Intro In this practice-led research project I investigate relations between structures of coercion in the built world and sculptural language. The aim of my project is to present a series of exhibitions and situations that examine architectures of bodily discipline as practices of form/space composition and spatial manipulation. Such architectures range from the delineation of public space to the choreography of bodies by urban design. The project engages the viewer in a dialogue around art and the spatio-visual codes that embody what Michel Foucault regarded as the coercive powers of modern 'carceral culture'. I research a range of studio and workshop, site and gallery based processes contextualised by contemporary notions of sculpture, materiality and art practice. I work from a position derived from the writings on art by the minimalist sculptor Robert Morris (1966, 1970), Rosalind Krauss (1977, 1979) and Hal Foster (1996), which stress the experience of the viewer as an integral part of the art work and emphasise the nature of art work in 'real' spaces. Proposed Project To investigate relations between 'structures of coercion' in the built world and sculptural language through a series of exhibitions and situations (installations at ARIs, public collaborative works, studio documentations) that examine architectures of bodily discipline as practices of form/space composition and spatial manipulation. The proposed artworks will engage the viewer in a dialogue around art and the spatio-visual codes that exist in urban space. Main objective The main objective of this research project is to: • Identify new ways of understanding spatio-visual codes of discipline in the city through sculpture practice.

Doctor of Philosophy / ‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.

A partir des années 1960, le lien entre pratiques filmiques et artistiques s’accentue. Les artistes plasticiens et performeurs utilisent désormais la caméra non seulement pour enregistrer leur discipline mais pour la transformer et la révéler. Le film d’artiste devient un moyen de dialoguer avec les autres pratiques artistiques et de créer des formes d’hybridité et de transversalité au sein de la création. Cette thèse a pour but de démontrer que l’artiste à la caméra est une catégorie à part entière qui dépasse l’aspect documentaire de l’enregistrement filmique de l’oeuvre. Il renouvelle l’image du corps à travers l’objectif de la caméra, oscillant entre présentation et représentation chez Carolee Schneemann, Yvonne Rainer et Bruce Nauman. Le film d’artiste parvient également à dépasser la spécificité des médiums en exaltant sculpture et installation, en créant des formes et des espaces de l’entre-deux, en déplaçant le visiteur comme le font Robert Smihtson ou Anthony McCall, en révélant des aspects invisibles. Enfin, il s’agit de comprendre comment le film peut devenir un modèle de pensée et de réflexion pour les autres arts mais aussi pour le médium de l’exposition qui se voit récitée selon de nouveaux principes temporels et spatiaux. L’artiste à la caméra franchit ainsi les frontières de la danse et de l’opéra, met en jeu le corps et la perception du visiteur face à la redéfinition des écrans et des conditions d’exposition telles les oeuvres de Matthew Barney, Bill Viola ou Pierre Huyghe. / Since the 1960’s the link between filmic and artistic practices has intensified. From now on artists and performers use the movie camera not only to record their practice but to transform and reveal it. Artist’s film becomes a way to discuss with the other arts and to create hybrid and transversal shapes. This dissertation aims to demonstrate that the artist with a movie camera, is a category in its own way, which goes beyond the documentary of recording the piece. It renews the body’s image through the camera’s eye, between presentation and representation with the pieces of Carolee Schneemann, Yvonne Rainer and Bruce Nauman. The artist’s film achieves to go beyond the medium’s specificity by glorifying sculpture and installation, by creating shapes and spaces of in-between, moving the visitor as did Robert Smithson or Anthony McCall, by revealing invisible aspects. We would like to understand how film can become a model of thinking for the other arts as well as for the medium of exhibition which reactivated according to new temporal and spatial principles. The artist with a movie camera goes beyond the thresholds of dance and opera, challenges the body and the perception of the visitor facing the definition of the screens et de exhibition’s condition like the ones of the pieces made by Matthew Barney, Bill Viola or Pierre Huyghe.

O objetivo deste trabalho consiste em identificar e compreender a problemática artística constituída pela instalação procurando enfatizar as contribuições deste segmento da produção para o debate crítico contemporâneo. A pesquisa foi desenvolvida através da análise crítica de um conjunto de obras recentes produzidas por artistas brasileiros e estrangeiros – entre os quais citamos Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos – e vinculadas às noções de “instalação”, “site specific”, “in situ” e “intervenção”, procurando perceber diferenças e similaridades quanto ao modo como operam com o espaço do recinto de exposição, como se espacializam e no que concerne às condutas que preconizam ao espectador. Como fundamento teórico – mas também como objeto de discussão – considerou-se o debate em torno da definição da arte, com especial atenção aos aportes oriundo da sociologia da arte (Pierre Bourdieu; Nathalie Heinich), da filosofia (Artur Danto, Jean-Marie Schaeffer) e da bibliografia recente e especializada no tema da instalação (Archer et. al. , Krauss, Kwon, Reiss, Rosenthal). A partir deste trabalho analítico e conceitual evidenciou-se o caráter contextual, relacional e situado no tempo e no espaço das obras que se configuram como instalação em confronto às noções convencionais de unicidade da obra de arte e de autonomia em relação à localização da obra e às condutas do espectador. / The goal of this thesis is to identify the artistic problematic raised by installation art and to understand the contribution of this segment of artistic production to the contemporary critical debate. The work was developed through the critical analysis of a body of recent work by both foreign and Brazilian artists, among which are Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos. All of these artists are associated to the notions of 'installation', 'site specific', 'in situ' and 'intervention'. We analyse the differencesand similarities with respect to the way they use the exhibition space and how they deal with the expectations of the spectator's behaviour. As a theoretical foundation and also as a topic of discussion we consider the debate concerning the definition of art with special attention to the contributions of sociology of art (Pierre Bourdieu; Nathalie Heinich), philosophy (Artur Danto, Jean-Marie Schaeffer) and the recent specialized literature on the theme of installation art (Archer et. al., Krauss, Kwon, Reiss, Rosenthal). Departing from this analytical and conceptual work we discuss the contextual and relational character of works configured as installations situated in time and space, in opposition to the conventional notions of the art work as a unique object, as autonomous with respect to the its exhibition site and as independent of the spectator's behaviour.

O objetivo deste trabalho consiste em identificar e compreender a problemática artística constituída pela instalação procurando enfatizar as contribuições deste segmento da produção para o debate crítico contemporâneo. A pesquisa foi desenvolvida através da análise crítica de um conjunto de obras recentes produzidas por artistas brasileiros e estrangeiros – entre os quais citamos Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos – e vinculadas às noções de “instalação”, “site specific”, “in situ” e “intervenção”, procurando perceber diferenças e similaridades quanto ao modo como operam com o espaço do recinto de exposição, como se espacializam e no que concerne às condutas que preconizam ao espectador. Como fundamento teórico – mas também como objeto de discussão – considerou-se o debate em torno da definição da arte, com especial atenção aos aportes oriundo da sociologia da arte (Pierre Bourdieu; Nathalie Heinich), da filosofia (Artur Danto, Jean-Marie Schaeffer) e da bibliografia recente e especializada no tema da instalação (Archer et. al. , Krauss, Kwon, Reiss, Rosenthal). A partir deste trabalho analítico e conceitual evidenciou-se o caráter contextual, relacional e situado no tempo e no espaço das obras que se configuram como instalação em confronto às noções convencionais de unicidade da obra de arte e de autonomia em relação à localização da obra e às condutas do espectador. / The goal of this thesis is to identify the artistic problematic raised by installation art and to understand the contribution of this segment of artistic production to the contemporary critical debate. The work was developed through the critical analysis of a body of recent work by both foreign and Brazilian artists, among which are Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos. All of these artists are associated to the notions of 'installation', 'site specific', 'in situ' and 'intervention'. We analyse the differencesand similarities with respect to the way they use the exhibition space and how they deal with the expectations of the spectator's behaviour. As a theoretical foundation and also as a topic of discussion we consider the debate concerning the definition of art with special attention to the contributions of sociology of art (Pierre Bourdieu; Nathalie Heinich), philosophy (Artur Danto, Jean-Marie Schaeffer) and the recent specialized literature on the theme of installation art (Archer et. al., Krauss, Kwon, Reiss, Rosenthal). Departing from this analytical and conceptual work we discuss the contextual and relational character of works configured as installations situated in time and space, in opposition to the conventional notions of the art work as a unique object, as autonomous with respect to the its exhibition site and as independent of the spectator's behaviour.

Submitted by Jordan (jordanbiblio@gmail.com) on 2016-10-08T13:49:31Z No. of bitstreams: 1 DISS_2015_Ana Lia Rodrigues da Silva.pdf: 3018236 bytes, checksum: 217a0fa5e13a0c8fbe522a33b52a18ff (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2016-10-08T13:51:00Z (GMT) No. of bitstreams: 1 DISS_2015_Ana Lia Rodrigues da Silva.pdf: 3018236 bytes, checksum: 217a0fa5e13a0c8fbe522a33b52a18ff (MD5) / Made available in DSpace on 2016-10-08T13:51:00Z (GMT). No. of bitstreams: 1 DISS_2015_Ana Lia Rodrigues da Silva.pdf: 3018236 bytes, checksum: 217a0fa5e13a0c8fbe522a33b52a18ff (MD5) Previous issue date: 2015-09-18 / A pesquisa aborda as instalações artísticas que dialogam com o som, resultado de hibridismos em arte que utiliza de recursos sonoros, musicais, visuais, espaciais, entre outras transversalidades. A pesquisa de campo, realizada na 31ª Bienal de Artes de São Paulo (2014) e no Centro de Arte Contemporânea Inhotim, estabelece produções que trouxeram o som como experiência, seja na desconstrução, documental ou a vivência em si da com os objetos. O viés de toda a pesquisa busca relacionar perspectivas de Tempo nesse corpo de obras analisadas. / The research addresses art installations that converse with the sound, which are the result of the hybridism in Arts, sound, music, visual and spatial, among other transversalities. The field research was carried out at the 31st São Paulo Biennial of Art (2014) and the Contemporary Art Center of Inhotim (Minas Gerais) and explored productions that bring the sound as an experience, used in the deconstruction, documentation or as a sensory experience of objects. The research focus seeks to relate perspectives of the Time in the body of the analyzed art works.

Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateurs. / Mixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters.

O objetivo deste trabalho consiste em identificar e compreender a problemática artística constituída pela instalação procurando enfatizar as contribuições deste segmento da produção para o debate crítico contemporâneo. A pesquisa foi desenvolvida através da análise crítica de um conjunto de obras recentes produzidas por artistas brasileiros e estrangeiros – entre os quais citamos Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos – e vinculadas às noções de “instalação”, “site specific”, “in situ” e “intervenção”, procurando perceber diferenças e similaridades quanto ao modo como operam com o espaço do recinto de exposição, como se espacializam e no que concerne às condutas que preconizam ao espectador. Como fundamento teórico – mas também como objeto de discussão – considerou-se o debate em torno da definição da arte, com especial atenção aos aportes oriundo da sociologia da arte (Pierre Bourdieu; Nathalie Heinich), da filosofia (Artur Danto, Jean-Marie Schaeffer) e da bibliografia recente e especializada no tema da instalação (Archer et. al. , Krauss, Kwon, Reiss, Rosenthal). A partir deste trabalho analítico e conceitual evidenciou-se o caráter contextual, relacional e situado no tempo e no espaço das obras que se configuram como instalação em confronto às noções convencionais de unicidade da obra de arte e de autonomia em relação à localização da obra e às condutas do espectador. / The goal of this thesis is to identify the artistic problematic raised by installation art and to understand the contribution of this segment of artistic production to the contemporary critical debate. The work was developed through the critical analysis of a body of recent work by both foreign and Brazilian artists, among which are Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos. All of these artists are associated to the notions of 'installation', 'site specific', 'in situ' and 'intervention'. We analyse the differencesand similarities with respect to the way they use the exhibition space and how they deal with the expectations of the spectator's behaviour. As a theoretical foundation and also as a topic of discussion we consider the debate concerning the definition of art with special attention to the contributions of sociology of art (Pierre Bourdieu; Nathalie Heinich), philosophy (Artur Danto, Jean-Marie Schaeffer) and the recent specialized literature on the theme of installation art (Archer et. al., Krauss, Kwon, Reiss, Rosenthal). Departing from this analytical and conceptual work we discuss the contextual and relational character of works configured as installations situated in time and space, in opposition to the conventional notions of the art work as a unique object, as autonomous with respect to the its exhibition site and as independent of the spectator's behaviour.

I base my spatial installations upon working with waste materials. I use characteristic and aesthetics of cardboard and wooden clippings to express dialogue with geometrical drawings, which I have been producing since the last year. Protracted and unexpectedly-carved shapes resemble timber beams or ruins and can lead to ecological or eschatological questions. The title "Monument" is an ironical disputation with human trace and materials we use without giving them any further attention.

In this practice-led exploration, I investigate the aesthetic potential of household waste. With household waste as the object of investigation, I explore the cultural signification of waste in terms of the role it plays in art practice. I look into the found object, bricoleur culture and the sculptural process of assemblage. By considering how assemblage allows for the inclusion of waste materials, the lowly status of household waste leads my art practice to a do-it-yourself approach. This approach of incorporating waste materials into artworks shifts the focus from the physical state to the conceptual meaning of waste. The shift that occurs when the waste object is displaced into art is central to this research study, owing to the capacity of these objects to connote meaning. I refer to this capacity as the social agency of waste materials. My investigation pertains to how art practice may alter or enhance the meaning of household waste. The physical cycle of waste, the constant change in use value that is promoted by consumer society and the process of conceptual adaptation instil a nomadic quality in household waste. I view the nomadic quality of waste as a means to activate viewer participation. I investigate, in particular case studies, how the interrelationship of installation art, site-specificity and community-based art may contribute to an experiential mode of viewing. I apply the lens of phenomenology and contemporary environmental aesthetics to interpret how viewers engage with art installations. My investigation of confrontational art installations has informed the approach of my own creative research. To convey the nomadic quality of waste, I have developed a series of quasi-functional sculptural artworks that act as mechanical modes of movement to signify an industrial influence of consumerism. Through community art practice as an interrelated field of research, the community members of Rietondale, particularly the school learners from workshops I presented, influenced my approach to my own art practice as I had sought to influence theirs. This mini-dissertation serves as a reflection on the coinciding thought process, material journey and collaborative initiative of a practice-led exploration of the aesthetics of household waste. / Dissertation (MA)--University of Pretoria, 2016. / Visual Arts / MA / Unrestricted