This thesis aims to critically examine the relationship of digital technology and the modern art gallery in order to find the possible role of art galleries in the future. The integration of technology and the modern art gallery can change the way people experience art in built space. In order to examine this, certain questions needed to be asked. The most important of these questions is authenticity and originality in a digital art gallery. What if, in order for the notion of originality to exist, it needs the notion of the copy; a kind of parasite. What if we don’t consider them as opposites, but rather as variables of a knot. What if there was never an original voice, but only writing. The process of writing itself undermines any notion of a primary original. It creates a space of difference, a gap. The space from one letter to the next, from one word to the next, from the graphite to the paper, and to continue to the digital, the space from 1 to 0. The difference described by Derrida in of Gramatology is the idea of difference through “trace.” Derrida says “The trace is in fact the absolute origin of sense in general. Which amounts to saying once again that there is no absolute origin of sense in general. The trace is the difference which opens appearance and signification.” Through a process of language study a series of spatial conditions were derived from a structured process of analyzing trace. This series of spatial conditions were then used to design the interior and exterior spaces along with arranging the buildings program and circulation through the new University Gallery. These spatial conditions allowed for a development of space that looked beyond simple geometric forms to form genuine experiences derived from a process.

By focusing on character, humor, and loose narrative, I create a world full of quirky, pitiful creatures that blur the lines between illustration and "Fine Art". Inspired by golden age cartoons, Pop-Surrealism, and late 50's commercial art, I make work that speaks of the awkwardness of human emotion while keeping a "tongue in cheek" attitude about everyday life. This work is expressed through illustration, animation, sculpture, and a lot of sarcasm.

[pt] Em 2021, os NFTs ganharam notoriedade no universo das artes visuais, após uma obra de arte utilizando essa tecnologia ser leiloada na Christie s, por USD 69,3 milhões, despertando a curiosidade de apreciadores e críticos de arte, artistas, colecionadores e instituições. Uma grande excitação tomou conta do circuito, gerando questionamentos; entre eles, se um novo momento histórico estava se iniciando, no qual a arte tradicional perderia espaço para a criptoarte como reflexo de um mundo cada vez mais digital, e se o surgimento dessa novidade apontava para uma nova revolução estética. A proposta desta pesquisa é apresentar e problematizar a novidade dos NFTs no universo da arte, tendo em vista a sua complexidade, desafios e oportunidades, com o objetivo de mapear o debate em torno do tema e estimular uma reflexão crítica. A dissertação está dividida em três partes. A primeira é dedicada a explicar o que são os NFTs, o contexto no qual eles surgiram e a sua repercussão no mercado de arte tradicional. A segunda traz uma reflexão sobre as perspectivas de transformação do mercado, considerando os desafios apresentados pela arte digital e ideias associadas a conceitos como originalidade e autenticidade. Para isso, recorro ao legado de três artistas que revolucionaram o sistema da arte no último século: Marcel Duchamp, Andy Warhol e Damien Hirst. E a terceira parte, a conclusão, apresenta uma análise do impacto da chegada dos NFTs no universo da arte, ponderando as expectativas iniciais e considerando as direções para as quais esta nova tecnologia aponta no atual estágio de exploração. / [en] In 2021, NFTs gained notoriety in the universe of visual arts, after a work of art using this technology was auctioned at Christie s for USD 69.3 million, arousing the curiosity of art lovers and critics, artists, collectors and institutions. A great excitement took over the circuit, raising questions, including whether a new historical moment was beginning, in which traditional art would lose ground to crypto art as a reflection of an increasingly digital world, and whether the emergence of this novelty pointed to a new aesthetic revolution. The purpose of this research is to present and problematize the novelty of NFTs in the art universe, in view of their complexity, challenges and opportunities, with the aim of mapping the debate around the theme and stimulating a critical reflection. The dissertation is divided into three parts. The first is dedicated to explaining what NFTs are, the context in which they emerged and their impact on the traditional art market. The second brings a reflection on the prospects for market transformation, considering the challenges presented by digital art and ideas associated with concepts such as originality and authenticity. For this, I turn to the legacy of three artists who revolutionized the art system in the last century: Marcel Duchamp, Andy Warhol and Damien Hirst. And the third part, the conclusion, presents an analysis of the impact of the arrival of NFTs in the art universe, weighing the initial expectations and considering the directions in which this new technology points in its current stage of exploration.

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Playing with my luck is a performance which comments on feminine expectations and satirizes the oppressive social structures that women must follow in order to be accepted by patriarchal societies. The 10 Commandments short film borrows religious recognizable elements and displays some of Orthodox Christianity's conservative beliefs to parody the patriarchal and misogynistic ideologies that religion often promotes. / Master of Fine Arts / Playing with my luck is a performance which comments on feminine expectations and satirizes the oppressive social structures that women must follow in order to be accepted by patriarchal societies. The 10 Commandments short film borrows religious recognizable elements and displays some of Orthodox Christianity's conservative beliefs to parody the patriarchal and misogynistic ideologies that religion often promotes.

Documentation is a burgeoning field that has been explored by researchers in a range of disciplines and practices, including performance, theatre, film, music, opera, digital and new media arts, archival and museum studies, conservation, curation, and human computer interaction. Methods have varied significantly across these fields, though the increased popularity of performative and digital practices has tended to bring disciplinary approaches closer together. More and more commonly do artists, researchers, and cultural organisations document not only the reception or user experiences of an artwork, but also its creation (even retrospectively) and iterative development over time, offering detail about a given artwork’s context, convergence, and even deterioration. Here, we chose to bring together a series of researchers from different disciplines spanning music, conservation, curation, film, festivals, video games, digital art, and installation art to map the very latest trends in their respective fields which they chose to discuss through a series of case studies focussing on specific museums, artworks, festivals and conservation practices.

This article is interested in the documentation necessary for exhibiting interactive, digital installations, how it is created and how it influences the way an artwork is deployed in an exhibition. Digital artworks can be extremely difficult to install. They require specific knowledge, variable materials and technological equipment. Moreover, digital artworks can be ephemeral and subject to change. Documenting digital art is not only important for preserving and restoring works for the future but also for installing digital artworks in the present. Documentation functions as a set of guidelines for limiting errors and misinterpretations. Therefore, documentation impacts the actualisation of each artwork by indicating which elements are needed and how they should be connected. By providing instructions regarding how to install an artwork, documentation also allows the artist or the collecting institution to exercise authority over an artwork.

The purpose of this thesis is to document and analyze my projection design for a new dance piece, "VŰ", directed by Angelus Iván and staged at Trafó in Budapest, Hungary. Included is an account of the design process, the concept and projection development described scene by scene, execution, performance and evaluation. The paper ends with reflections on the relatively new field of image projections, and my professional goals in scenic design.

My research is comprised of two connected components – a written report, and an original artwork. In the written segment of the research, I critically assess arguments sourced from digital theorists writing mainly in the 1990s, who positioned “cyberspace” as means of bodily escape, physical transcendence and disconnection from lived reality. I link their writings to a larger notion of technological determinism. I use a combination of theoretical sources and case studies to argue that these determinist attitudes are being challenged by the emergence of a recent artistic practice (termed “locative art”), itself made possible through changes in the understanding of the integration of digital information into the material world. The second part of my research consists of an original locative work, entitled “Tree ID”. It is integrated into my written research in my third chapter, in which I discuss the technical function and conceptual background of the work. “Tree ID” functions alongside my case studies as an artistic response to technological determinism, and, additionally, as a practical investigation into the South African context of locative art.