This thesis analyses how contemporary exhibition spaces have evolved to meet external pressures of technological and sociocultural changes by exploring the rich potential found in the parallels between theatrical performance and the act of display, with the purpose of understanding the ways in which exhibitions spaces are being designed to interact with the spectator in our present time. By examining four different case studies from contemporary exhibitions, this research demonstrates the performative nature of objects within them, proving that both the object and the environment in which it is situated are not neutral. By drawing clear parallels between the elements at play in exhibitions with concepts in theatrical performance, a more flexible classification of exhibition spaces is proposed, providing a different perspective to probe the meanings these spaces create and the importance of their role in society. / Master of Arts / Exhibition spaces are experiencing a moment of change. Rethinking contemporary classifications for exhibition spaces that are not based on style, but instead on the ways the space itself influences and encourages certain relationships between the displayed object and the spectator, acknowledges the special fluidity of these spaces and their atemporal quality as testimonies of human development. The classification of exhibition spaces used in this work was able to successfully apply Peter Brook's modern theatre theories because of the intrinsic similarities these disciplines have in common, strengthened by the historic intersections they have shared. By the time these lines are being written, exhibition spaces continue to evolve. Therefore, this thesis serves as an addition to the documentation of the progressive transformation of these spaces.

A presente Dissertação buscou compreender, a partir de uma pesquisa de campo, como as crianças se expressam em visitas em espaços expositivos de arte. Convidar as crianças a falar sobre esses encontros provocam reflexões acerca das propostas de pesquisa com elas, como também das referências que temos sobre os estudos da relação delas sobre a arte. Analiso as experiências das crianças a partir daquilo que elas falam, agem, sentem e silenciam diante das exposições, buscando estas referencias para estabelecer relações sobre o conhecimento dos modos de ser das crianças e dos modos como elas experimentam a arte. Para a organização desta pesquisa, busco referências dos estudos da Sociologia da Infância, que além de propor estudos no campo da infância, configuram pensar as crianças como sujeitos ativos, produtores de cultura e pertencentes a um grupo geracional específico. Juntamente com esta referência, tomo as reflexões de Larrosa sobre o conceito criança para pensar as relações que elas estabeleceram com os espaços expositivos. A pesquisa foi realizada com quatorze crianças de uma escola de educação infantil de Porto Alegre, com idade entre três e quatro anos, no período entre junho e dezembro de 2012. Ao longo de três semanas foram propostos encontros com as crianças na escola com caráter de observação participante. Posteriormente, visitamos três espaços expositivos da cidade e depois nos encontramos na escola para conversar sobre as visitas. Nesse sentido, foi necessária a organização de uma metodologia e uma “postura metodológica” que pudesse tornar preponderante a participação das crianças com foco na problemática da pesquisa. O diário de campo, os registros fotográficos e os vídeos foram algumas das ferramentas metodológicas utilizadas. Nestes encontros em espaços expositivos foram observadas diferentes manifestações das crianças sobre as obras de arte, a interação com os mediadores e o posicionamento delas referente aos espaços culturais visitados. Tais manifestações das crianças nos permite pensar que elas têm um modo particular de viver experiências com a arte que não compreende somente o olhar, mas também o corpo e os sentimentos. A partir destas formas de experimentar as exposições de arte, as crianças nos apontam algumas referências para que possamos pensar sobre as propostas educativas dos espaços expositivos. / This paper has tried to understand from a field research how children express themselves when they are visiting art exhibitions. It has sought to understand how they participate, understand, live with recount their feelings concerning spaces, works of art, and mediators. As a research teacher I have dealt with situations with children and art encouraging me to think about how they could have an experience with art exhibitions, and what we could learn from the children. Encouraging children to talk about these meetings leads to reflections both about proposals of research with them and references we have concerning their relation with art. I analyse here their experiences they have talked about, acted on, felt about, and their silence towards exhibitions, looking after these references to establish relations about knowing their way of being and how they have experienced art. To organise this research I have drawn on studies of sociology of childhood, which suggest studies in the field of childhood and suggest thinking of children as active subjects, culture makers and belonging to a particular generational cohort. Apart from this reference, I have drawn to Larrosa’s reflections about the concept of experience to think of children’s relationships with exhibition spaces. I made the research with 14 three-to-four year-old children in a nursery in Porto Alegre from June to December 2012. In three weeks meetings with children in the school were proposed in a participant observation style. Later we have visited three exhibitions in the town and we met at the school to talk about these visits. Then it was necessary to set a methodology and ‘methodological stance’ able to direct children’s participation to the research question. The key issue is about how children express themselves during visits to art exhibitions. The answer to this questioning gathers together descriptions of experiences children lived and the analysis of these contexts. The field diary, photographic images and videos were some of the methodological instruments used. In meetings in these exhibitions we have observed children’s different manifestations towards works of art, their interaction with mediators and their position towards the cultural spaces visited. These manifestations encourage us to think they have a particular way of living experiences with art including not only watching, but also the body and feelings. From these ways of experiencing art exhibitions, children have indicated some references for us to think about educational proposals for exhibition spaces.

A presente Dissertação buscou compreender, a partir de uma pesquisa de campo, como as crianças se expressam em visitas em espaços expositivos de arte. Convidar as crianças a falar sobre esses encontros provocam reflexões acerca das propostas de pesquisa com elas, como também das referências que temos sobre os estudos da relação delas sobre a arte. Analiso as experiências das crianças a partir daquilo que elas falam, agem, sentem e silenciam diante das exposições, buscando estas referencias para estabelecer relações sobre o conhecimento dos modos de ser das crianças e dos modos como elas experimentam a arte. Para a organização desta pesquisa, busco referências dos estudos da Sociologia da Infância, que além de propor estudos no campo da infância, configuram pensar as crianças como sujeitos ativos, produtores de cultura e pertencentes a um grupo geracional específico. Juntamente com esta referência, tomo as reflexões de Larrosa sobre o conceito criança para pensar as relações que elas estabeleceram com os espaços expositivos. A pesquisa foi realizada com quatorze crianças de uma escola de educação infantil de Porto Alegre, com idade entre três e quatro anos, no período entre junho e dezembro de 2012. Ao longo de três semanas foram propostos encontros com as crianças na escola com caráter de observação participante. Posteriormente, visitamos três espaços expositivos da cidade e depois nos encontramos na escola para conversar sobre as visitas. Nesse sentido, foi necessária a organização de uma metodologia e uma “postura metodológica” que pudesse tornar preponderante a participação das crianças com foco na problemática da pesquisa. O diário de campo, os registros fotográficos e os vídeos foram algumas das ferramentas metodológicas utilizadas. Nestes encontros em espaços expositivos foram observadas diferentes manifestações das crianças sobre as obras de arte, a interação com os mediadores e o posicionamento delas referente aos espaços culturais visitados. Tais manifestações das crianças nos permite pensar que elas têm um modo particular de viver experiências com a arte que não compreende somente o olhar, mas também o corpo e os sentimentos. A partir destas formas de experimentar as exposições de arte, as crianças nos apontam algumas referências para que possamos pensar sobre as propostas educativas dos espaços expositivos. / This paper has tried to understand from a field research how children express themselves when they are visiting art exhibitions. It has sought to understand how they participate, understand, live with recount their feelings concerning spaces, works of art, and mediators. As a research teacher I have dealt with situations with children and art encouraging me to think about how they could have an experience with art exhibitions, and what we could learn from the children. Encouraging children to talk about these meetings leads to reflections both about proposals of research with them and references we have concerning their relation with art. I analyse here their experiences they have talked about, acted on, felt about, and their silence towards exhibitions, looking after these references to establish relations about knowing their way of being and how they have experienced art. To organise this research I have drawn on studies of sociology of childhood, which suggest studies in the field of childhood and suggest thinking of children as active subjects, culture makers and belonging to a particular generational cohort. Apart from this reference, I have drawn to Larrosa’s reflections about the concept of experience to think of children’s relationships with exhibition spaces. I made the research with 14 three-to-four year-old children in a nursery in Porto Alegre from June to December 2012. In three weeks meetings with children in the school were proposed in a participant observation style. Later we have visited three exhibitions in the town and we met at the school to talk about these visits. Then it was necessary to set a methodology and ‘methodological stance’ able to direct children’s participation to the research question. The key issue is about how children express themselves during visits to art exhibitions. The answer to this questioning gathers together descriptions of experiences children lived and the analysis of these contexts. The field diary, photographic images and videos were some of the methodological instruments used. In meetings in these exhibitions we have observed children’s different manifestations towards works of art, their interaction with mediators and their position towards the cultural spaces visited. These manifestations encourage us to think they have a particular way of living experiences with art including not only watching, but also the body and feelings. From these ways of experiencing art exhibitions, children have indicated some references for us to think about educational proposals for exhibition spaces.

A presente Dissertação buscou compreender, a partir de uma pesquisa de campo, como as crianças se expressam em visitas em espaços expositivos de arte. Convidar as crianças a falar sobre esses encontros provocam reflexões acerca das propostas de pesquisa com elas, como também das referências que temos sobre os estudos da relação delas sobre a arte. Analiso as experiências das crianças a partir daquilo que elas falam, agem, sentem e silenciam diante das exposições, buscando estas referencias para estabelecer relações sobre o conhecimento dos modos de ser das crianças e dos modos como elas experimentam a arte. Para a organização desta pesquisa, busco referências dos estudos da Sociologia da Infância, que além de propor estudos no campo da infância, configuram pensar as crianças como sujeitos ativos, produtores de cultura e pertencentes a um grupo geracional específico. Juntamente com esta referência, tomo as reflexões de Larrosa sobre o conceito criança para pensar as relações que elas estabeleceram com os espaços expositivos. A pesquisa foi realizada com quatorze crianças de uma escola de educação infantil de Porto Alegre, com idade entre três e quatro anos, no período entre junho e dezembro de 2012. Ao longo de três semanas foram propostos encontros com as crianças na escola com caráter de observação participante. Posteriormente, visitamos três espaços expositivos da cidade e depois nos encontramos na escola para conversar sobre as visitas. Nesse sentido, foi necessária a organização de uma metodologia e uma “postura metodológica” que pudesse tornar preponderante a participação das crianças com foco na problemática da pesquisa. O diário de campo, os registros fotográficos e os vídeos foram algumas das ferramentas metodológicas utilizadas. Nestes encontros em espaços expositivos foram observadas diferentes manifestações das crianças sobre as obras de arte, a interação com os mediadores e o posicionamento delas referente aos espaços culturais visitados. Tais manifestações das crianças nos permite pensar que elas têm um modo particular de viver experiências com a arte que não compreende somente o olhar, mas também o corpo e os sentimentos. A partir destas formas de experimentar as exposições de arte, as crianças nos apontam algumas referências para que possamos pensar sobre as propostas educativas dos espaços expositivos. / This paper has tried to understand from a field research how children express themselves when they are visiting art exhibitions. It has sought to understand how they participate, understand, live with recount their feelings concerning spaces, works of art, and mediators. As a research teacher I have dealt with situations with children and art encouraging me to think about how they could have an experience with art exhibitions, and what we could learn from the children. Encouraging children to talk about these meetings leads to reflections both about proposals of research with them and references we have concerning their relation with art. I analyse here their experiences they have talked about, acted on, felt about, and their silence towards exhibitions, looking after these references to establish relations about knowing their way of being and how they have experienced art. To organise this research I have drawn on studies of sociology of childhood, which suggest studies in the field of childhood and suggest thinking of children as active subjects, culture makers and belonging to a particular generational cohort. Apart from this reference, I have drawn to Larrosa’s reflections about the concept of experience to think of children’s relationships with exhibition spaces. I made the research with 14 three-to-four year-old children in a nursery in Porto Alegre from June to December 2012. In three weeks meetings with children in the school were proposed in a participant observation style. Later we have visited three exhibitions in the town and we met at the school to talk about these visits. Then it was necessary to set a methodology and ‘methodological stance’ able to direct children’s participation to the research question. The key issue is about how children express themselves during visits to art exhibitions. The answer to this questioning gathers together descriptions of experiences children lived and the analysis of these contexts. The field diary, photographic images and videos were some of the methodological instruments used. In meetings in these exhibitions we have observed children’s different manifestations towards works of art, their interaction with mediators and their position towards the cultural spaces visited. These manifestations encourage us to think they have a particular way of living experiences with art including not only watching, but also the body and feelings. From these ways of experiencing art exhibitions, children have indicated some references for us to think about educational proposals for exhibition spaces.

The topic of my master’s thesis was to create an architectural study of Central European Forum in Olomouc. The Forum will be housed in refurbished premises of the Museum of Modern Art on Denisova Street and a new building erected on the neighbouring vacant lot, which was created when five historical burgher houses were demolished in 1969.The forum will be focused on collecting, exhibiting and publishing activities regarding various representations of Central European art, with special attention paid to modern and contemporary art. ‘Forum’ is much wider term than, for instance, ‘museum’ or ‘gallery’ – apart from its essential activities, various discussions, lectures, symposiums, and other events will also be organised. Proposed area is located in the heart of Olomouc city, directly in its conservation area and therefore it was crucial to take into consideration the existing historical development in neighbourhood. Main volume of the proposed building connects with building of the existing museum. Gradation of the other volumes based on the sloped terrain configuration lead to a sensitive completion of the vacant gap site and the existing historical surroundings remained preserved. construction of the new building of Central European Forum came to creation of new exhibition and assembly spaces, depositories, studios as well as technical facilities, changing rooms and sanitary facilities for museum crew.

Marguerite “Peggy” Guggenheim is best known for her legacy of collecting modern art in both Europe and the United States, but scholars have overlooked her importance as a patron of modern architecture, specifically the exhibition spaces that showcased her art collection. This thesis fills the gap of literature by tracing the architectural history of the collection. Guggenheim represented a catalyst for bridging the role of art and architecture by promoting modern art through three different spatial approaches: creating collaborative and didactic gallery workspaces at Galerie Guggenheim Jeune in London (1938-1939), establishing architectural spaces that employed unique display techniques at Art of This Century in New York (1942-1948), and instituting a final home-museum at Palazzo Venier dei Leoni in Venice (1949-present). Through the use of primary sources, such as Guggenheim’s autobiography, archival sources including familial correspondences, original black and white photographs, newspaper articles, and architectural drawings, I resituate Guggenheim as not only an art patron and collector, but also a benefactor of modern architectural spaces. / text

Made available in DSpace on 2016-12-08T16:18:52Z (GMT). No. of bitstreams: 1 113873.pdf: 2132261 bytes, checksum: 786b7b4f210c67b22286ba784e9300d2 (MD5) Previous issue date: 2013-07-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation work, The Blind-Body in Art: Aesthetic and Reflective Experiences in the context of cultural institutions, resorts to the Phenomenological perspective and Sociohistorical Corps to investigate the Blind-Body and its perception of "to be in the world", raising questions about the body blindness, its mobility, in order to investigate how this Blind-Body deal with the challenges, achievements and overcomings, the body that perceives the other one and the world, in a peculiar way. This peculiarity implies, therefore, the aesthetic experience, establishing dialogues with the artwork and its accessibility in exhibitions spaces. Describes the mediations occurred in MASC from the visitations performed, discussing the importance of the role of the mediator in the process of exchange and learning. This work proposes educational and pedagogical actions that prioritize the contact with cultural assets, promoting social inclusion. / O presente trabalho de dissertação, O corpo-cego na arte: experiências estéticas e reflexivas no contexto de instituições culturais, recorre à perspectiva Fenomenológica e à Sócio-Histórica para investigar o corpo cego e sua percepção de ¿ser no mundo¿, levantando questões sobre o corpo da cegueira, sua mobilidade, com o propósito de indagar de que forma esse corpo-cego lida com os desafios, conquistas e superações, o corpo que percebe o outro e o mundo, de forma peculiar. Essa peculiaridade implica, portanto, a experiência estética, estabelecendo interlocuções com a obra de arte e sua acessibilidade nos espaços expositivos. Descreve as mediações ocorridas no MASC a partir das visitações realizadas, discutindo a importância do papel do mediador no processo de trocas e aprendizados. O presente trabalho propõe ações educativas e pedagógicas que priorizam o contato com bens patrimoniais e culturais, promovendo a inclusão social.

Made available in DSpace on 2016-12-08T16:19:08Z (GMT). No. of bitstreams: 1 101338.pdf: 3300469 bytes, checksum: d9be952553f8c0738129e7c86e31f4c9 (MD5) Previous issue date: 2011-07-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work's point of departure takes the distance between the public and contemporary art. It develops an analysis of some exhibition's proposals and their conceptions of educational processes, considering them as alternatives to the approch between contemporary art and the public. For that, it reports three proposals, as the focus of the pressuposing relationships that it would be established among their interlocutors and the art of our time. Moreover, it presents some parallels with the concepts related to educational processes intended on these art exhibitions, as well as their new interactions that is now established among the public, artwork and art space and their interrelationships. Thus the possibilities of dialogue between the enunciatee public and the exhibition's enunciators are important references for the analysis. Finally, it is crucial to consider, as one of the goals of this research, highlighting the relevant aspects of the cases reviewed, specific or common, which offers possible contributions to the future of educational action on exhibition spaces for contemporary art / O presente trabalho parte do distanciamento que se observa entre o público e a arte contemporânea. Desenvolve-se uma análise de propostas expositivas e suas respectivas concepções de processos educacionais, considerando-as como alternativas de aproximação entre arte contemporânea e o público. Para tanto, ir-se-á relatar três propostas, tomando-as como foco das relações pressupostas que se estabeleceriam entre seus interlocutores e a arte do nosso tempo. Além disso, propõe-se formar paralelos entre os conceitos relacionados aos processos educacionais pretendidos nestas exposições de arte, como também as novas interações que ora se estabelecem entre público, trabalho artístico e espaço de arte e suas respectivas inter-relações. Assim, as possibilidades de interlocuções entre o público enunciatário e os enunciadores das exposições serão importantes referenciais para a análise. Por fim, é importante considerar, como um dos objetivos desta investigação, o destaque dos aspectos relevantes nos casos analisados, específicos ou comuns, que sejam passíveis de contribuição para propostas futuras de ação educacional em espaços expositivos destinados à arte contemporânea

The study design includes the new building of the Moravian wine and cultural center on the Hlinky street in Brno. There are spaces designed for wineries (producing, maturing and storing wine), administration, congress center (with business lounges), spa, restaurant and gastro-studio, shops, exhibition, hotel and parking. The building is trapezoidal shape and replace the existing object in a vacant lot, only some historical cellars will be retained. The supporting structure consists of reinforced concrete skeleton system and reinforced concrete reinforcing inner core around the staircase leading to all floors, the building is covered by a flat green roof. On the facade dominates the element that its shape resembles the vine shoots, which holds the glass facade. The construction is divided into two expansion units - the main part of the building and garage, which is set into the ground sloping towards the south. The building has six floors and one underground floor. The first four floors are connected by open gallery at the southern facade.

The presented diploma thesis was elaborated as an architectural study of a Central European Forum in Olomouc (SEFO). Campus SEFO will be created as an reconstruction of the Museum of Modern Art (MUO) in Denis street and building in a neighboring vacant lot. The proposal involves urban, architectural, operational layout, design and material solutions objects in spatial context. Within SEFO and MUO they are created each operation - stand-alone units. Objects SEFO and MUO are interconnected. It is necessary to respect the separation of publicly accessible areas of compartments accessible only by employees. Architectural study includes space for exhibitions, library, multi-purpose space with facilities, vestibule usable for exhibition openings and other cultural activities, chamber music performances, as well as facilities for education, technological facilities of the building, the depositary (transport and central), photo studio restoration studio, office space, locker rooms and restrooms personnel. SEFO specific aim of capturing the diverse manifestations of visual culture of Central Europe after World War 2, the building's permanent exhibition, acquisition activity, temporary exhibitions, including larger medium-shows (eg. The biennial or triennial), discussion forums and other supporting cultural events.