Notre recherche se fonde sur une forme de relation particulière entre lʼœuvre et le spectateur, lorsque la participation de ce dernier est interactive, cʼest-à-dire physique, active et effective. Or, à partir de 1950, de nouvelles formes artistiques apparaissent et de nombreuses œuvres partent, en quelque sorte, à la recherche du spectateur. Cʼest en les parcourant que le premier chapitre pose les bases dʼune participation interactive. Nous avons aussi choisi de réordonner ces œuvres ou mouvements selon des catégories qui échappent aux classifications standards en les groupant selon leur modalité de participation : regarder, entrer, ressentir, assister. Le second chapitre est ensuite consacré aux œuvres les plus participatives qu'il puisse exister, cʼest-à-dire, des œuvres qui ont réellement besoin du spectateur pour exister, dont la forme est tout autant définie par le spectateur que par lʼartiste, voir même davantage par le spectateur. Quatre nouvelles catégories sont alors dégagées : figurer, agiter, expérimenter, partager. Lʼobjectif de cette classification typologique est dʼoffrir une vue dʼensemble qui soit claire et qui permette de mieux comprendre le vaste panorama des œuvres dʼart participatives. Notre réflexion se construit aussi à lʼaide de ces deux questions successives : de quelle façon le spectateur a-t-il la possibilité de participer ? Quel est le but recherché par lʼartiste ? Nous prenons aussi la mesure de la contribution du ou des spectateurs dʼune part, évaluons les valeurs éthiques que tendent à véhiculer certains projets artistiques de lʼautre, et nous décelons un certain nombre de pièges et de dérives qui semblent guetter ces œuvres, tantôt faisant lʼobjet de banales animations culturelles, réduites au divertissement, tantôt se perdant au sein de luttes sociales et politiques. Analysant les critiques formées à leur encontre, en formulant dʼautres, puisant dans les domaines de la philosophie, de la sociologie ou de lʼanthropologie, nous cherchons donc à cerner les enjeux spécifiques de chaque forme de participation. Lʼœuvre dʼart participative révèle alors sa pleine ambivalence, une nature ambiguë qui constitue sa force comme sa faiblesse. De même, lʼacte participatif, entre action et passivité, proximité et distance, dessine la figure nouvelle dʼun spectacteur. / Our research bases on a particular form of relationship between the work of art and the spectator, when the participation of the latter is interactive, that is to say, physical, active and effective. However, since 1950, new art forms appear and many works go, somehow, in search of the spectator. It is by reviewing them that the first chapter thus lays the foundation of an interactive participation. We also chose to reorder these works or movements in categories beyond the standard classifications by grouping them according to their modality of participation : look, enter, feel, attend. The second chapter is then dedicated to the most participatory works that can exist, that is to say, works that really need the spectator to exist, whose shape is as much defined by the spectator by the artist, and even more by the spectator. Four new categories are then identified : figure, shake, experiment, share. The objective of this typological classification is to offer an overview which is clear and which allows to understand better the vast panorama of the participatory art works. Our thought also builds using these two successive questions : how has the spectator the possibility to participate ? What is the purpose looked for by the artist ? We also take the measure of the contribution of one or several spectators on one hand, estimate the ethical values which tend to convey some artistic projects on the other, and we detect a number of pitfalls and deviations that seem to watch for these works, sometimes being the object of commonplace cultural activities, reduced to the entertainment, sometimes getting lost in social and political struggles. Analyzing the criticisms formed against them, by formulating others, drawing from the fields of philosophy, sociology or anthropology, we identify the specific issues of each form of participation. The participatory artwork reveals then its full ambivalence, an ambiguous nature that is its strength as its weakness. Similarly, the participative act, between action and passivity, proximity and distance, draws the new figure of a spectactor.

This texts examines the potential of the documentation of socially engaged art to affect change. It looks at how it can extend the goal of political action inherent in much socially engaged artwork, particularly with reference to Corrie Peters thesis exhibition: All the rooming houses on my street have had their front door removed. / October 2015

96f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-05T15:47:47Z No. of bitstreams: 1 robertoantoniopitellajuniorseg.pdf: 1657900 bytes, checksum: 5a4a2e814ff707f76d6ddfe9180b6f22 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:27:25Z (GMT) No. of bitstreams: 1 robertoantoniopitellajuniorseg.pdf: 1657900 bytes, checksum: 5a4a2e814ff707f76d6ddfe9180b6f22 (MD5) / Made available in DSpace on 2013-04-18T12:27:25Z (GMT). No. of bitstreams: 1 robertoantoniopitellajuniorseg.pdf: 1657900 bytes, checksum: 5a4a2e814ff707f76d6ddfe9180b6f22 (MD5) Previous issue date: 2011 / Esta dissertação tem como objeto de pesquisa a fotografia como fator relacional, através do conceito de arte relacional proposto por Nicolas Bourriaud. Entende-se aqui a arte relacional, ou mais precisamente a fotografia relacional, como um método, um procedimento. Propõe-se também neste procedimento que a imagem em si já é um lugar. Um lugar de relações. Por isto a discussão sobre a noção de geopoética visual. Reflexões a cerca do tema pesquisado, do caminho percorrido, a trajetória do processo criativo desenvolvido, buscam situar a fotografia historicamente enquanto arte visual contemporânea. Autores como Nicolas Bourriaud, Zygmunt Bauman, Geoges Didi-Huberman, Cecília Salles dão o embasamento teórico à investigação. / Salvador

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Historically, autobiography has been used to perpetuate neo-liberal ideologies. Yet, when autobiography becomes social and is used to engage political communities of color, political transformation is possible. This project, through the collaborative visualization of Asian American social biography using pedagogical and relational methods as a means for engagement, seeks to destabilize dominant notions of time and space, and provide a mechanism for the retention of and documentation of institutional, and social histories using the Asian American Student Union at Scripps College as the site for political praxis.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação levantou um conjunto de questões relacionadas à reflexão do meu processo artístico, tendo como ponto de partida as imagens poéticas da casa, do dormir, do desabrigo, da invisibilidade e da visibilidade que culminaram em trabalhos acerca dos moradores de rua, da acessibilidade e do uso da cidade. Para analisar as experiências artísticas participativas realizadas em âmbito urbano, foi apresentado um estudo da produção de artistas como Flávio de Carvalho, Lygia Clark e Hélio Oiticica, assim como os conceitos de site specific e site oriented (KWON 1998). Acerca dos trabalhos que envolvem relações e propostas de convivência, foi acessado o livro Estética Relacional (BOURRIAUD 2009) e o texto Antagonismos e Estética Relacional (BISHOP 2004). O ato de ouvir e as histórias narradas durante as propostas participativas aproximaram o estudo da ideia de autoficção (DOUBROVSKY 1977) e da escrita de si (FOULCAULT 2002). A relação com o desenho foi observada como produção de sentido, assim como foi problematizado o papel do artista a partir da observação do papel do mediador, revelando possibilidades outras de definição com base nos conceitos de participação total (OITICICA 1967), e artista-etc. (BASBAUM 2013). / This dissertation raised a number of issues related to the reflection of my artistic process, taking as its starting point the poetic pictures of the house, sleeping, homelessness, invisibility and visibility that culminated in works about the homeless, accessibility and the use of the city. To analyze the participatory artistic experiences in urban context, a study of the production of artists like Flávio de Carvalho, Lygia Clark and Hélio Oiticica was presented, as well as the concepts of site specific and site oriented (KWON 1998). About the work involving relations and coexistence proposals, the book Estética Relacional (BOURRIAUD 2009) and the text Antagonismo e Estética Relacional was accessed (BISHOP 2004). The act of listening and the stories told during the participatory proposals approached the study of the idea of self-fiction (DOUBROVSKY 1977) and self-writing (FOULCAULT 2002). The relationship with the drawing was observed as production of meaning, as well was questioned the role of the artist from the observation of the mediators role, revealing other setting possibilities on the basis of participação total concept (OITICICA 1967), and artista-etc. (BASBAUM 2013).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação levantou um conjunto de questões relacionadas à reflexão do meu processo artístico, tendo como ponto de partida as imagens poéticas da casa, do dormir, do desabrigo, da invisibilidade e da visibilidade que culminaram em trabalhos acerca dos moradores de rua, da acessibilidade e do uso da cidade. Para analisar as experiências artísticas participativas realizadas em âmbito urbano, foi apresentado um estudo da produção de artistas como Flávio de Carvalho, Lygia Clark e Hélio Oiticica, assim como os conceitos de site specific e site oriented (KWON 1998). Acerca dos trabalhos que envolvem relações e propostas de convivência, foi acessado o livro Estética Relacional (BOURRIAUD 2009) e o texto Antagonismos e Estética Relacional (BISHOP 2004). O ato de ouvir e as histórias narradas durante as propostas participativas aproximaram o estudo da ideia de autoficção (DOUBROVSKY 1977) e da escrita de si (FOULCAULT 2002). A relação com o desenho foi observada como produção de sentido, assim como foi problematizado o papel do artista a partir da observação do papel do mediador, revelando possibilidades outras de definição com base nos conceitos de participação total (OITICICA 1967), e artista-etc. (BASBAUM 2013). / This dissertation raised a number of issues related to the reflection of my artistic process, taking as its starting point the poetic pictures of the house, sleeping, homelessness, invisibility and visibility that culminated in works about the homeless, accessibility and the use of the city. To analyze the participatory artistic experiences in urban context, a study of the production of artists like Flávio de Carvalho, Lygia Clark and Hélio Oiticica was presented, as well as the concepts of site specific and site oriented (KWON 1998). About the work involving relations and coexistence proposals, the book Estética Relacional (BOURRIAUD 2009) and the text Antagonismo e Estética Relacional was accessed (BISHOP 2004). The act of listening and the stories told during the participatory proposals approached the study of the idea of self-fiction (DOUBROVSKY 1977) and self-writing (FOULCAULT 2002). The relationship with the drawing was observed as production of meaning, as well was questioned the role of the artist from the observation of the mediators role, revealing other setting possibilities on the basis of participação total concept (OITICICA 1967), and artista-etc. (BASBAUM 2013).

À partir des années soixante, les nouvelles technologies ont colonisé les champs culturels. Prenant acte de cette puissance technologique, les artistes se sont mis à transformer ces dispositifs en outils de recherche esthétique. C'est ainsi que le Web est devenu un support à la fois pour les oeuvres d'art numérique et la réalisation de net oeuvres, et pour une mise en réseau universelle. Dans le même contexte, des critiques, des théoriciens et des philosophes ont annoncé un état de crise (comme l'avaient mentionné Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Véronique Fabbri, Daniel Lagoutte, etc.). Selon eux, cet état est dû à un manque de communication et à une dissolution des courants artistiques, voire à une perte progressive de la communication entre les artistes. Comme le Web, l'e-mailing a généré plusieurs fantasmes de communication, il a institué également la réactivité et l'interactivité entre des individus. Pour cela, j'ai choisi d'approfondir mes recherches en thèse sur des pratiques artistiques qui peuvent toucher la crise de la communication et qui sollicitent une mise en réseau des artistes. Progrès pratique : En 2006, j'ai reçu un e-mail contenant une oeuvre scannée de l'artiste belge Luc Fierens. J'ai transmis cette image à environ 7000 adresses e-mails d'artistes en sollicitant leurs interactions, afin d'acquérir presque 200 contributions et réponses dont quelques-unes sont exposées sur le blog suivant : http://ramziturki.artblog.fr/11/. Mon acte consiste à analyser et à mettre en valeur la communication entre les artistes à travers un outil télé-communicationnel contemporain. / Since the sixties, new technologies have conquered cultural areas. Thanks to technological power, artists have transformed these technologies into tools of aesthetic research. Thus, the web has become a medium for digital art as well as network design in addition to establishing universal networking. In the same context, criticizers, thinkers and philosophers have announced a state of crisis (As announced by Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Veronica Fabbri, Daniel Lagoutte, etc.). According to them, this crisis is due to lack of communication and dissolution of artistic movements, surely progressive loss of communication between artists. In the Web world, email has emerged several communication fantasies. It has also established the reactivity and the interactivity between people. For this, my research Thesis focuses on artistic practices that impact positively on communication between artists. This research also proposes an artist networking. Practical progress:In 2006, I received an email containing a scanned work of Luc Fierens, a Belgian artist. I emailed this work to nearly 7000 addresses of artists to solicit their interactions. This is to acquire about 200 contributions and answers, some of which are described on the blog: http://ramziturki.artblog.fr/11/. My Thesis aims to analyze and enhance the communication between artists via tools of modern communication.

[pt] A escrita desta dissertação teve como intuito discorrer sobre as ações do projeto Lastro – Intercâmbios Livres em Arte, entendendo-o como rede de contatos e plataforma de ação para projetos colaborativos. Uma proposta que visa conexões no campo da arte e cultura no contexto América Latina, porém com reverberações além-territórios. Como rede opera em diferentes frentes de trabalho e pensamento, tendo a mobilidade contemporânea como foco de estudo. Esta pesquisa propôs uma ramificação do pensamento sobre mobilidade em formato de cadernos de viagens, aprofundando pontos de vista e abordagens diferenciadas acerca do deslocamento e como este é entendido por artistas, transformando-se em poética. Quatro cadernos que se transmutarão em pequenas publicações via coleção de livros Lastro. Tal trânsito tem como objetivo fomentar projetos editoriais experimentais que atuem como dispositivo questionador e aglutinador. Além disso, tal projeto inaugura o selo editorial Lastro, o que faz nascer mais uma atividade da rede. A realização dessa pesquisa vem auxiliar uma maior compreensão conceitual do Lastro e sua potência política enquanto proposta curatorial rizomática. / [en] The core aim in the writing of this abstract was to discourse on the project named Lastro - Intercâmbios Livres em Arte (ballast –free exchange art) seeing it as an action platform and a network for cooperative projects. A project that seeks the connections of artistic and cultural fields within the Latin-America context, though resounding beyond its limits. As a network it acts in various types of work fronts and thoughts, having a contemporary movability as its study focus. That research has proposed a branching of the thoughts on movability in the shape of travel diaries, deepening points of views and the differentiated approaches regarding movement and how it is understood by artists by shaping it into poetic. Four diaries that will take the format of small publications through the Lastro book collection. The goal of such movement is to promote the experimental publishing projects that may act as a questioning as well as unifying device. Besides, such project also inaugurates the Lastro imprint, and by doing so, we’ll be starting one more activity in its network. The execution of such research intends to enhance the conceptual comprehension of Lastro and its political potentiality as a non-hierarchical curatorship project.

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.