnerable to loss of public confidence and to liquidity risk. Liquidity risk being the risk that a bank will not have sufficient cash to meet short term obligations and the fact that a "run on the bank" by depositors can result in devastating liquidity drainage. Because banks play a special role in the economy and their failure may have a significant impact on financial stability, they need a special approach when they become insolvent or are likely to become insolvent. The 2008 Global Financial Crisis (“GFC”) demonstrated the importance of special resolution regimes for banks; and the need to balance the interests of shareholders, creditors and depositors, while promoting financial stability objectives. Given the critical role of banks in the economy the need is clear for a special resolution regime for banks that provides a legal framework for regulators that avails to them a suite of resolution tools which they can apply to resolve the bank in an orderly manner; to rescue those parts of the bank that may still be viable and to liquidate those parts that are not whilst avoiding a drain on public funds. In order to deal with bank failures in Zimbabwe, the Banking Act [Chapter 24:20] has provided for the mechanism of curatorship since 2000, as a rescue measure aimed at restoring failing banks to economic viability. Curatorship has over the years been applied with mixed success; consequently, Zimbabwe has undertaken a number of reforms which include the enactment of the Troubled Financial Institutions (Resolution) Act in 2005; and the introduction of the problem bank regime via the Banking Amendment Act of 2015. Throughout these reforms, Zimbabwe has elected to retain curatorship, which was once a standalone process in banking legislation to enable bank rescue; and assimilated it into a broader bank resolution framework. This study seeks to determine whether Zimbabwe’s resolution regime requires to be strengthened and if so, to recommend reforms that will align the resolution regime in Zimbabwe with international best practice. For such purpose it will draw upon the Financial Stability Board’s Key Attributes of Effective Resolution Regime as international best practice benchmark. It will further also consider guidance yielded by a comparative study of the resolution regimes in the United Kingdom and South Africa. / Thesis (LLD)--University of Pretoria, 2021. / Mercantile Law / LLD / Unrestricted

Over the last four decades, museum education in the United States has developed into a legitimate and respected profession. However, for those who want to become art museum educators, the path is neither clear nor smooth. Those in the profession often face low pay, limited career growth opportunities, and a lack of job security. Despite these realities, the museum education field continues to attract people. Yet, there is scant literature about novice art museum educators, specifically about how they find their way as they enter the profession. Utilizing a post-intentional phenomenological methodology, this qualitative study explores the phenomenon of wayfinding, defined as how someone orients themselves to the museum education profession and the ways they navigate the opportunities and challenges they encounter. The research questions guiding this study include how wayfinding took shape for five art museum educators with less than two years of work experience, what they went through upon entering the profession, and what helped them navigate their way. Phenomenological research methods, including three one-on-one interviews with each participant over six months and a focus group with all of the study participants, were employed to gather rich descriptions of their lived experiences. The research materials were placed in dialogue with concepts that resonated with wayfinding as described by the study participants, including self-identity, agency, and relational autonomy. Findings illuminate how (un)welcoming these novice art museum educators found museum spaces, how their sense of self intersected with their wayfinding, how they enacted agency, and how they drew upon relationships with other people. Insights into the unique experiences of novice museum educators of color, the empowering effects of agency, the varying roles of mentoring and peer support, and the value of pausing to reflect on lived experiences are shared. While the findings are limited to the educators in the study and are not representative of the field at large, this study provokes and produces new ways of understanding wayfinding for novice art museum educators. As the field of museum education continues to evolve, this study offers pertinent insights to university instructors who teach museum education courses, education supervisors in art museums, people who are interested in a museum education career, and art museum educators already working in the field.

This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.

[ES] La presente investigación gira en torno a la noción de la curaduría o co- misariado de las artes visuales y su posible aplicación como técnica de producción artística en sí misma. Tras observar que existen múltiples ma- neras de asimilar lo curatorial, la finalidad de esta investigación es analizar la diversidad de sus características cualitativas a partir del estudio de sus diferentes prácticas, principalmente expositivas. Para ello, hemos realiza- do cuatro ensayos sobre la curaduría desde distintos marcos temporales: los tres primeros en términos internacionales y, el último, enmarcado en el contexto español: Exhibir lo creado, Producir para exponer, Curar lo expuesto y Más allá de las definiciones. El primer capítulo, Exhibir lo creado, parte de las Wunderkammern, las pri- meras galerías palaciegas, y los salones franceses, donde eran exhibidos sus correspondientes tesoros como modelos de lo que hoy entendemos como exhibición y exposición y, por ende, como precedente de los mu- seos modernos. De mostrar lo creado, pasamos a Producir para exponer, enmarcado en el siglo XX cuando las exposiciones organizadas por los propios artistas (como las de los impresionistas o surrealistas) y el cubo blanco cambiarían definitivamente el paradigma del aparato expositivo. A continuación, partimos de 1969 como punto de inflexión, con respecto a la desmaterialización del arte en relación al desarrollo curatorial y desem- bocar en Curar lo expuesto, donde proponemos un recorrido a través de una suerte de textos en relación a la autoría y una selección de exposiciones paradigmáticas de la historia del arte que van desde Magiciens de la Te- rre (1989) hasta Modernologías (2009). Por último, terminaremos con la columna vertebral de esta tesis, una selección de proyectos curatoriales organizados en el estado español en los últimos veintiséis años. Para ello, han sido realizadas dieciocho entrevistas a otros tantos profesionales que actualmente trabajan en torno a las diversas formas de curar, analizando sus maneras de trabajar, y buscando el diálogo entre dos generaciones de curadores y curadoras para comprender como algunos de sus proyectos los convierte en artistas, ya que han utilizado lo curatorial como técnica de producción artística. / [CA] La present investigació gira entorn de la noció de curaduria o comissariat de les arts visuals i la seua possible aplicació com a tècnica de producció artística en si mateixa. Després d'observar que existeixen múltiples ma- neres d'assimilar el treball curatorial, la finalitat d'esta investigació és analitzar la diversitat de les seues característiques qualitatives a partir de l'estudi de les seues diferents pràctiques, principalment expositives. Per a això, hem realitzat quatre assajos sobre la curaduria des de diferents marcs temporals: els tres primers en termes internacionals i, l'últim, emmarcat en el context espanyol: Exhibir el creat, Produir per a exposar, Curar l'exposat i Més enllà de les definicions. El primer capítol, Exhibir el creat, part de les Wunderkammern, les pri- meres galeries palatines, i els salons francesos, on eren exhibits els seus corresponents tresors com a models del que hui entenem com a exhibició i exposició i, per tant, com a precedent dels museus moderns. De mostrar el creat, passem a Produir per a exposar, emmarcat en el segle XX quan les exposicions organitzades pels propis artistes (com les dels impressionis- tes o surrealistes) i el poal blanc canviarien definitivament el paradigma de l'aparell expositiu. A continuació, partim de 1969 com a punt d'inflexió, respecte a la desmaterialització de l'art en relació al desenvolupament cu- ratorial per a desembocar a Curar l'exposat, on proposem un recorregut a través d'una sort de textos en relació a l'autoria i una selecció d'exposicions paradigmàtiques de la història de l'art que van des de Magiciens de la Terre (1989) fins a Modernologías (2009). Finalment, acabarem amb la columna vertebral d'esta Tesi, una selecció de projectes curatorials organitzats en l'estat espanyol en els últims vint-i-sis anys. Per a això han sigut realit- zades 18 entrevistes a altres tants professionals que actualment treballen en torn de les diverses maneres de curar, analitzant les seues formes de fer i buscant el diàleg entre dues generacions de curadors i curadores per a comprendre com alguns dels seus projectes els converteixen en artistas per haver utilitzat lo curatorial com a tècnica de producció artística. / [EN] The present research revolves around the notion of curatorship in the vi- sual arts and its possible application as a technique of artistic production in itself. After observing that there are multiple ways of assimilating the curatorial, the purpose of this research is to analyze the diversity of its qualitative characteristics from the study of its different practices, mainly expository. To this end, we have carried out four essays on curatorship from different time frames: the first three in international terms and the last one, framed in the Spanish context: Exhibiting What Is Created, Produ- cing to Exhibit, Curating What Is Exhibited and Beyond definitions. The first chapter, Exhibiting What Is Created, starts with the Wunderkam- mern, the first palace galleries, and the French salons, where their corres- ponding treasures were exhibited as models of what we understand today as exhibition and exposition and, therefore, as a precedent of modern museums. From showing what has been created, we move on to Producing to Exhibit, framed in the 20th century when exhibitions organized by the artists themselves (such as those of the Impressionists or Surrealists) and the white cube would definitively change the paradigm of the exhibition apparatus. Next, we start from 1969 as a turning point, with respect to the dematerialization of art in relation to curatorial development and end up in Curating What is Exhibited, where we propose a journey through a sort of texts in relation to authorship and a selection of paradigmatic exhi- bitions in the history of art ranging from Magiciens de la Terre (1989) to Modernologies (2009). Finally, we will end with the backbone of this thesis, a selection of curatorial projects organized in Spain over the last twen- ty-six years. To this end, eighteen interviews have been conducted with many professionals currently working on the various forms of curating, analysing their ways of working, and seeking a dialogue between two ge- nerations of curators to understand how some of their projects turn them into artists, since they have used the curatorial as a technique of artistic production. / Fernández Del Castillo Roca, A. (2024). Ensayos sobre lo curatorial como técnica de producción artística. La curaduría en españa a través de dos generaciones, 1997-2023 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203098

Este trabalho tem como objetivo, a partir das reflexões teóricas sobre arte e antropologia, realizar uma análise interpretativa sobre a construção e representação do sagrado afro-brasileiro em um dos núcleos expositivos do Museu Afro Brasil. A análise do ato expositivo e a pesquisa iconográfica em um dos núcleos do acervo permanente da instituição será utilizada como ponto de partida para pensarmos na presença do sagrado nesse ambiente, tendo como aspecto central de estudo a forma como se constrói e se manifesta o trabalho expográfico que fica a cargo, principalmente, do atual diretor e artista plástico Emanoel Araujo. Refletir sobre os artistas, objetos e símbolos presentes no núcleo Religiosidades Afro-brasileiras a partir de sua expografia nos ajudará a pontuar questões relevantes quanto aos fenômenos estético e religioso presentes em uma das categorias da arte afro-brasileira, assim como sobre as interpretações que se fazem desse encontro no espaço museológico pelos públicos que o frequentam, um campo ainda de abordagens latentes. / This work aims, from the theoretical reflections on art and anthropology, to create an interpretative analysis on the construction and representation of the Afro-Brazilian sacredness in one of the exhibition sectors of the Afro Brazil Museum. The analysis of the exhibition act and the iconographic research in one of the permanent collections of the institution, will be used as a starting point to think about the presence of the sacred in this environment, having as a central aspect of the study the way in which the exhibition display is constructed and manifests itself as an outcome, mainly, of the current director and visual artist Emanoel Araujo. To think the artists, objects and symbols present in the Afro-Brazilian Religiosities sector from their exhibition display will help us to point out relevant questions about the aesthetic and religious phenomena present in one of the categories of Afro-Brazilian Art, as well as on the interpretations that are being made with the encounters in the museum space by the attending audience, a field of latent and possible approaches.

Este trabalho tem como objetivo, a partir das reflexões teóricas sobre arte e antropologia, realizar uma análise interpretativa sobre a construção e representação do sagrado afro-brasileiro em um dos núcleos expositivos do Museu Afro Brasil. A análise do ato expositivo e a pesquisa iconográfica em um dos núcleos do acervo permanente da instituição será utilizada como ponto de partida para pensarmos na presença do sagrado nesse ambiente, tendo como aspecto central de estudo a forma como se constrói e se manifesta o trabalho expográfico que fica a cargo, principalmente, do atual diretor e artista plástico Emanoel Araujo. Refletir sobre os artistas, objetos e símbolos presentes no núcleo Religiosidades Afro-brasileiras a partir de sua expografia nos ajudará a pontuar questões relevantes quanto aos fenômenos estético e religioso presentes em uma das categorias da arte afro-brasileira, assim como sobre as interpretações que se fazem desse encontro no espaço museológico pelos públicos que o frequentam, um campo ainda de abordagens latentes. / This work aims, from the theoretical reflections on art and anthropology, to create an interpretative analysis on the construction and representation of the Afro-Brazilian sacredness in one of the exhibition sectors of the Afro Brazil Museum. The analysis of the exhibition act and the iconographic research in one of the permanent collections of the institution, will be used as a starting point to think about the presence of the sacred in this environment, having as a central aspect of the study the way in which the exhibition display is constructed and manifests itself as an outcome, mainly, of the current director and visual artist Emanoel Araujo. To think the artists, objects and symbols present in the Afro-Brazilian Religiosities sector from their exhibition display will help us to point out relevant questions about the aesthetic and religious phenomena present in one of the categories of Afro-Brazilian Art, as well as on the interpretations that are being made with the encounters in the museum space by the attending audience, a field of latent and possible approaches.