O Museu Nacional de Belas Artes e sua documentação museológica constituem o principal objeto de estudo desta pesquisa, que procura investigar em suas origens, junto à Academia Imperial de Belas Artes/Escola Nacional de Belas Artes, as ações de tratamento documental que essas instituições utilizaram. Partindo da premissa de que a criação do Museu Nacional de Belas Artes deuse no século XIX, a pesquisa tem por objetivo mapear as proximidades e distanciamentos, sob o enfoque documental, entre tais instituições. / The National Museum of Fine Arts and its museological documentation are the aim of this research, which investigates its originis by the identification of the documentation processes developped at the Imperial Academy of Fine Arts, renamed National School of Fine Arts. Considering that the creation of the National Museum of Fine Arts emerged from the debates on the foundation of an Art Gallery inside the Imperial Academy of Fine Arts in the 19th century, this research explores the similarities and differences between these institutions from the point-of-view of the documentation of their collections.

Cette recherche interroge le champ des objets ethnographiques au prisme de leur circulation entre deux médiateurs situés entre leur production et leur réception : les musées d’ethnographie et les marchés de l’art. Aucune recherche scientifique ne s’est jusqu’à maintenant penchée en profondeur sur les relations entretenues entre ces deux intermédiaires dans le champ de l’art africain et océanien, si ce n’est pour décrire ou critiquer le cas précis de la fondation du Musée du quai Branly-Jacques Chirac.Mobilisant l’anthropologie et la muséologie, ma recherche est basée sur un travail de terrain intensif auprès des galeries, des maisons de ventes aux enchères et des musées en Suisse, en France et en Belgique entre 20013 et 2017. L’analyse, fondamentalement compréhensive, montre les enjeux territoriaux à l’œuvre et souligne l’impact d’une montée de l’événementiel tant du côté des musées que des marchés. Ma recherche dresse un portrait du marché, de son fonctionnement et de ses hiérarchies à l’heure actuelle et propose une typologie des différentes relations et acteurs afin de comprendre le processus de fixation de la valeur des objets. Sur un marché où domine la spéculation et une grande part d’arbitraire, je montre que cette valeur est intimement liée à la maîtrise de l’information. Finalement, l’analyse met en évidence les « prêts-à-penser » et processus développés par l’entier des acteurs du champ pour rationaliser une partie de ces pratiques spéculatives. J’espère souligner dans cette recherche les formes nouvelles de production, d’appropriation, de consommation et de valorisation de l’altérité par notre société aujourd’hui. / This PhD thesis presents the valuation of ethnographic object through the prism of their circulation between two stakeholders : art markets and ethnographic museums. No scientific research has so far looked in depth at the relation between this two actors in the tribal art’s field, except to describe or criticise the specific case of the Musée du quai Branly-Jacques Chirac’s foundation.My research mobilising anthropology and museology is based on intensive fieldwork with galleries, auction houses and museums in Switzerland, France and Belgium between 2013 and 2017. The comprehensive analysis shows the territorial issues between this different stakeholders and highlights the increase in events both in museums and markets. My research also draws a portrait of the market, its functionning and its hierarchies and proposes a typology of the different relations and actors. The main objective was to understand the process of fixing an object’s value. In a market dominated by speculation and a lot of arbitrariness, I highlight that this value is intrinsically linked to the control of information. Finally, the analysis shows the « how-to-think » and processes developped by all the actors in the field to rationalise some of these speculative practices. I hope I have emphasised in this work the new forms of production, appropriation, consumption and the valorisation of otherness by our society today.

Este trabalho apresenta alguns dos desafios e possibilidades em torno da musealização da literatura, dando ênfase à via expositiva. Buscamos referências nas discussões nacionais e internacionais sobre o tema, além de uma pesquisa de campo que compreendeu instituições brasileiras, húngaras, francesas, georgiana e sueca. Além do debate teórico em si, traçamos históricos breves de duas organizações: o Comitê Internacional de Museus Literários e Casas de Compositores do Conselho Internacional de Museus, e a Federação Nacional das Casas de Escritores e Patrimônios Literários da França. Dentre as problemáticas abordadas, tratamos das formações de identidades nacionais e da necessidade de que museus - literários ou não - lidem com os conflitos. Com base nesses parâmetros e por meio do estudo da Casa Guilherme de Almeida (SP) e do Museu Casa Guimarães Rosa (MG), discutimos estratégias expográficas e questões curatoriais ligadas à literatura. A ênfase recaiu sobre as exposições de longa duração vigentes nos dois museus: uma sem título, de 2010, no museu paulistano e Rosa dos Tempos, Rosa dos Ventos, de 2012, no mineiro. Ademais, foram estudados os históricos dessas duas instituições, para que pudéssemos compreender a relação delas com o universo literário e com a concepção de museu - nem sempre presente ou mesmo bem aceita nas casas de escritores. A premissa estabelecida para análise dos dados à luz da discussão bibliográfica foi a de que tanto museus quanto literaturas possuem uma função social. Ela se compõe, entre outros elementos de um potencial humanizador ou transformador. Para fundamentar esse conceito, trouxemos as ideias de Mário Chagas, Marília Cury, Mirela Araújo, Waldisa Rússio, Antoine Compagnon, Antônio Cândido e Tzvetan Todorov. Compreendemos que, apesar das posições antagônicas normalmente atribuídas aos dois últimos, há pontos de convergência importantes em ambos os trabalhos no que tange ao potencial humanizador da literatura. / This research presents some of the challenges and possibilities concerning the musealization of literature, emphasizing the exhibitional path. We searched for references in the national and international discussions on the theme, besides a research field which included brazilian, hungarian, french, georgian and sweedish institutions. In addition to the bibliographic debate itself, we briefly present the histories of two organizations: the International Comittee for Literary Museums and Composer Houses of ICOM and the National Federation of Writers Houses and Literary Heritage of France. Among the discussed issues, we approached the building of national identities and also the fact that museums - literary or not - should deal with conflicts. Based on these parameters and through the study of House Guilherme de Almeida (SP) and House Museum Guimarães Rosa (MG), we discussed expographic strategies and curatorial issues related to literature. The emphasis was put on the long term exhibitions now presented at the museums: one with no title, from 2010, at the museum from São Paulo (SP), and Rosa dos Tempos, Rosa dos Ventos, from 2012, at the one from Minas Gerais (MG). Plus, the histories of those institutions were studied so we could understand their connexion with the literary universe and the very conception of museum - not always present or even well accepted among writers houses. What we assumed to analyze the data under the light of the bibliographic discussion was that both museums and literatures have a social function. This role is composed, among other elements, by a humanizing or transforming potential. To support this concept, we brought the ideas of Mário Chagas, Marília Cury, Mirela Araújo, Waldisa Rússio, Antoine Compagnon, Antônio Cândido and Tzvetan Todorov. We understand that in spite of the antagonic positions these two are usually considered to have, there are important convergent points of view among their works considering literature\'s humanizing potential.

A presente pesquisa analisa os processos de atualização de acervos de arte contemporânea brasileira em dez museus do país e as condições dessa prática na atual confi guração do sistema da arte. Como recurso de aprofundamento, examina mais detidamente os processos curatoriais ligados à formação do acervo do Museu de Arte Moderna de São Paulo nos anos 1990 e 2000. A partir do diagnóstico da situação dos museus brasileiros no que se refere à incorporação da produção artística das últimas duas décadas, procura-se discutir as características do campo sociocultural da arte, os desafi os que os museus enfrentam e as implicações de sua prática colecionista sobre a constituição da memória das artes visuais recentes do país e sobre a construção da história da arte. O estudo procura contribuir para o entendimento dos processos de formação de valor e legitimação na arte contemporânea a partir do exame das dinâmicas de institucionalização da produção recente. Com esse intuito, busca articular a análise da ação preservacionista dos museus ao acionamento e visibilidade da produção contemporânea brasileira no circuito internacional de arte. / This study analyses the collection building processes focused in Brazilian contemporary art in ten Brazilian museums and the circumstances of this practice under the current art systems configuration. As a case study, it investigates the curatorial processes and collection policy of the Museu de Arte Moderna de São Paulo [São Paulo Modern Art Museum] during the 1990s and 2000s. Based on the diagnostic of the conditions of Brazilian art museums towards the acquisition of artworks produced in the last two decades, this research aims to discuss some aspects of the sociocultural art field, the challenges that art museums face today, as well as the infl uence of its collection practice on the constitution of the recent artistic heritage and on the construction of art history. This investigation seeks to contribute to the understanding of the value foundation process and its legitimacy in contemporary art, examining the institutionalization dynamics of the contemporary art production. In this sense, it articulates the analysis of the preservation policy of museums to the exposure and insertion of Brazilian production in the international art circuit.

Os museus e centros de ciência no Brasil se encontram concentrados, em sua maioria, em grandes centros urbanos e o acesso a esses espaços ainda é restrito a apenas uma pequena parte da população. Nesse contexto, os museus e centros de ciências itinerantes ganharam força nas políticas públicas e vários deles foram criados no país nas últimas duas décadas. Por outro lado, é cada vez mais presente na literatura e nas ações desenvolvidas por esses espaços a demanda por compreender a sua contribuição para o processo de Alfabetização Científica. Diante deste panorama, esta pesquisa objetivou investigar se e como quatro museus e centros de ciências itinerantes brasileiros podem contribuir para a Alfabetização Científica de seus visitantes. Os quatro museus e centros de ciências itinerantes selecionados por sua relevância e público atingido foram: o Projeto Museu Itinerante (Promusit), do MCT-PUCRS; o Ciência Móvel Vida e Saúde para Todos, da Fiocruz; a Caravana da Ciência, da Fundação Cecierj; e o Museu Itinerante PONTO UFMG, da UFMG. A pesquisa assumiu uma abordagem prioritariamente qualitativa, mas, também, utilizou a análise quantitativa, buscando expressar em números algumas qualidades obtidas a partir da análise das experiências estudadas. Para tal, foram conduzidos os seguintes procedimentos de coleta de dados: pesquisa bibliográfica e documental, observações e descrição das exposições estudadas e entrevistas semiestruturadas com os responsáveis. Os dados obtidos foram analisados a partir da ferramenta teóricometodológica Indicadores de Alfabetização Científica adaptada de Cerati (2014) e ampliada de forma a aprofundar a caracterização das intensidades em que indicadores e atributos aparecem nas exposições. Os resultados revelam três tendências sobre como os indicadores e seus atributos são contemplados nas exposições. Assim, a primeira tendência indica que as experiências estudadas possuem, com relação ao Indicador Interação, forte potencial para a sua promoção, sendo que as interações física e estético-afetiva acontecem de forma aprofundada e a interação cognitiva de forma superficial. A segunda tendência aponta que as exposições possuem forte potencial para a promoção do Indicador Científico, privilegiando a expressão de conteúdos científicos gerais, como leis, conceitos e teorias, sobre os temas abordados, contudo, não favorecem a discussão sobre pesquisas científicas contemporâneas e em andamento e seus resultados, tampouco contribuem para fomentar discussões sobre o processo de produção do conhecimento e o papel e características dos cientistas. Por fim, a terceira tendência é relativa a possuírem pouco potencial para a promoção dos Indicadores Interface Social e Institucional e, quando o fazem, esses aparecem de forma superficial. Nas considerações finais, discutimos quatro desafios enfrentados pelos museus e centros de ciências itinerantes, sendo eles: 1) político e financeiro; 2) a divulgação científica na prática; 3) a itinerância na prática e 4) avaliação e pesquisa. / Science museums and centres in Brazil are concentrated in large urban centers and the access to these places is still restricted to a small part of the population. In this context, mobile science museums and centres have gained momentum in public policy and several of them have been created in the country in the last two decades. On the other hand, it is increasingly present in the literature and in the activities developed by these places a demand to understand their contribution to the process of scientific literacy. In this way, this research aimed to investigate if and how four Brazilian mobile science museums and centres can contribute to the science literacy of their visitors. The four mobile science museums and centres selected by their relevance and public reached were: Projeto Museu Itinerante (Promusit), from MCT-PUCRS; Ciência Móvel Vida e Saúde para Todos, from Fiocruz; Caravana da Ciência, from Fundação Cecierj; and Museu Itinerante PONTO UFMG, from UFMG. The research assumed a qualitative approach, but also used a quantitative analysis, seeking to express in numbers some qualities obtained from the analysis. For this purpose, the following data collection procedures were carried out: bibliographic and documentary research, observations and description of the studied exhibitions and semi-structured interviews with those responsible for the mobile museums. The data obtained were analyzed using the theoretical and methodological framework Indicators of Science Literacy adapted from Cerati (2014) and extended in order to deepen the characterization of the intensities in which each indicator and attribute appear in the exhibitions. The results reveal three trends. The first trend indicates that the experiences studied have, with respect to the Interaction Indicator, strong potential for promoting deeply the physical and the aesthetic-affective interactions and for promoting a superficial cognitive interaction. The second trend is that the exhibitions have a strong potential for promoting the Scientific Indicator, favoring the expression of general scientific contents, such as scientific laws, concepts and theories, on the topics addressed, however, they do not favor the discussion about scientific research contemporary and in progress and their results and do not contribute to fostering discussions about the process of knowledge production and the role and characteristics of scientists. Finally, the third trend is related to their little potential for promoting the Social Interface and the Institutional Indicators. When the exhibitions promote them, they are superficial. In the final considerations, we discuss four challenges faced by mobile science museums and centres: 1) political and financial; 2) science communication in practice; 3) travelling in practice and 4) evaluation and research.

Do investments in Contemporary Art Centers spur investment and economic development in the surrounding community? And if so, what factors are associated with these developments' outcomes? To assess these questions, a general overview of the dominant arts-and-economic-policy perspectives were considered, and two cases of contemporary art center developments, one in St. Louis and one in Cincinnati, were compared and treated as hypothetical value-capture investments. Sale prices of properties surrounding each investment property were adjusted to reflect market factors, then compared to values before and after an investment property opened to the public. A review of supplemental documents and interviews with the developments' directors were used to determine factors that contributed to the effects observed in the study. Findings indicated that the adjusted value of properties in Cincinnati declined with distance from the site of development in the post-test period, and not in the pre-test period. Hedonic results for properties in St. Louis were not significant. However, the museum's development was one among other factors that signified to investors that the area was ready for restoration. Interviews and document review indicated that community participation in the development planning process, distinctive architecture, and commercial contexts were associated with developments meeting their stated goals.

The history of the United States’ occupation in the Philippines requires an alternative archive that includes family stories, museums sites, and other memories to articulate the nearly inexplicable legacy of imperial trauma. My project foregrounds the intangible effects of American imperialism, traced in generational memories of Filipinos and Filipino Americans and their descendants. Addressing three key moments defining the Filipino and Filipino American experience: the Philippine-American War, World War II, and 21st century global capitalism, I look at how the under-the-surface, banal nature of imperial trauma’s legacy marks Filipino identity and creates blind spots in the Filipino imaginary. My dissertation examines sexual atrocities committed by American soldiers during the 1898-1902 Philippine-American War, revisits memories of World War II and the Japanese Occupation as represented in military museums in Fredericksburg, Texas and on Corregidor Island, Philippines, and concludes with the importance of the babaylan figure, from an ancient priestess tradition in the Philippines, for diasporic Filipinas to negotiate the contemporary challenges of everyday living. My dissertation examines the use of strategic storytelling to recover lost histories, heal from the past, and re-create the present. / text

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture