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University of the Witwatersrand Masters Research Report History of Art 31 March 2015 / Landscape representations in Western art have long stood as metaphors for power relations inscribed on the earth, encoding imperial aspirations, national identity, poetic and aesthetic experiences about humankind, nature and the environment. However, contemporary landscape imagery of large-scale industrial, and particularly mining sites, have come to signify, pre-dominantly through the medium of photography, meta-narratives that go beyond the political, economic, and environmental power relations historically endemic to landscape representation. Indeed, I suggest they constitute the formation of a sub-genre within the category of Landscape. Mining activities characterise extensive landscape interventions, often with catastrophic results both above and below ground. Perhaps a mined landscape more than any other, exemplifies not only the interwoven political and economic power relations inscribed upon the land, but also testifies to the underlying pathology of the land. Contemporary landscape studies cut across disciplines and go beyond the apprehension of surface, taking into account the geological as well social histories of land, and thus signal a shift in the aesthetic experience of land, both emotionally and intellectually, and consequently the way in which land is made visible. The visualisation of these land sites through imagery has precipitated an interface of aesthetic experience that simultaneously makes visible the politics symbolically encoded in the landscape itself, and the politics that impact viewership and reception. Nevertheless, accompanying the need to make visible those land sites hugely modified by mineral extraction, from both a historical and current perspective, is an unprecedented urgency that is weighted by a political anxiety over future implications of such land interventions. This anxiety is driven by the spectral nature of mined landscapes. Although monumental in scale, mined landscapes are often ‘not seen’, partly because they exist in restricted zones or are located underground, but often they are rendered invisible through a process of assimilation and naturalisation. A case in point has been the collective presence of mine dumps along Johannesburg’s southern periphery, and which, now in the process of being re-cycled, form the focus of my selected case study, an image by British photographer, Jason Larkin and titled Re-Mining Dump 20 (2012). By seeking to bring sites of mining activity into public consciousness, contemporary representations of mined landscapes also mediate current relations between humankind and the natural environment. As an agent of mediation, I propose that an image of a mined landscape functions as an interface. By situating Larkin’s image within a theoretical framework motivated by Jacques Rancière’s politics of aesthetics and Malcolm Andrews and W.J.T. Mitchell’s landscape theory, I proceed with my investigation in the form of a two-part interrogation: one that places emphasis on theory followed by a practical, creative response to Larkin’s image by way of repeat photography of Dump 20 and its surrounds. To demonstrate the concept of interface, I ‘excavate’ the aesthetic experience of Dump 20 as both sensory apprehension and through Rancière’s lens of emancipated viewership. There is an aesthetic quality of the sublime that appears to pervade visual representations of mined landscapes. Described as industrial sublime, toxic sublime or even apocalyptic sublime, the attention-holding quality these images exercise, through a strategy of aesthetic appeal, contribute to a politics of visibility by subversively implicating the viewer as a member of the human race. Global citizenship overrides national identity in these landscape representations, disrupting a sense of belonging with one of complicit participation in the formation of mined landscapes through reliance on mineral extraction for manufacturing consumer goods. Not only do representations of mined landscapes demand a rethink about aesthetic appreciation of landscape imagery and the endemic political connotations implicated in an understanding of landscape. They actively seek to penetrate surface visibility of land by taking into account the very pathology of land as an on going narrative of human and environmental interaction and life continually in process.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-23T11:29:38Z No. of bitstreams: 1 Wilson Renato Negrão.pdf: 4261122 bytes, checksum: 75b15a4600d4114549a298d19171a27e (MD5) / Made available in DSpace on 2018-01-23T11:29:39Z (GMT). No. of bitstreams: 1 Wilson Renato Negrão.pdf: 4261122 bytes, checksum: 75b15a4600d4114549a298d19171a27e (MD5) Previous issue date: 2017-12-05 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The objective of this research is to develop a study of the archives of semiotic-based processes in contemporary art and analyzing the creative process of Rodrigo Braga to investigate the ways of art through this and to understand the artist that transits be-tween different languages. The dissertation will be developed by surveying the evolution of Rodrigo Braga’s career and his emblematic works in the last decades. Covering his sketches, annotations and drawings, even documents in creation process, and by the end, following-up in exhibitions, where the artist will be observed closely, while finishing a work, before opening for public exposure. The result of these analyzes will lead the research meeting some procedural proce-dures that will help to understand the work of Rodrigo Braga. As a new artist, with a career that is still in progress and since his work is in the process of development, the research tends to generate discoveries that are still unpublished, including the artist himself. The studies will focus on his carried out works during the last decades and on the projects which are developed during the research. Through these documents of production process, the trajectories of Rodrigo Braga will be mapped into Brazilian and international artistic context and, thus, to present how much are his works relate to the performance, photography, video, installation and the evolution of his works based on creation process / O objetivo desta pesquisa é buscar desenvolver um estudo de arquivos de processos de base semiótica na arte contemporânea, analisando o processo criativo de Rodrigo Braga e através disto investigar os caminhos da arte para entender um artista que transita entre diferentes linguagens. A dissertação será desenvolvida, através de um levantamento da evolução da carreira de Rodrigo Braga e de trabalhos emblemáticos do artista nas últimas décadas. Serão estudados, na sequência, os esboços, anotações e desenhos, ou seja, documentos de seu processo de criação e, por fim, o acompanhamento em montagens de exposições, onde o artista será observado de perto, enquanto finaliza um trabalho, antes de abrir para exposição pública. O resultado dessas análises levará a pesquisa ao conhecimento de alguns procedimentos processuais que ajudará a entender a obra de Rodrigo Braga. Por se tratar de um artista novo, com a carreira ainda em evolução, onde a sua obra está em processo de desenvolvimento, a pesquisa tende a gerar descobertas que ainda são inéditas, inclusive ao artista. Os estudos serão elaborados focando em trabalhos realizados nas últimas décadas e também nos projetos desenvolvidos no decorrer da pesquisa. Através desses documentos de processo de produção serão mapeados os percursos de Rodrigo Braga no contexto artístico brasileiro e internacional e, assim, apresentar como se dá a relação de suas obras com a performance, fotografia, vídeo, instalação e a evolução de seus trabalhos pautada no processo de criação

Orientador: Iara Lis Franco Schiavinatto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T11:05:26Z (GMT). No. of bitstreams: 1 Lenzini_VanessaSobrino_M.pdf: 21020362 bytes, checksum: 09ef2c71241d6ab90f34e88ea198be1c (MD5) Previous issue date: 2008 / Resumo: O presente estudo apresenta uma coletânea de artigos sobre fotografia, publicados entre 1948-1951 no Boletim do Foto-Cine Clube Bandeirante (FCCB), fundado em 1939, em São Paulo. Esses artigos trazem um debate sobre a fotografia enquanto representação artística, inspirada nos parâmetros do pictorialismo, que divulgavam um modo de atualização da fotografia enquanto arte. Acompanhando a coletânea, este estudo pretendeu matizar as idéias dos artigos, levantando as noções que embasaram a produção fotográfica do FCCB a se projetar como 'moderna' no circuito artístico e cultural da cidade de São Paulo. Procurou-se identificar as disputas e as intenções que uma produção possui ao se divulgar como parte 40 moderno. Em sua maioria, os artigos que compõe a coletânea são traduzidos de revistas oriundas de associações fotográficas internacionais, tomando-se referência para a discussão desta prática no Clube / Abstract: This study intends to present collected articles about photography published between 1948-1951 on the Foto-Cine Clube Bandeirante (FCCB) Bulletin, founded in 1939 in São Paulo. This articles bring up a debate about photography as al1 ,artistic representation inspired on pictorialistic parameters, which spread a way to ,update photography as an art formo With the collected articles, this study tried to balance the articles ideas, raising the notions that supported the concept of FCCB's photographic production as modern in the artistic and cultural circuit of São Paulo. This study intended to identify the disputes and intentions inhen(?t to ~ production which spreads itself as part of the moderno Most of the collected articles ~~e translated ITom international photographic associations magazines and became reference for photographic discussions at the Club and stated its cosmopolitan character / Mestrado / Politica, Memoria e Cidade / Mestre em História

Essa dissertação tem como objetivo principal identificar os mecanismos envolvidos na inserção da fotografia documental em museus de arte, durante a década de 1970, na cidade de São Paulo. São apresentados três estudos de caso sobre exposições fotográficas, de caráter temático, realizadas nesse período: A família Brasileira, realizada no Museu de Arte de São Paulo, em 1971; Xingu/Terra, parte integrante da 13ª Bienal Internacional de São Paulo, em 1975; e Bom retiro e luz: um roteiro, na Pinacoteca do Estado de São Paulo, em 1976. A análise dos formatos das mostras e dos processos envolvidos em sua realização revelam dissonâncias e consonâncias entre os objetivos e interesses de seus proponentes e/ou realizadores. As exposições também são investigadas do ponto de vista das relações políticas da época, pois há a intenção de identificar as funções sociais adquiridas pela fotografia em seu processo de institucionalização. / This dissertation aims to identify the main mechanisms involved in the inclusion of documentary photography in art museums during the 1970s, in São Paulo. It presents three case studies about thematic and essay format photo exhibitions, accomplished at this period: A família brasileira, held at the Museu de Arte de Sao Paulo, in 1971; Xingu/Terra, part of the 13th Bienal International São Paulo, in 1975, and Bom retiro e luz: um roteiro in the Pinacoteca do Estado de Sao Paulo, in 1976. The analysis about the exhibitions formats and processes involved in their realization reveals dissonances and consonances between the purposes and interests of their proponents and/or directors. The exhibitions are also investigated from the standpoint of political relations of the time, because the intention is to identify the social functions of photography acquired in the process of its institutionalization.

Essa dissertação tem como objetivo principal identificar os mecanismos envolvidos na inserção da fotografia documental em museus de arte, durante a década de 1970, na cidade de São Paulo. São apresentados três estudos de caso sobre exposições fotográficas, de caráter temático, realizadas nesse período: A família Brasileira, realizada no Museu de Arte de São Paulo, em 1971; Xingu/Terra, parte integrante da 13ª Bienal Internacional de São Paulo, em 1975; e Bom retiro e luz: um roteiro, na Pinacoteca do Estado de São Paulo, em 1976. A análise dos formatos das mostras e dos processos envolvidos em sua realização revelam dissonâncias e consonâncias entre os objetivos e interesses de seus proponentes e/ou realizadores. As exposições também são investigadas do ponto de vista das relações políticas da época, pois há a intenção de identificar as funções sociais adquiridas pela fotografia em seu processo de institucionalização. / This dissertation aims to identify the main mechanisms involved in the inclusion of documentary photography in art museums during the 1970s, in São Paulo. It presents three case studies about thematic and essay format photo exhibitions, accomplished at this period: A família brasileira, held at the Museu de Arte de Sao Paulo, in 1971; Xingu/Terra, part of the 13th Bienal International São Paulo, in 1975, and Bom retiro e luz: um roteiro in the Pinacoteca do Estado de Sao Paulo, in 1976. The analysis about the exhibitions formats and processes involved in their realization reveals dissonances and consonances between the purposes and interests of their proponents and/or directors. The exhibitions are also investigated from the standpoint of political relations of the time, because the intention is to identify the social functions of photography acquired in the process of its institutionalization.