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Peroutková, P.: Art as a Social Intervention. [Diploma thesis] Prague 2014 - Charles University in Prague, Faculty of Education, Department of Art education, 99 s. (Attachment: cd with video-documentation) This work is a theoretical study of art as a social intervention with an application on a didactic project in art education. Firstly, it outlines the underlying issues linked to social interventions, especially to participatory art. Secondly, these issues are subsequently examined on diverse approaches on both Czech and international art scenes after 1990. They are connected by the common subject of food, which appears in socially engaged art projects across the whole range of different approaches and strategies. Further, it points to the connection of examined strategies and teaching activities. The phenomenon of art as a social intevention is also used as the main theme in a didactic project implemented in art education, in grammar school and on an author's project.

La crise des États-nations face aux migrant·e·s, comme la réactivité publique par rapport aux enjeux de justice sociale concernant les groupes minoritaires, participe à faire de l’hospitalité un sujet criant. Pourtant, la notion ne génère en elle-même aucune polémique et ne fait que rarement l’objet de remises en cause. Ce mémoire apporte un regard critique sur ce qu’est l’hospitalité et sur les manières dont elle est pratiquée. À cet effet, l’étude du phénomène est menée à partir du point de vue des privilèges des hôtes plutôt que de celui de la vulnérabilité des personnes accueillies. D’abord, il s’agit de mettre en perspective les acceptions vertueuse et principielle de l’hospitalité. Comprise en tant que pratique de l’accueil, l’hospitalité est ensuite redéfinie selon trois modalités (spatiale, sociale et procédurale) en réponse aux façons dont l’hospitalité est la plus fréquemment problématisée dans les discours savants (autour du chez-soi, de la figure de l’étranger et de l’invitation par exemple). Puis, il est question des manières d’accueillir spécifiques relatives à la frontière, au seuil, au camp et au refuge. Avec l’œuvre Las reglas del juego / The Rules of the Game (2000 ‒ 2001) de Gustavo Artigas, il apparaît que penser l’hospitalité par ses limites renvoie à l’idée d’accessibilité. L’accueil y représente une admission conditionnelle et une régulation des admis·es (frontière) ou un enjeu d’adaptation à autrui (seuil). Le projet État d’Urgence (1998 ‒ 2010) de l’ATSA permet quant à lui d’interroger l’accueil sous l’angle de l’inclusion sociale. Tantôt, l’hospitalité devient synonyme de mise à l’écart d’un régime d’oppression (camp), tantôt du refus de collaborer au dit régime en son sein même (refuge). En somme, le dialogue entre les écrits savants et les œuvres d’art participatif dévoile les relations de pouvoir dans l’accueil qui sont à même de définir l’hospitalité, sa visée opportuniste et ses effets incertains. / The crisis of nation-states regarding migration and public responsiveness to issues concerning minority groups contribute to make hospitality a topic of the hour. However, the concept in of itself does not rise any polemic and appear to be rarely challenged. This paper therefore seeks to provide a critical look at what hospitality actually is and at how it is practiced. The phenomenon was studied from the perspective of the hosts and their privileges rather than the vulnerability of the people welcomed. In the first chapter, the meaning of hospitality as a virtue, as a principle and as a practice, which are common modes of defining the subject in the scholarly publications, was put into perspective. A new definition of hospitality was then proposed drawing on the three modalities of its practice (spatial, social and procedural). This definition respond to the ways in which hospitality is most frequently problematized in the literature (around the home, the figure of the stranger and the multiple actions supposed to provide hospitality such as invitation, accommodation, care, etc.). In the second chapter, each specific way of welcoming that implies the border, the threshold, the camp and the refuge is discussed. Thereon, Gustavo Artigas' Las reglas del juego / The Rules of the Game (2000 ‒ 2001) reveals that the limits of hospitality represent a matter of conditional admission and control (border) or of adaptation to others (threshold). Also, ATSA's État d'Urgence (1998 ‒ 2010) allows to examine hospitality under the paradigm of social inclusion. From this angle, welcoming becomes synonymous either with taking a population aside from an oppressive regime (camp), or with a refusal to collaborate with the regime from the inside (refuge). In short, the dialogue between scholarly literature and participatory art uncovers the power relations that define hospitality, its opportunistic goals and its ambiguous effects.

The diploma thesis A Critical View of Selected Works by Kateřina Šedá focuses on the work of the contemporary Czech artist Kateřina Šedá, an icon of socially engaged art in the Czech Republic. The first part briefly outlines the development and transformation of the approach to the audience in theatrical and fine arts during 20th century with regard to the growing effort to activation. The following chapter deals with the theoretical beginnings of socially engaged art. The main part of the work presents the work of Kateřina Šedá, which includes beside the description of selected projects also a theoretical analysis in relation to contemporary phenomena and movements occurring in contemporary art. Great emphasis is placed on the contextual framework, because without the knowledge of it, the study of contemporary artistic trends cannot be done.

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Qu’elle soit le fait des artistes, des institutions muséales ou des acteurs économiques, désormais une nouvelle discursivité s’ajoute à la production critique traditionnelle des historiens, théoriciens et philosophes de l’art, et accompagne de manière quasi systématique les propositions plastiques des artistes contemporains. A cet accroissement discursif correspond aussi une démultiplication des fonctions du discours théorique qui se trouve parfois être utilisé comme le matériau plastique même des œuvres. Empreintes d’une plasticité toute singulière, les œuvres contemporaines étendent les possibles, au point de pouvoir se manifester sous n’importe quelle forme, voire de complètement disparaître. Cette extrême diversité résulte de l’adhésion à un nouveau principe artistique, le « second degré », ou l’auto-réflexivité de l’œuvre d’art, qui attribue à l'idée de l’œuvre une importance aussi grande qu'à la formulation matérielle de celle-ci. Ce qui est devenu indéterminé dans la forme plastique semble être compensé, en retour, par l'exigence d'une détermination conceptuelle accrue. Nous nous sommes attachés, dans notre recherche, à mettre en lumière l’origine du primat discursif dans la nouvelle situation paradigmatique des arts plastiques. Ne se limitant pas à la seule logique de médiation et de légitimation sociale des œuvres, la discursivité ouvre aussi un espace créatif et herméneutique nouveau impliquant le discours théorique comme geste créatif complémentaire à la forme plastique. / Whether by artists, museums or economic actors, now a new discursivity is added to the traditional critical production of historians, theoreticians and philosophers of art, and accompanies almost systematically the plastics works of contemporary artists. This discursive growth answers also to a proliferation of functions of the theoretical discourse, which is used, in some contemporary artistic practices, as the very plastic material of the work. Marked by a singular plasticity, contemporary art works extend the expressive possibilities to the point that the work can manifest itself in any form, and even completely disappear. This extreme diversity results from the adherence to a new artistic principle, the "second degree", or the self-reflexivity of the artwork, which attributes to the idea of the work, the same importance as its’ very material formulation. What became undetermined in the plastic form seems, in return, to be offset by the requirement for greater conceptual determination. We were committed, in our research, to highlight the origin of this discursive primacy in the new paradigmatic situation of visual arts. Not being limited only to the purpose of mediation and social legitimization of the art works, discursivity opens also a new creative and hermeneutic space, involving theoretical discourse as a creative act complementary to plastic form.

In diploma thesis Open Call I focus on unequal position of artists in current art world in which, despite the transparent practices like open calls, still persists the cult of name, the power of networking and personal recommendation. This topic I artistically process in form of practical artistic intervention, which is close to the tactics of 1:1 scale of Arte Útil - specifically by creation of software tool called Nomin. Its purpose is to support weakened or marginalized groups of artists. Nomin uses properties of email protocol SMTP to allow its users-spectators to send fake self-recommending emails - from email addresses of famous curators to the inboxes various galleries or other art institutions. During development of program Nomin and its technical background (software documentation, web page etc.) I followed the paradigm of free, libre, open source software (FLOSS) and also the methodology of agile software development in order to provide in this gesamtsoftwerk the users-spectators with fully functional, user-friendly software and give them possibility to influence further development of Nomin or directly participate on it. Created artwork is thus not a single artefact but rather a set of interconnected objects and practices grounded in the network of social bonds and behaviours which balances on the edge of institutional critique, useful art, participatory art and collective performance.

This master thesis aims to investigate participatory art with focus on socially engaged art. The study is based on  Hannah Arendt’s theories of plurality, the public space and the work of art as a ”thought-thing” where the sensory experiences are central. The human’s social life is based on appearances, and individuals appear in front of each other. These appearances are based on a variety of perspectives. The purpose of the essay is to understand what vulnerability means for the art form, and how we as viewers can approach the artwork. By taking a theoretical point of view, the process draws support from Arendt's claim about the work of art as a ”thought-thing”. This is also the method for the thesis where the thought and it’s exploration have a central place and contribute to an organic process. This process follows the events that occur in the outside world like a ”train of thoughts” that connects and develops as a chain.          During this process there have been two great world events that have affected peoples freedom and ability to meet: the pandemic and the war between Russia and Ukraine. This led to the study being influenced by art initiatives linked to Ukraine.           The study begins with identifying the roles and perspectives in the artwork and then continues to discuss how to approach the analysis. This led to see the artwork as several parts that form a whole with the conclusion that the hermeneutic circle would form an appropriate method. The spectator’s pre-understanding is the starting point of the interpretation and helps to reach a deeper understanding of the subject. Finally the analysis results in an interpretation of the French artist JR’s work The Resilience of Ukraine that takes place in Liviv in March 2022. This participatory artwork illustrates the Ukrainian people’s situation in the war between Russia and their country.           The conclusion of the study is that it is important to see whose vulnerability it is that shapes the artwork and that vulnerability is an aesthetic perspective that enables a deeper understanding of the world. The spectator is an active agent that takes part in the appearances even when not formally invited to join the event. With it’s pre-understanding and ability to interpret, the role activates and the spectator gains a deeper understanding of the situation or the artwork. It is the ability to gain deeper understanding that is central for the spectator.

Le projet artistique Poésie de l’ADN prend source dans une démarche interdisciplinaire, en associant la programmation, la biotechnologie, la création sonore et visuelle, l’ésotérisme ainsi que l’art participatif et performatif. Ce mémoire passe en revue les différentes étapes de réflexion et création autour de ce projet, tout d’abord en le replaçant dans son contexte historique et artistique, à la fois au niveau du courant bioart, puis plus précisément dans l’utilisation de l’acide désoxyribonucléique1 (ADN) en arts. Nous verrons comment s’inscrit Poésie de l’ADN aux côtés des oeuvres d’art génétiques visuelles et sonores, ainsi que de portraiture, tout en présentant les influences artistiques et esthétiques qui inspirent mon travail. Ensuite, ce mémoire aborde trois questionnements qui sont au coeur du développement conceptuel de ce projet : 1) les tensions entre l’aléatoire et la subjectivité, c’est-à-dire la constante négociation entre le contrôle de l’artiste et l’autonomie de la machine; 2) l’interprétation des données afin d’établir la signification que l’on reçoit et apporte à la matière; 3) ainsi que les considérations bioéthiques que soulève ce projet. Puis, le mémoire détaille le processus technique et les outils utilisés, ainsi que le processus créatif au sein duquel l’approche ésotérique est fondamentale. Enfin, nous verrons l’impact des critères ADN sur les oeuvres, ainsi que les portraits qui en découlent. Poésie de l’ADN est un projet artistique qui réunit à la fois le développement d’une application dont l’algorithme et les paramétrages permettent de générer des matières audio-visuelles à partir de données ADN, ainsi que la composition de portraits, à travers l’interprétation artistique, ésotérique et humaine de cette matière, pour créer des vidéomusiques individuelles. / DNA Poetry is an artistic project rooted in an interdisciplinary approach, combining programming, biotechnology, sound and visual creation, esotericism as well as participatory and performative art. This thesis reviews the different stages of reflection and creation around this project, first of all by placing it in its historical and artistic context, first off within the bioart artistic movement, then more precisely within the use of deoxyribonucleic acid (DNA) in the arts. We'll see how DNA Poetry fits alongside visual and audio genetic artworks, as well as portraiture, while showcasing the artistic and aesthetic influences that inspire my work. Then, this thesis addresses three questions which are at the heart of the conceptual development of this project: 1) the tensions between algorithm and subjectivity, that is to say the constant negotiation between the artist's control and autonomy of the machine; 2) data interpretation, in order to establish meaning in what is received and brought to the material; 3) and finally the bioethical considerations raised by this project. Then, the thesis details the technical process and the tools used, as well as the creative process in which the esoteric approach is fundamental. Finally, we will see the impact of DNA data on the audio and visual outcome, as well as the portraits that result from them. DNA Poetry is an artistic project that brings together both the development of an application whose algorithm and mappings make it possible to generate audiovisual material from DNA data, as well as the composition of portraits, through the human, esoteric and artistic interpretation of this material, in order to create individual videomusic art pieces.