Esta tese analisa o desenvolvimento do trabalho do artista plástico francês Daniel Buren, nascido no ano de 1938 em Boulogne-Billancourt, nos arredores de Paris. Trata-se de um autor ligado aos desdobramentos das pesquisas neovanguardistas na França, conhecido como um dos fundadores da crítica institucional, no contexto da chamada arte conceitual. Suas instalações se caracterizam por estabelecer uma análise sistemática entre a obra de arte e seu local de exposição através daquilo que chamou de trabalho in situ. Atualmente, esta locução é frequentemente utilizada no campo da arte contemporânea para designar trabalhos realizados no próprio local de exposição. Dentre as múltiplas possibilidades de analisar a vasta obra de Daniel Buren, buscamos explorar exatamente o desenvolvimento deste aspecto central de seu trabalho, a noção de trabalho in situ e sua aplicação dentro e fora dos museus e galerias. Esta escolha visa dois objetivos: em primeiro lugar apresentar o funcionamento destes trabalhos ao longo do período analisado. Estes, apesar de surgirem de uma proposta simples, são capazes de movimentar, a cada vez, diversos elementos materiais e simbólicos que compõem o espaço investido. Em segundo lugar, trata-se de avaliar a força crítica do trabalho in situ nestas duas décadas e sua possível ressonância para a arte contemporânea, uma vez que o trabalho in situ tem por característica principal evidenciar o espaço no qual se insere como local de exposição e de produção cultural a ser problematizado. Para o desenvolvimento deste estudo consideramos que o sistema da arte analisado e criticado por Buren, e no interior do qual ele forçosamente desenvolve o seu trabalho, sofreu modificações profundas no período a que se refere esta pesquisa, acompanhado de mudanças igualmente significativas no modo como a cultura se reproduz no capitalismo tardio. Este efeito se consolida em diversas propostas curatoriais e museográficas que abandonam o território seguro da história da arte em direção a propostas autorais ou temáticas. Observa-se também a reformulação e criação de novos espaços expositivos, trabalhados pelos artistas e curadores, que buscam dar conta das questões ligadas à desmaterialização da obra de arte e de sua circulação no campo cultural expandido. Em adição a isso, o próprio espaço urbano se torna um local a ser investido pelas obras in situ, suscitando questões concernentes à relação entre a arte, o artista e o espaço público da cidade. / This thesis examines the development of the work of French artist Daniel Buren, born in 1938 in Boulogne-Billancourt, near Paris. His work is characterized by establishing a systematic analysis between the work of art and its exhibition venue through what he called the work in situ. Currently, this term is often used in the field of contemporary art to define a work done on site. Among the many ways of analyzing the vast work of Daniel Buren, we explore the development of this central aspect of his work, the notion of work in situ and its application in and out of museums and galleries. This choice aims at two objectives: firstly present the functioning of these works over the period analyzed. Even though they arise from a simple proposal, they mobilize various material and symbolic elements that constitute the invested space. Secondly, evaluate the critical strength of the work in situ during these two decades and their possible resonance to contemporary art, since the work in situ is characterized by evidencing the space in which it is installed as a site of exhibition and cultural production open to questioning. To develop this study, we consider that the \"art system\" analyzed and criticized by Buren, who work within that system, was modified significantly in the period referred to in this research, accompanied by equally significant changes in how culture reproduces itself in late capitalism. This effect is consolidated in many curatorial proposals that leave the safe territory of art history toward questions regarding the dematerialization of the art object and its circulation in the expanded cultural field. We also observe the redesigning and the creation of new experimental exhibition spaces. In addition to this, the urban space itself becomes a place to be invested by the works in situ, raising questions concerning the relationship of the art and the artists in the public space of the city.

This paper describes the philosophical and functional framework of the MFA thesis exhibition Samsara Unlimited: towards an ecology of compassion. Samsara Unlimited was designed as a conceptual social artwork that would engage a network of art students and interested participants in developing a collaborative network. Using established high art aesthetics and familiar consumer based signifiers; the gallery was transformed over a week into a production, design and retail facility. In this torqued capitalist micro-system, financial profit was considered critical for the functioning of the system but secondary to the generation of a field of compassion. <p>The project sought to create a process through which the general public could become familiar with the perceptive processes engaged by artists in reconstructing everyday reality. It was posited that the ability to engage these perceptive processes would potentially lead to an ontological shift in the spectator. Participants who entered the gallery space could alter between the functional reality of a concept store and the altered reality of an art gallery. The public was encouraged to visit over the week of the installation to ask questions, get involved in art making process or simply socialize with the artists and artisans involved in the project.

This paper describes the philosophical and functional framework of the MFA thesis exhibition Samsara Unlimited: towards an ecology of compassion. Samsara Unlimited was designed as a conceptual social artwork that would engage a network of art students and interested participants in developing a collaborative network. Using established high art aesthetics and familiar consumer based signifiers; the gallery was transformed over a week into a production, design and retail facility. In this torqued capitalist micro-system, financial profit was considered critical for the functioning of the system but secondary to the generation of a field of compassion. <p>The project sought to create a process through which the general public could become familiar with the perceptive processes engaged by artists in reconstructing everyday reality. It was posited that the ability to engage these perceptive processes would potentially lead to an ontological shift in the spectator. Participants who entered the gallery space could alter between the functional reality of a concept store and the altered reality of an art gallery. The public was encouraged to visit over the week of the installation to ask questions, get involved in art making process or simply socialize with the artists and artisans involved in the project.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa refere-se à necessidade de se pensar a arte como mecanismo de resistência à crescente institucionalização do campo artístico que se intensificou a partir do século XIX, no Ocidente. Nosso intuito é reunir diferentes práticas artísticas que refletem esta tomada de posição contra os preceitos da Instituição Arte e investigar as possíveis tensões e abalos daí gerados. Na primeira parte, trataremos do conceito de Crítica Institucional tal como pensada por Andrea Fraser, uma das principais teóricas do termo, analisando alguns textos de autores como Benjamin Buchloh que nos ajudem a melhor compreender as práticas de artistas que exerceram algum tipo de resistência ou tensão no âmbito institucional da arte. Na tentativa de alargar o conceito e enxergar novas possibilidades de aplicação teórica, continuamos o capítulo através do pensamento de Foucault e Deleuze acerca da possibilidade de atuação fora da instituição. Em seguida, buscaremos relacionar o conceito de Crítica Institucional com as teorias pós-coloniais, analisando, sobretudo, o pensamento de Walter Mignolo e Antonio Negri. Baseados nesta teoria, nossa pesquisa irá investigar práticas de resistência por meio das obras e ações artísticas. Interessa-nos examinar de que forma o artista formulou visualmente esta crítica ao próprio sistema da arte. Nossa intenção é expandir o conceito de Crítica Institucional para que, na segunda parte, possamos melhor compreender as práticas de artistas como Flavio de Carvalho, Nelson Leirner, Cildo Meireles e Paulo Bruscky, em um contexto brasileiro / This research refers to a need of thinking art as a mechanism of resistance against the growing institutionalization of the artistic field that has intensified since the nineteenth century in the West. Our aim is to bring together different artistic practices that reflect this position towards the precepts of Art Institution and investigate the possible tensions and upheavals generated therefrom. The first part will deal with the concept of Institutional Critique as understood by Andrea Fraser, one of the main theorists on the subject, analyzing some texts from authors such as Benjamin Buchloh to help us better understand the practices of artists who have resisted or even pressured the institution. In an attempt to broaden the concept and see new possibilities for theoretical application, we continue through the chapter on Foucault and Deleuze on the possibility of acting "outside" of the institution. Then, we try to relate the concept of Institutional Critique to postcolonial theories, analyzing especially the writings of Walter Mignolo and Antonio Negri. Based on this theory, our research will investigate practices of resistance by means of works and artistic actions. We are interested in examining how the artist made this visually critical to his own art system. Thus, in the second part we examine the practices of artists like Flavio de Carvalho, Nelson Leirner, Cildo Meireles and Paulo Bruscky in the Brazilian context

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa refere-se à necessidade de se pensar a arte como mecanismo de resistência à crescente institucionalização do campo artístico que se intensificou a partir do século XIX, no Ocidente. Nosso intuito é reunir diferentes práticas artísticas que refletem esta tomada de posição contra os preceitos da Instituição Arte e investigar as possíveis tensões e abalos daí gerados. Na primeira parte, trataremos do conceito de Crítica Institucional tal como pensada por Andrea Fraser, uma das principais teóricas do termo, analisando alguns textos de autores como Benjamin Buchloh que nos ajudem a melhor compreender as práticas de artistas que exerceram algum tipo de resistência ou tensão no âmbito institucional da arte. Na tentativa de alargar o conceito e enxergar novas possibilidades de aplicação teórica, continuamos o capítulo através do pensamento de Foucault e Deleuze acerca da possibilidade de atuação fora da instituição. Em seguida, buscaremos relacionar o conceito de Crítica Institucional com as teorias pós-coloniais, analisando, sobretudo, o pensamento de Walter Mignolo e Antonio Negri. Baseados nesta teoria, nossa pesquisa irá investigar práticas de resistência por meio das obras e ações artísticas. Interessa-nos examinar de que forma o artista formulou visualmente esta crítica ao próprio sistema da arte. Nossa intenção é expandir o conceito de Crítica Institucional para que, na segunda parte, possamos melhor compreender as práticas de artistas como Flavio de Carvalho, Nelson Leirner, Cildo Meireles e Paulo Bruscky, em um contexto brasileiro / This research refers to a need of thinking art as a mechanism of resistance against the growing institutionalization of the artistic field that has intensified since the nineteenth century in the West. Our aim is to bring together different artistic practices that reflect this position towards the precepts of Art Institution and investigate the possible tensions and upheavals generated therefrom. The first part will deal with the concept of Institutional Critique as understood by Andrea Fraser, one of the main theorists on the subject, analyzing some texts from authors such as Benjamin Buchloh to help us better understand the practices of artists who have resisted or even pressured the institution. In an attempt to broaden the concept and see new possibilities for theoretical application, we continue through the chapter on Foucault and Deleuze on the possibility of acting "outside" of the institution. Then, we try to relate the concept of Institutional Critique to postcolonial theories, analyzing especially the writings of Walter Mignolo and Antonio Negri. Based on this theory, our research will investigate practices of resistance by means of works and artistic actions. We are interested in examining how the artist made this visually critical to his own art system. Thus, in the second part we examine the practices of artists like Flavio de Carvalho, Nelson Leirner, Cildo Meireles and Paulo Bruscky in the Brazilian context

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-04-27T12:27:22Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE_RaizaCavalcanti_CORRIGIDA.pdf: 5743490 bytes, checksum: 87d18151012b2adc39764cb6898d446c (MD5) / Made available in DSpace on 2017-04-27T12:27:22Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE_RaizaCavalcanti_CORRIGIDA.pdf: 5743490 bytes, checksum: 87d18151012b2adc39764cb6898d446c (MD5) Previous issue date: 2016-06-21 / CNPQ / Esta tese é uma proposta de estudo sociológico dos trabalhos artísticos, situando-os no centro da análise. A partir do conceito de agenciamentos artísticos, se investigará a ação que os trabalhos realizam no interior do campo da arte. Em termos metodológicos, se observará como os trabalhos operam práticas artístico-discursivas em sua presença no campo da arte. A ideia de que a crítica realizada pelos trabalhos artísticos pode ser completamente neutralizada ou mercantilizada por instâncias como os museus ou o mercado da arte será posta em questão a partir da observação de como estes seguem atuando discursivamente no interior do campo. Para tal propósito foram escolhidos oito artistas cuja produção é reconhecidamente crítica no campo da arte. O objetivo será o de observar a ação dos trabalhos por eles produzidos quando participam das instituições legitimadoras do campo (bienais, feiras de arte, exposições). Os artistas escolhidos são Carla Zaccagnini, Lourival Cuquinha, Marcelo Cidade, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel e Cildo Meireles. O teor estético e discursivo dos trabalhos desses artistas - que inserem sentidos que geram conflitos ou ruídos no interior do campo da arte e do campo social mais amplo -, são apaziguados quando entram em contato com o circuito institucional ou mercadológico da arte? A análise dos agenciamentos artísticos dos trabalhos destes oito artistas tentará responder a essa questão. O conceito de agenciamento artístico utilizado neste estudo está baseado na teoria da democracia agonística de Chantal Mouffe, mais especificamente em sua formulação sobre as práticas artísticas agonistas no interior da esfera pública. O conceito de campo da arte de Pierre Bourdieu também será usado para auxiliar a teorização do ambiente estrutural, simbólico, institucional e discursivo onde esses trabalhos se constituem e no qual realizam sua performance artístico-discursiva. / This thesis is a proposal for a sociological study of the artwork, placing them at the center of the analysis. From the concept of agenciamentos artísticos, the investigation will analyze the action that the artwork performs within the field of art. In methodological therms, it will be observerd how the art works operate artistic-discoursive practices when they appear as part of the art field. The idea that the criticism made by the artwork can be completely neutralized or commodified by institutions such as the museums or the art market will be called into question by the observation of how the artwork continues to act discursively within the field. For this purpose there were chosen eight artists whose production is known to be critical in the field of art. The goal will be to observe the action of the artworks when these participate in the legitimating institutions of the art field (biennials, art fairs, exhibitions). The artists chosen are Carla Zaccagnini, Lourival Cuquinha, Marcelo City, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel and Cildo Meireles. Are the aesthetic and discursive contents of the work of these artists - which generate conflicts or noise from inside of the art field and wider social field -, appeased when they get in contact with institutional or marketing art circuit? The analysis of the agenciamentos artísticos of the work of these eight artists will try to answer this question. The concept of artistic agency used in this study is based on agonistic democracy theory of Chantal Mouffe, more specifically in its formulation of the agonists artistic practices within the public sphere. Bourdieu's art field concept will also be used to support the theorization of the structural, symbolic, institutional and discursive enviroments where these works are constituted and in which they carry out their artistic and discursive performance.

<p>Writing centers and writing programs, as well as the role of their administrators, are shaped by historical and disciplinary factors that have been closely examined by scholars over the last half century. However, the role of institutionality in writing center and writing program administration (WPA) studies has been ignored in much of the scholarship about these two sub-disciplines. This dissertation examines the role of institutionality by developing a new method, relationship-mapping, as a way of understanding how the complex nature of institutional contexts impacts the work of writing centers and writing programs. Through a study of 13 small liberal arts colleges, it is determined that the factors of this specific institution type shape and transform the ways in which centers and programs develop relationships and collaborations to teach and support writing. Relationship-mapping shows promise, though, beyond small colleges and could be used at a multitude of institution types as a way to responsibly critique institutions and how they support students, as well as a way to study institutional cultures of writing. </p>

In this text, we consider the documentation of festivals of media arts and the relationship between an expanded sense of documentation and the writing of art histories against traditional institutional contexts and discourses. The essay starts by drawing the context in which festivals of media arts are considered historically, their activities, and how they relationship to media arts informs their position in relation to institutional discourses. Secondly, the text maps out the kinds of records of festivals that exist, considering private and public and internal and external documents which serve as artefacts of exhibitions and programmes. Thirdly, it considers how we might value and historicise media arts prior to their entry into institutional space.

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.

1) A pesquisa artística não pode se subordinar à obediência acadêmica. 2) A presença de cineastas como personagens de seus próprios filmes, interpretando seus próprios papeis, talvez seja o mais próximo que o cinema chega da performance. Essa presença, de caráter supostamente documental, se dá sempre com a consciência que o realizador/a realizadora tem da câmera, de modo que exerce o duplo papel de atorencenador (como Renato Cohen descreve o performer) ou protagonista-observador de sua própria atuação (Jorge Glusberg). A frase que dá título à esta parte da pesquisa - \"Estou na frente da câmera mas a minha cabeça está atrás dela\" - foi dita por Jean-Luc Godard durante a sua participação no filme Quarto 666, de Wim Wenders. 3) A crítica do artista tende a ser sempre individual; a verdadeira crítica só pode ser coletiva. / 1) Artistic research cannot be subordinated to academic obedience. 2) The presence of filmmakers as characters in their own movies, playing their own roles, is perhaps the closest cinema gets to performance. This presence, supposedly documentary-oriented, always occurs with the awareness that the director has of the camera, so that he/she performs the dual role of actor-director (as Renato Cohen describes the performer) or actor-observer of his own performance (Jorge Glusberg). The sentence used as title of this part - \"I\'m in front of the camera but my head is behind it\" - was said by Jean-Luc Godard while participating in the film Room 666, by Wim Wenders. 3) Artist\'s criticism tends to be always individual; the real criticism has to be collective.