This dissertation investigates how the project of abstraction, initiated in interwar Europe, was reconstructed, continued, and transformed in mid-twentieth-century South America. Through an examination of the work and thought of three key artists (Tomás Maldonado of Argentina, Alejandro Otero of Venezuela, and Lygia Clark of Brazil), it posits historical continuity and universality as both central problems of mid-century South American projects of abstraction and potential avenues toward a new understanding of their historical specificity. I identify three key features of interwar abstraction that were consciously continued in the work of Maldonado, Otero, and Clark: the adoption of abstraction not as a style, but as a progressive teleology with a linear history and singular goal; the ambition to reach the end of painting as an autonomous activity and integrate abstraction into the built environment; and the belief in the power of abstraction to forge new subjects and collectivities. In all three cases, the encounter of a universalistic project with particular socio-historical realities had resonances unanticipated by their European predecessors. Whereas abstraction in interwar Europe was intimately tied to struggles against bourgeois subjectivity and for a new form of egalitarian collectivity, artists in mid-century South America were rather faced with accelerated, state-driven developmentalism and the emergence of populist politics. Against this background, I demonstrate how each artist envisioned abstraction as a tool to contribute to or disrupt newly emerging forms of collectivity, contrasting Maldonado's insistence on an international, class-based collective, Otero's efforts to forge a modern national community, and Clark's advocating for a contingent intersubjectivity as a way of resisting top-down projects of collectivity. Finally, I investigate how the engagement with ideas of continuity and universality, as exemplified by these three artists, intersected with broader conceptions of historical progress and development circulating in Latin America between the Second World War and the Cuban Revolution. The rise and fall of abstraction in South America during this period, I conclude, was closely linked to the dream of catching up with "universal history" and its eventual abandonment. / History of Art and Architecture

[ES] La presente investigación de doctorado tiene como objetivo reivindicar una mayor importancia para la actividad del conservador de las instituciones museológicas, partiendo de un cambio de paradigma que coloque al conservador en el centro de las discusiones referentes a la toma de decisiones relacionadas con las obras de arte pertenecientes a colecciones de estas instituciones. Partiendo del presupuesto de que es posible, por analogía, comparar a la institución museo con un ecosistema, es decir como un sistema mayor formado por varios sistemas menores, se pretende examinar como tienen lugar las relaciones entre los conservadores, que actúan en un subsistema específico, y los diversos agentes que actúan en otros subsistemas. Los museos, como otros campos sociales, son espacios de relación en los cuales estructuras jerárquicas de poder pueden generar conflictos entre los agentes que allí actúan. Esta constatación expone problemas variados que pueden afectar a las obras de arte, desde la adquisición, pasando por la conservación y guarda y por la restauración propiamente dicha, hasta llegar a la exhibición entre otros. El entendimiento del conservador como gestor se propone como una alternativa, que busca dar respuesta a los diversos problemas relacionados al proceso de toma de decisiones en beneficio de las obras de arte. La hipótesis defendida es la de que el conservador, como agente poseedor de las prerrogativas para operar como interlocutor político en la interfaz entre los diversos subsistemas del sistema museo, es el agente que puede conducir las discusiones y opinar sobre los diversos aspectos relacionados a los objetos que confieren identidad a la institución museo. De esta manera, el cambio de paradigma propuesto puede contribuir para el equilibrio del ecosistema museo, en favor de todos los que allí comparten relaciones de trabajo buscando el bien común. / [CA] La present investigación de doctorat té com a objectiu reivindicar una major importància per a l'activitat del conservador de les institucions museològiques, partint d'un canvi de paradigma que col.loque al conservador en el centre de les discussions referents a la pressa de decisions relacionades amb les obres d'art pertanyents a col.leccions d'aquestes institucions. Partint del pressupost que és possible, per analogía, comparar a la institució museu amb un ecosistema, és a dir com un sistema major format per diversos sistemes menors, es pretén examinar com tenen lloc les relacions entre els conservadors, que actuen en un subsitema específic, i els diversos agents que actuen en altres subsistemes. Els museus, com altres camps socials, són espais de relació en els quals estructures jeràrquiques de poder poden generar conflictes entre els agents que allí actuen. Aquesta constatació exposa problemes variats que poden afectar les obres d'art, des de l'adquisició, passant per la conservación i guarda i per la restauració pròpiament dita, fins a arribar a l'exhibició entre altres. L'enteniment del conservador com a gestor es proposa com una alternativa, que busca donar resposta als diversos problemes relacionats amb el procés de presa de decisions en benefici de les obres d'art. La hipòtesi defensada és la que el conservador, com a agent poseeïdor de les prerrogativas per a operar com a interlocutor polític en la interfície entre els diversos subsistemes del sistema museu, és l'agent que pot conduir les discussions i opinar sobre els diversos aspectes relacionats amb els objectes que confereixen identitat a la institució museu. D'aquesta manera, el canvi de paradigma proposat pot contribuir per a l'equilibri de l'ecosistema museu, en favor de tots els que allí comparteixen relacions de treball buscant el bé comú. / [EN] The aim of this doctoral research is to assert that the activity of the conservator of museological institutions is of great importance, emanating from a paradigm shift that places the conservator at the centre of discussions regarding decision-making on works of art belonging to the collections of these institutions. Starting from the presupposition that it is possible, by analogy, to compare the museum institution to an ecosystem, that is, as a larger system made up of several minor systems, it is intended to examine the relationships between conservators, acting within a specific subsystem, and various individuals acting within other subsystems. Museums, like other social fields, are spaces of social interaction in which hierarchical structures of power can generate conflicts between the individuals who participate in them. The acknowledgement of this exposes various problems that can affect works of art, from acquisition, through to conservation and storage and restoration itself, and even the exhibition of these works, amongst other things. As an alternative, it is proposed that the conservator must be recognised as a kind of manager, who seeks to react to the various problems related to the decision-making process for the benefit of the works of art. The hypothesis asserts that the conservator, as an individual possessing the power to operate as a political interlocutor at the interface between the various subsystems of the museum system, is the person best-placed to lead discussions and give opinions on the various aspects related to the objects that confer an identity upon the museum institution. Thus, the proposed paradigm shift can contribute to the balance of the museum ecosystem, to the benefit of all those who share working relationships there, in search of the common good. / Farias De Carvalho, H. (2022). El conservador como gestor: posibilidad de acción política en la interfaz institucional [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190097

The goal of this thesis was to reassess the relationship between the moving body and technology, and more specifically, to focus on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. According to Dr. Andrea Davidson, 'Such research has rarely been formally identified with the specialised field of somatics' (2013, p.3). The thesis thus proposes to reflect on the experience and conception of the performative body in the link it entertains with technology. Investigating this relationship, it defines a new paradigm, that of an 'interfaced intercorporeality'. This paradigm is constructed with special attention to a different relationship revealed between the interface and the notion of a corporal potentiality or 'interval'. In particular, the thesis focuses on the concept of a 'collective body' based on this relationship and on practical research conducted within the framework of my research, along with the methodology that supported it. The research and creative work that are presented derive from experiments I conceived, conducted and participated in making. My analysis is thus based on direct experience. The relationship between the somatic and technology notably led me to focus on the notion of embodied cognition or 'bodily knowledge' and for this, to re-examine the work of Maurice Merleau-Ponty. As a consequence, this return to the experiential also required revisiting definitions given by the Greeks concerning the aesthetic as a reference to sensation and the ability to perceive. The thesis approaches the body as the ground and basis for creating work, as well as for testing the effect(s) that technology has on it. Experiments conducted sought to develop greater sensory and perceptual awareness in order to invest the relationship of somatics/technology in a dimension that could potentially constitute a transformation of self, of one's relationship to others and to the world. Merleau-Ponty's phenomenological existentialism formed the basis for explorations made to forge links between the somatic and technology. However, it is important to clarify that my intention was not to make an analysis of phenomenology per se. It was rather referenced as a means to explain the framework of my research in relation to lived experience, sensation, and specifically, to my creative approach involving new technologies. Merleau-Ponty's methodology includes subjective, first-person accounts of 'lived experience'. Third-person accounts, or so-called 'objective' positions, are also included. These accounts are then shown to evolve towards an ecosystem of interaction and movement in order to experience and test the production of theory and practical experimentation involved in the methodology I adopted. The thesis incorporates knowledge from several disciplines, but principally from the field of dance and technology. Highlighting sensorial and perceptual phenomena related to the transformation of the body through technology and subjective experience, it takes into account an interdisciplinary perspective that is linked to this problematic. The thesis begins with an introduction to phenomenology in which the concepts and positions of Merleau-Ponty are outlined, including those of anti-dualism, the lived body, the ontology of the body, corporeality, intercorporeality and the flesh. Chapter 1 looks at the evolution of this philosophical movement throughout history and continues with a history of the body in phenomenology, an analysis of certain applications of phenomenology in the field of dance and subsequently, in the specific field of dance related to technology. Chapter 2 comprises a literature review. It also presents the bases of reductionist thinking, the proposition of a return to integrative thinking and issues concerning instrumentalisation, the double and the complexification of the self. It further examines the history of ideas surrounding the relationship between the body and technology, notions of the real-virtual-actual and a history and problematics of the interface. It concludes with a presentation of theories on the notions of potentiality, the interval and real-time. Chapter 3 presents my artistic background, an historical overview of the trends and principal ideas that have influenced my work, as well as an examination of the field of dance and technology from the point of view of its history and more recent developments. Chapter 4 is dedicated to an analysis of the research methodologies employed in the practical research for this thesis and identifies related issues. An analysis of problems encountered with existing methodologies notably highlights a need to invest in other methodological modes for practical research of an interdisciplinary nature. The chapter continues with a presentation of some of the methodologies currently used in the field of dance related to technology. The principles underpinning the specific creative research methodology I experimented with are then presented, proposing an adaptation of the aforementioned methodologies in order to respond to the dynamics of collective research of an empathic nature that are specific to my approach and also in order to invest in the link between the somatic and technology my project proposes. This proposition modestly attempts to respond to the lack of methodologies observed in the field of artistic practical research. A discussion of the experimentation involved in the practical research for the thesis is made in Chapter 5. Two creative experiments are analysed. Their aim was to investigate and develop a collective physical body composed of five dancers in constant contact, whose movement and relationships create what I call a 'collective sound body'. This collective entity produces sound in real-time which is simultaneously spatialised. The analysis takes into account the ways these two bodies are interdependent and constantly interrelated. Schematically, the first experiment served as a basis on which to found principles related to the collective body, while the second experiment developed them. The chapter further outlines creative strategies that were employed to test principles of self-organisation linked to sensation and stemming from the somatic techniques employed. It also returns to some of Merleau-Ponty's main concepts that were implemented and tested in performative experience: intercorporeality, the lived body, the dynamic of continual transformation and the principle of coexistence. Lastly, Merleau-Ponty's investigation of sensation and perception and his concept of sensory chiasms are related to the experiments' multisensory exploration and theme of intersubjectivity which are then proposed as leading to the possibility of intercorporeality. Chapter 6 forms the conclusion and seeks to identify new knowledge generated in the thesis. Essentially articulating another vision of the performative body as developed through its contact with technology, the findings, both practical and theoretical, bring to light a different understanding of the body rendered through a dissolution of psychophysical borders in the development of the performative model I called the 'collective body'. The thesis further proposes that the 'collective body' and its evolution as the 'collective sound body', open up the path to a new approach to interfaces and further, to what I propose as a theory of interfaced intercorporeality. This research aims to reintroduce the body and its specific intelligence in the understanding and building of relationships that can be renewed. The technology used in these experiments was considered as a physicality and the activator of a reconfiguration of sensory-perceptual processes that the thesis argues can lead to the final paradigm of 'interfaced intercorporeality' it proposes.

Syftet med den här uppsatsen är att undersöka Lygia Clarks verk ”Structuring the Self” utifrån begreppet per- formativitet, men det är först i samband med att jag relaterar det performativa till Suely Rolniks idéer om en resonant kropp, och den mer vitalistiska begreppsapparat som detta begrepp relaterar till, som jag tycker att idén om det terapeutiska som en performativ konstnärlig strategi blir intressant och relevant. Tanken är att utvidga idén om det performativa genom att relatera begreppet till den vitalistiska tradition hennes arbete från början grundar sig på, och visa på att dessa två begrepp kan mötas och eventuellt berika varandra just genom den terapeutiska metoden. Den övergripande frågan gäller vår möjlighet att ”bli” någonting som ligger utanför den av samhället konstituerade subjektiverings-processen.  Rolnik talar i sina texter om en ”resonant kropp”, en kropp, en subjektivitet i ständig förvandling, en kropp som är både insida och utsida samtidigt. Min läsning av Lygia Clarks verk ”Structuring the Self” är således att denna specifika ”kroppslighet” möjliggör en alldeles specifik form av performativitet som är knuten till och siktar direkt på kroppens affektiva nivåer. Som jag förstod saken lyckades Lygia Clark aktivera denna resonanta kropp via sina ”terapeutiska” metoder. Det ”terapeutiska” fungerar just precis som en metod för att komma åt detta resonanta tillstånd, och i linje med Suely Rolnik väljer jag att se Lygia Clarks metod som en konstnärlig strategi som i slutändan går utöver både konst och terapi: vi har att göra med ett aktiverande av livets kreativa process i sig själv. Jag anser att Lygia Clarks ”Structuring the Self” visar att det vore relevant att välkomna nya frågeställningar i samband med det performativa. Det behöver inte finnas en konflikt mellan ett performativt tankesätt och ett vitalistiskt synsätt, mellan ”no doer behind the deed”, och ett vitalistiskt synsätt där den kreativa impulsen kommer ”inifrån”.