This doctoral project examines the knowledge economy as understood under the hypothesis of cognitive capitalism and its impact on contemporary social art practice, in particular the educational turn in art, taking account of its conditions of production within the local site of official art education at an elite university. In a counter movement, this research searches for the 'becoming cognitive of labour', a peculiar quality of the present transition, where knowledge production and the reconfiguration of labour intersect within the overshadowing hypothesis of cognitive capitalism. In response to contemporary approaches assigned to knowledge production, appropriation of the general intellect and the educational paradigm, as a practice-led research project, I devised three performative interventions premised on aestheticised withdrawal (taking account of exodus theorists) and agonistic tendency (radical negativity) to take risks and to 'struggle within and strategically against' the institution, drawing on the radical pedagogy of Paolo Freire who created an approach to emancipatory education through which to transform systems of oppression and inequality, the self-governing frameworks of the educator Ivan Illich, and Jacques Rancière who locates oppression and subjection in the noble act of 'explication'. Drawing on this, I've pursued a novel form of 'writing as activism' that allowed me to unravel dividing points between the practice of art and its theory, critically engaging with and dismantling the academic form of essay through a process of streaking, rupture and montage. As a 'work of words', this allowed me to integrate the practice and theory in one, where the thesis is withdrawn and does not make an appearance. The practice of art determines the theoretical conditions and critical context, but is not subordinate to these conditions. In this way I could construct something meaningful and complex in an unconventional way that requires other ways of reading and interpretation. I disembark from the recent field of expanded academia and the 'educational turn' in art and curating, approbated by cultural theorists and artists since the mid 1990's. While addressing the current crisis in neoliberal education and its direct link to cognitive capitalism's knowledge enclosures, in which the doctorate in art was fiercely debated, these modes of emancipatory educational 'turning' seldom found traction inside the official educational art institution itself. Rather, as an expanded idea of the academy, these critical strategies were articulated through the global museum and biennale. However, if we are to maintain that the university is the critical core of the public realm, rather than escaping it or allowing ideological contention and dissensus to be smoothed over and disciplined, this research - in and through art as 'struggle' and as 'a process of intelligibility' - re-thinks the educational turn in art by opening up and maintaining a space of crisis and critical relationship with its institutional conditions of production and the forms of labour sustaining it as it emerges from academia itself. Using a gendered agonistic research method with its attendant discourse of resistance, I expose how gender is made invisibile within the flattening paradigm of immaterial labour and its overarching frame of cognitive capitalism. I explore how the production and reproduction of knowledge can be organised and made common and how it might break with capitalist capture, how a resistant form of knowledge production might be found on the frontier of the university. Through a dramatisation of practice that is a compelling instance of the theory, I explore an alternative production of knowledge - a (becoming) learning process where the subject 'I', who is constituted in language, talks back, a mode of counter speech as a condition of my agency and potentiality. It is in, at, and around the official educational site of the university that I make an inquiry into the economic and political tendencies at work, and locate non-compliant labour as a way to open up an educational 'turn' towards regimes of discipline, authority and control. By conclusion, if the educational 'turn' in art is to fully realise its emancipatory dimension it must not only align itself to the extra-institutional realm of the artworld, but must forge a counter turn inside the official educational art institution, the primary site of education's struggle and agency. Art production inside the educational institution is profoundly fundamental to a political and philosophical 'turning' towards a critique of contemporary arts new relations of production and reception under capital, to renew once more arts political and transformative potential. This research is an emphatic refusal of fatalism about the status of the official educational institution whose ailments I diagnose throughout. It is an original contribution to the debate on the educational turn and demonstrates when educators and students together, and in common, 'turn' in struggle within and against the institution, they can create transformative strategies of engagement with the institution of knowledge. It is not yet the time to abandon the official education institution entirely.

A partir do estudo do fenômeno educational turn, que consistiu numa espécie de virada educacional nas práticas artísticas e curatoriais contemporâneas, o presente trabalho busca, com base em pesquisa histórica, empírica e documental, compreender e problematizar às relações construídas historicamente entre arte e educação no âmbito da arte, bem como discutir as relações e tensionamentos do referido fenômeno no que tange ao contexto de arte brasileiro, propondo, para isso, três estudos de caso: os Domingos da Criação, a experiência educativa da Bienal do Mercosul e a obra-intervenção Café Educativo. / Based on the study of the educational turn phenomenon, the present dissertation aims, based on historical, empirical and documental research, to understand and problematize the relations built historically between art and education in the "eld of art, as well as discussing the relations and tensioning of the before mentioned phenomenon regarding the Brazilian context of art, proposing, in order to do so, three case studies: the Domingos da Criação [Sundays of Creation], the educational experience of the Mercosul Biennial and the work-intervention Café Educativo [Educative Coffee].

A partir do estudo do fenômeno educational turn, que consistiu numa espécie de virada educacional nas práticas artísticas e curatoriais contemporâneas, o presente trabalho busca, com base em pesquisa histórica, empírica e documental, compreender e problematizar às relações construídas historicamente entre arte e educação no âmbito da arte, bem como discutir as relações e tensionamentos do referido fenômeno no que tange ao contexto de arte brasileiro, propondo, para isso, três estudos de caso: os Domingos da Criação, a experiência educativa da Bienal do Mercosul e a obra-intervenção Café Educativo. / Based on the study of the educational turn phenomenon, the present dissertation aims, based on historical, empirical and documental research, to understand and problematize the relations built historically between art and education in the "eld of art, as well as discussing the relations and tensioning of the before mentioned phenomenon regarding the Brazilian context of art, proposing, in order to do so, three case studies: the Domingos da Criação [Sundays of Creation], the educational experience of the Mercosul Biennial and the work-intervention Café Educativo [Educative Coffee].

A partir do estudo do fenômeno educational turn, que consistiu numa espécie de virada educacional nas práticas artísticas e curatoriais contemporâneas, o presente trabalho busca, com base em pesquisa histórica, empírica e documental, compreender e problematizar às relações construídas historicamente entre arte e educação no âmbito da arte, bem como discutir as relações e tensionamentos do referido fenômeno no que tange ao contexto de arte brasileiro, propondo, para isso, três estudos de caso: os Domingos da Criação, a experiência educativa da Bienal do Mercosul e a obra-intervenção Café Educativo. / Based on the study of the educational turn phenomenon, the present dissertation aims, based on historical, empirical and documental research, to understand and problematize the relations built historically between art and education in the "eld of art, as well as discussing the relations and tensioning of the before mentioned phenomenon regarding the Brazilian context of art, proposing, in order to do so, three case studies: the Domingos da Criação [Sundays of Creation], the educational experience of the Mercosul Biennial and the work-intervention Café Educativo [Educative Coffee].

A presente dissertação tem como foco a análise, através de um viés crítico, da proposta curatorial da 27ª Bienal de Arte de São Paulo, intitulada Como viver junto. Esta bienal é tomada como estudo de caso dentro do amplo contexto de bienais por ser considerada precursora, estabelecendo e institucionalizando algumas mudanças curatoriais, como o fim das representações nacionais. A 27ª Bienal de Arte de São Paulo liga-se a referências teóricas que se relacionam àquilo que Bruce Ferguson denomina de \"bienais discursivas\", termo que se refere ao fato de que conferências, eventos interdisciplinares, workshops, atividades educacionais e discussões públicas tem se tornado elementos cada vez mais importantes nesses projetos. Dentro do contexto desta discursividade expandida, a participação, a crítica institucional e um viés educacional têm sido estratégias recorrentes nas curadorias das bienais. Estes três elementos já estavam presentes em abordagens artísticas no mundo da arte e compõem juntos um campo discursivo composto de práticas dialógicas e relacionais que se replicam, ainda que com formatos variados, em bienais ao redor do mundo. A proposta curatorial da mostra foi estudada de forma a compreender os discursos envolvidos a partir do pensamento dos curadores e submetidos a um dado momento histórico, o que os condicionou a revelar uma conjuntura cultural. / This dissertation focuses on the analysis, through a critical bias, of the 27th São Paulo Art Biennial curatorial proposal, entitled \"Como viver junto\" [How to live together]. This biennial is taken as a case study within the broad context of biennials because it is considered a precursor one, establishing and institutionalizing some curatorial changes, such as the end of national representations. The 27th São Paulo Art Biennial is linked to theoretical references that are related to what Bruce Ferguson calls \"discursive biennials\", a term that refers to the fact that conferences, interdisciplinary events, workshops, educational activities, and public discussions have become increasingly important elements in these projects. Within the context of this expanded discursiveness, \"participation\", \"institutional critique\" and an educational bias have been recurrent strategies in biennial curatorships. These three elements were already present in artistic approaches in the art world and together form a discursive field composed of dialogic and relational practices that replicate, albeit with varied formats, in biennials around the world. The curatorial proposal of the exhibition was studied to understand the discourses involved in the thinking of the curators and submitted to a certain historical moment, which conditioned them to reveal a cultural context.

A presente pesquisa propõe um olhar reflexivo sobre os papéis exercidos pela experiência direta e pela mediação cultural na relação entre a arte contemporânea e o seu público. Buscando, para isso, apoio em teorias e proposições que primem pela participação, e apresentando um recorte das investigações artísticas de Jorge Menna Barreto como terreno fértil para o florescimento de experiências que estimulem o pensamento sensível e reflexivo. Alicerçado por uma abordagem crítica dos pressupostos de John Dewey e Nicolas Bourriaud, o conceito de experiência será delimitado com base na interação atenta entre sujeitos, obras e contextos. Por seu turno, a ideia de mediação será expandida a fim de posicionar-se como um esforço educacional não diretivo, mas provocativo e vinculado à noção de experiência aqui defendida. / This research proposes a reflexive view on the role of direct experience and cultural mediation exerted on the relation between contemporary art and its public. Searching support in theories and propositions that prioritizes participation, and presenting a clipping of the artistic investigations of Jorge Menna Barreto as a fertile field to flourish experiences which stimulate sensitive and reflexive thinking. Supported by a critical approach of the assumptions of John Dewey and Nicolas Bourriaud, the concept of experience will be delimitated based on the concerned interaction among subjects, works and contexts. The idea of mediation, in turn, will be expanded in order to be placed as an educational and non directed effort, but provocative and linked to the notion of experience defended here.

A presente pesquisa propõe um olhar reflexivo sobre os papéis exercidos pela experiência direta e pela mediação cultural na relação entre a arte contemporânea e o seu público. Buscando, para isso, apoio em teorias e proposições que primem pela participação, e apresentando um recorte das investigações artísticas de Jorge Menna Barreto como terreno fértil para o florescimento de experiências que estimulem o pensamento sensível e reflexivo. Alicerçado por uma abordagem crítica dos pressupostos de John Dewey e Nicolas Bourriaud, o conceito de experiência será delimitado com base na interação atenta entre sujeitos, obras e contextos. Por seu turno, a ideia de mediação será expandida a fim de posicionar-se como um esforço educacional não diretivo, mas provocativo e vinculado à noção de experiência aqui defendida. / This research proposes a reflexive view on the role of direct experience and cultural mediation exerted on the relation between contemporary art and its public. Searching support in theories and propositions that prioritizes participation, and presenting a clipping of the artistic investigations of Jorge Menna Barreto as a fertile field to flourish experiences which stimulate sensitive and reflexive thinking. Supported by a critical approach of the assumptions of John Dewey and Nicolas Bourriaud, the concept of experience will be delimitated based on the concerned interaction among subjects, works and contexts. The idea of mediation, in turn, will be expanded in order to be placed as an educational and non directed effort, but provocative and linked to the notion of experience defended here.

A presente dissertação tem como foco a análise, através de um viés crítico, da proposta curatorial da 27ª Bienal de Arte de São Paulo, intitulada Como viver junto. Esta bienal é tomada como estudo de caso dentro do amplo contexto de bienais por ser considerada precursora, estabelecendo e institucionalizando algumas mudanças curatoriais, como o fim das representações nacionais. A 27ª Bienal de Arte de São Paulo liga-se a referências teóricas que se relacionam àquilo que Bruce Ferguson denomina de \"bienais discursivas\", termo que se refere ao fato de que conferências, eventos interdisciplinares, workshops, atividades educacionais e discussões públicas tem se tornado elementos cada vez mais importantes nesses projetos. Dentro do contexto desta discursividade expandida, a participação, a crítica institucional e um viés educacional têm sido estratégias recorrentes nas curadorias das bienais. Estes três elementos já estavam presentes em abordagens artísticas no mundo da arte e compõem juntos um campo discursivo composto de práticas dialógicas e relacionais que se replicam, ainda que com formatos variados, em bienais ao redor do mundo. A proposta curatorial da mostra foi estudada de forma a compreender os discursos envolvidos a partir do pensamento dos curadores e submetidos a um dado momento histórico, o que os condicionou a revelar uma conjuntura cultural. / This dissertation focuses on the analysis, through a critical bias, of the 27th São Paulo Art Biennial curatorial proposal, entitled \"Como viver junto\" [How to live together]. This biennial is taken as a case study within the broad context of biennials because it is considered a precursor one, establishing and institutionalizing some curatorial changes, such as the end of national representations. The 27th São Paulo Art Biennial is linked to theoretical references that are related to what Bruce Ferguson calls \"discursive biennials\", a term that refers to the fact that conferences, interdisciplinary events, workshops, educational activities, and public discussions have become increasingly important elements in these projects. Within the context of this expanded discursiveness, \"participation\", \"institutional critique\" and an educational bias have been recurrent strategies in biennial curatorships. These three elements were already present in artistic approaches in the art world and together form a discursive field composed of dialogic and relational practices that replicate, albeit with varied formats, in biennials around the world. The curatorial proposal of the exhibition was studied to understand the discourses involved in the thinking of the curators and submitted to a certain historical moment, which conditioned them to reveal a cultural context.