Orientador: Nelson Alfredo Aguilar / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T12:42:10Z (GMT). No. of bitstreams: 1 Lima_AnaPaulaFelicissimodeCamargo_D.pdf: 29444371 bytes, checksum: fe6d2ee891889f9463914ef722e9cf4e (MD5) Previous issue date: 2009 / Resumo: Durante os anos de 1960 e 1970, os festivais Fluxus promoveram a indissociação entre arte e vida, por meio de proposições apoiadas no cotidiano, possíveis de serem realizadas por qualquer pessoa. Esta produção - valorizando o processo, a participação do público e a desmaterialização do objeto artístico questionava os sistemas discursivos e legitimadores da arte, dentre eles o museu e o mercado. Os objetos, textos, imagens e depoimentos resultantes destes atos Fluxus tornaram-se, contudo, memória e registro de r:ais proposições, que foram postos, a partir da década de 1980, no âmbito institucionalizado das coleções e museus de arte dos quais se tornaram reféns de procedimentos museológicos tradicionais, submetidos as categorias e padrões herdeiros das Belas Artes, afastando-se de seu pulsar original, da 'liberdade de estar num curso de água almejada no próprio nome desse coletivo internacional. Abordando sua música, seus eventos e sua (auto)poiesis, nossa tese focaliza as coleções e exposições Fluxus para analisar criticamente a premência de uma produção em processo, cujas ideias-matrizes potencializam a germinação contínua entre acervo, público e instituições: museus em fluxus / Abstract: During the 1960s and 1970s, the Fluxus' festivals promoted Art and Life through proposals supported in daily activities made by everyone. Their production, which valued the process through open participation of the public and art object dematerialization, criticized the cultural systems and art legitimizers, as well as the market and institutions. Therefore, objects, texts, pictures and statements resulted from these Fluxus...Note: The complete abstract is available with the full electronic digital thesis or dissertations. / Doutorado / Historia da Arte / Doutor em História

A presente investigação aborda temas relacionados ao grupo Fluxus no acervo do MAC-USP. Fluxus foi um coletivo artístico que atuou nos limites da arte durante as décadas de 1960 e 1970, questionando valores instituídos pelos sistemas oficiais de produção, circulação e exibição de objetos artísticos. Tendo como referência as poéticas Fluxus, as importantes realizações que constituem a sua história, dados e fatos que situam as atividades de seus integrantes na história do surgimento das novas linguagens artísticas da segunda metade do séc. XX, realizamos um amplo levantamento sucedido de documentação e análise crítica de algumas dentre as 116 obras selecionadas no acervo do MAC-USP de autoria de artistas Fluxus. / The present study deals with themes related to the Fluxus group in the MAC-USP collection. Fluxus was an artistic group that worked in the boundaries of art during the Sixties and Seventies, having questioned the values established by the official systems of art production, circulation and exhibition. Regarding Fluxus poetics, the important accomplishments that form its history, data and facts which place the activities of its artists in the history of new languages outbreak during the second part of XX century, we carry out a wide survey followed by registry and critical analyze in some of the 116 works of Fluxus artists which were selected from the MAC-USP collection.

A presente investigação aborda temas relacionados ao grupo Fluxus no acervo do MAC-USP. Fluxus foi um coletivo artístico que atuou nos limites da arte durante as décadas de 1960 e 1970, questionando valores instituídos pelos sistemas oficiais de produção, circulação e exibição de objetos artísticos. Tendo como referência as poéticas Fluxus, as importantes realizações que constituem a sua história, dados e fatos que situam as atividades de seus integrantes na história do surgimento das novas linguagens artísticas da segunda metade do séc. XX, realizamos um amplo levantamento sucedido de documentação e análise crítica de algumas dentre as 116 obras selecionadas no acervo do MAC-USP de autoria de artistas Fluxus. / The present study deals with themes related to the Fluxus group in the MAC-USP collection. Fluxus was an artistic group that worked in the boundaries of art during the Sixties and Seventies, having questioned the values established by the official systems of art production, circulation and exhibition. Regarding Fluxus poetics, the important accomplishments that form its history, data and facts which place the activities of its artists in the history of new languages outbreak during the second part of XX century, we carry out a wide survey followed by registry and critical analyze in some of the 116 works of Fluxus artists which were selected from the MAC-USP collection.

This essay examines the intersection of Valerie Solanas' radical feminist manifesto, the S.C.U.M. (Society of Cutting Up Men) manifesto, and her attempted assassination of Andy Warhol in 1968, proposing that the latter can be understood as a sophisticated piece of performance art. Solanas' manifesto, penned in 1967, challenged societal norms, advocating for the overthrow of patriarchal structures. Through a lens of performativity theory, which emphasizes the performative nature of language and actions, this essay reinterprets Solanas' actions as deliberate expressions of her feminist beliefs. Tracing Solanas' life, from her early struggles to her involvement in the avant-garde art scene of New York City, highlighting her interactions with Warhol's Factory and her provocative works. Solanas' attempted assassination of Warhol, while initially perceived as a psychotic act, is reframed as a conscious enactment of her manifesto's principles, challenging dominant power dynamics. By reframing the assassination attempt as a form of performance art, this essay sheds new light on Solanas' legacy, emphasizing the transformative potential of art as a tool for social critique and change. / Denna uppsats undersöker skärningspunkten mellan Valerie Solanas radikalfeministiska S.C.U.M. (Society of Cutting Up Men) manifestet, och hennes försök att mörda Andy Warhol 1968. Undersökningen framhåller att det senare kan studeras som ett sofistikerat performanceverk. Solanas manifest utmanade rådande normer och förespråkade avskaffandet av patriarkala strukturer. Genom ett nyttjande av performativitetsteorin, som betonar den performativa naturen av språk och handlingar, omvärderar denna uppsats Solanas handlingar som medvetna uttryck för hennes feministiska övertygelser. Solanas försök att mörda Warhol, som vid sin tid uppfattades som en psykotisk handling, omvärderas i texten som en medveten förkroppsligande av hennes manifestets principer. Att omvärdera mordförsöket som en form av performancekonst, lyser texten ett nytt ljus på Solanas arv och betonar konstens transformerande potential som ett verktyg för social kritik och förändring.

PEDESTRIAN is inspired by my daily walking routines and my relationship to the spaces in which I walk. Through additional instruction-guided walks with volunteers, this project examines the seemingly mundane travels of walkers and their relationship to and absorption of the space around them, and encourages a reconsideration of the environmental everyday into a venue for play and discovery.

Thesis (M.A.)--York University, 2000. Graduate Programme in Music Composition. / Typescript. Includes bibliographical references (leaves [39-41] of unnumbered sequence at the end. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59209.

In this paper I'm trying to trace, analyze and emphasize Kathy Acker’s Great Expectations and Alison Knowles’s The Big Book in regard to the books in/finite im/possibilities. I analyze them through historical changes in the books format and structure, especially ones proposed by Mallarmé, Duchamp and Fluxus. To analyze the texts more closely attention is directed to how Acker and Knowles challenge the conventional narrative, in regard to the body and language/voice and sound. I give specific emphasizes to thoughts posted by écriture féminine, while also adding Mara Lee’s temporalities in regard to body resistance and time. A final thing I do in this paper is through close reading look at contemporary material discourses. I try to examine especially two examples that open up for in/finite im/possibilities in Acker’s and Knowles’s use and references to holes and animals.

On assiste depuis ces dernières décennies à l’émergence de pratiques artistiques qui nous incitent plus que jamais à repenser les catégories cloisonnées auxquelles on aurait tendance à les rattacher : arts plastiques, danse, performance. Ces pratiques attestent du dépassement de l’idée de pluridisciplinarité (qui a longtemps prévalu) et investissent desmodalités et des espaces de travail (physiques et mentaux) radicalement autres. Ces porosités du genre artistique témoignent parfois de problématiques communes, telles que la question du « je » ; la représentation et la mise en scène de soi ; une investigation particulière des codes ; l’exploration de corpus de gestes. Le constat d’une certaine déterritorialisation des pratiques ne saurait toutefois faire l’économie d’un éclairage historique, fourni en particulier par les activités du Judson Dance Theater élargi au contexte artistique new yorkais des années 1960. Il constitue un laboratoire de recherches inédit pour ces nouvelles stratégies du corps en mouvement, dont la portée rayonne encore. Si aujourd’hui ce n’est plus tant le rapport aux gestes ordinaires qui aimante les artistes, certaines procédures d’expérimentation continuent d’être opérantes, qu’il s’agisse du corps en interaction avec l’objet ou encore du recours à un dispositif spécifique. Ce sont ces approches plurielles, croisant aussi bien les démarches de Jérôme Bel, Alain Buffard, Ulla von Brandenburg, Boris Charmatz, Hélène Delprat, Esther Ferrer, Nicolas Floc’h et bien d’autres, que nous avons souhaité cartographier sous l’intitulé de « nouvelles pratiques du corps scénique ». / Since the last few decades, we are witnessing the emergence of artistic practices that lead us to rethink more than ever the cloistered categories we’re used to fit them into: visual arts, dance, performance. These practices testify the override of the idea of multidisciplinarity (which has been a long-term focus) to invest new physical and mental modalities and spaces.The artistic genre porousness often attests common issues like the question of the « I », the representation and the staging of the self ; a specific code investigation ; the exploration of a gestural corpus.Stating a kind of deterritorialization of practices cannot however prevent from an historical enlightening, mainly to be found in the Judson Dance Theater and its broader context, the New-York avant-garde scene of the sixties. This unprecedented field of experimentation shaped new strategies for the body in motion whose reach is still seminal today.Though relationships to ordinary gestures are no more what artists are striving for, some experimental processes are still operating, regarding either the interactions of the body to objects or to particular devices. This open realm of relationships, crossing the work of artists like Jerôme Bel, Alain Buffard, Ulla von Brandenburg, Boris Charmatz, Helène Delprat, Esther Ferrer, Nicolas Floc’h and so many others, is what we sought to map under the term of “the new practices of the scenic body”.

No description available.

Returns to the nature In the theoretical part the work is focused on a short presentation of some important prehistoric monuments, and the visual impression which the artworks of our ancestors leave on a present man. It endeavour to do exoteric confrontation between prehistoric art and modern art. The image part of this work is based on "a game" individually-up to dated subjects and a hidden notation placed in the scenes, which are inspirated by our ancestors who were materialized in absolutely different conditions surroundings than we are.