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Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciences. / Based on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science.

[EN] Exhibitions are a cornerstone of Alison and Peter Smithsons' multifaceted approach to their work. A powerful medium for conveying and materialising their ideas which provided them, throughout their career, with the opportunity to freely create experimental constructions to relay their thoughts. The exhibitions they staged in the 1950s and 60s, such as 'Parallel of Life and Art', 'House of the Future', and 'Patio & Pavilion' were, and still are, at least as important to architectural critics as their few built works or many writings. However, from the 1970s onwards little is known about their prolific work in the realm of exhibitions. In his lecture 'The Masque and the Exhibition: Stages Towards the Real' in 1980, Peter Smithson mentioned the importance of exhibitions in shaping the Smithsons' architecture as places of opportunity in which to experiment with reality. This comment makes it logical to think that if the exhibitions held before then had always been a powerful tool - a tool used, furthermore, by the Smithsons to create some of their most intense productions - then those staged after said lecture, which acknowledged and highlighted this aspect of their work might, despite being little known, be at least as intense as the previous exhibitions with greater media visibility. This idea, together with the expectations raised by the 'Christmas-Hogmanay' exhibition - not only because it was staged whilst said lecture was being drafted but also because of the ideas that sprang from the analysis of a related collage mentioned in the prelude to this doctoral thesis - channelled the research towards this final period of the Smithsons' exhibition architecture. The research herein focuses specifically on two groups of exhibitions that stand out amongst the Smithsons' wide range of documented exhibitions on account of their inherent intellectual cohesion enabling the concepts staged by Alison and Peter Smithson to be seen more clearly. This doctoral thesis consists of four chapters. It begins with an introductory chapter which firstly analyses and contextualises architecture in the shape of exhibitions; then outlines the importance of exhibitions in Alison and Peter Smithson's work; and finally puts the specific period under study into context in terms of both their career and the discourse of architecture in general. The two main chapters in this thesis are entitled 'Christmas Exhibitions' and 'Tecta Exhibitions', each organised in a similar fashion: a short introduction to the group of exhibitions followed by an in-depth analysis of each exhibition in the group based mainly on the unpublished documentation to which the author had access in the three main archives devoted to Alison and Peter Smithson: The Alison and Peter Smithson Archive in the Special Collections Department of the Frances Loeb Library at Harvard Design School (USA); the Alison and Peter Smithson Archive / Tecta Archive at Lauenförde (Germany); and the Smithson Family Archive in Stamford (United Kingdom). Finally, each chapter ends with an essay which analyses and links up the different concepts conveyed by each individual exhibition and the exhibitions in the group as a whole. The last chapter is a short epilogue that gathers up all the concepts set out previously in relation to the Christmas and Tecta exhibitions, and shows how they all tie in together in the Smithsons' most experimental work: the Hexenhaus at Bad Karlshafen. / [ES] Dentro del enfoque polifácetico del trabajo de Alison and Peter Smithson, las exposiciones son pieza fundamental. Un medio poderoso para comunicar y materializar sus ideas que les brindó a lo largo de toda su trayectoria la oportunidad de abordar con libertad la construcción experimental de su pensamiento. Sus propuestas expositivas de la década de los cincuenta y sesenta, como Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sido y son tanto o más relevantes para la crítica arquitectónica como sus escasas obras construidas o sus abundantes escritos. Sin embargo, a partir de la década de los setenta, poco se conoce de su prolífica producción expositiva. Peter Smithson en la conferencia "The Masque and the Exhibition: Stages Towards the Real" en 1980 expresaba el importante significado que tenían las exposiciones para la conformación de su arquitectura como lugares de oportunidad para experimentar con la realidad. A partir de esta reflexión, parece lógico pensar que si hasta ese momento dichas instalaciones siempre fueron una herramienta con la que los Smithson han ofrecido algunos de sus momentos más intensos, las realizadas a partir de ese momento de reconocimiento consciente y puesta en valor de esta faceta de su trabajo, pese a su poca difusión, podrían entrañar una intensidad al menos similar a las que ya han destacado hasta el momento en los medios. Esta consideración, unida a las expectativas generadas en torno a la exposición Christmas-Hogmanay, tanto por ser simultánea a la elaboración de dicha conferencia, como por las ideas que se desprenden del análisis de un collage vinculado a la misma que aparece como preludio de esta tesis doctoral, ha dirigido la investigación hacia este último periodo de su arquitectura expositiva. En concreto, el estudio se centra en dos grupos que, dentro del amplio abanico de montajes expositivos realizados, destacan por poseer una cohesión intelectual propia que permitirá descubrir con mayor claridad las reflexiones que Alison y Peter Smithson ponen en escena. La tesis doctoral se estructura en cuatro grandes apartados. Arranca con un capítulo de introducción dedicado a enmarcar el tema de estudio en el que primero se analiza y contextualiza la arquitectura hecha exposición; después, se presenta la relevancia que tiene la obra expositiva en el trabajo de Alison y Peter Smithson; y finalmente se contextualiza el periodo concreto en el que se centra el estudio atendiendo tanto a su propia trayectoria como al discurso arquitectónico general. Los dos grandes apartados de la disertación son las exposiciones de Navidad y las realizadas junto a TECTA, estructurándose ambos de manera similar. Tras una breve introducción al grupo de exposiciones que se va a analizar, aparecen ampliamente documentadas cada una de las exposiciones que conforma el grupo a partir, principalmente, de la documentación inédita a la que se ha tenido acceso en los tres principales archivos dedicados a Alison and Peter Smithson: The Alison and Peter Smithson Archive en el Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estados Unidos); The Alison and Peter Smithson Archiv / TECTA Archiv en Lauenförde (Alemania); y The Smithson Family Archive en Stamford (Inglaterra). Finalmente, cada capítulo se cierra con un ensayo en el que se analizan y relacionan las diferentes reflexiones que las exposiciones ofrecen, de manera individual y en su conjunto. El último capítulo es un breve epílogo que reúne y entrelaza todo lo anteriormente expuesto, a través de las exposiciones de Navidad y TECTA, en su obra más experimental, la Hexenhaus en Bad Karlshafen. / [CA] Dins de l'enfocament polifacètic del treball d'Alison i Peter Smithson, les exposicions en són una peça fonamental. Un mitjà poderós per a comunicar i materialitzar les idees que, al llarg de tota la seua trajectòria, els van brindar l'oportunitat d'abordar amb llibertat la construcció experimental del seu pensament. Les seues propostes expositives de la dècada dels cinquanta i seixanta, com ara Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sigut i són tant o més rellevants per a la crítica arquitectònica com les seues escasses obres construïdes o els seus abundants escrits. No obstant això, a partir de la dècada dels setanta, poc es coneix de la seua prolífica producció expositiva. Peter Smithson, en la conferència "The Masque and the Exhibition: Stages Towards the Real" al 1980, expressava l'important significat que tenien les exposicions per a la conformació de la seua arquitectura com a llocs d'oportunitat per a experimentar amb la realitat. A partir d'aquesta reflexió, sembla lògic pensar que, si fins a eixe moment les dites instal·lacions sempre van ser una eina amb la qual els Smithson han ofert alguns dels seus moments més intensos, les que van realitzar a partir d'aquest moment de reconeixement conscient i posada en valor d'aquesta faceta del seu treball, tot i la poca difusió, podrien contenir una intensitat com a mínim similar a la d'aquelles que ja han destacat fins al moment en els mitjans. Aquesta consideració, unida a les expectatives generades entorn a l'exposició Christmas-Hogmanay, tant per ser simultània a l'elaboració de la dita conferència, com per les idees que es desprenen de l'anàlisi d'un collage vinculat a la mateixa que apareix com a preludi d'aquesta tesi doctoral, ha dirigit la investigació cap a aquest últim període de la seua arquitectura expositiva. En concret, l'estudi se centra en dos grups que, dins de l'ampli ventall de muntatges expositius realitzats, destaquen per posseir una cohesió intel·lectual pròpia que permetrà descobrir amb una major claredat les reflexions que Alison i Peter Smithson posen en escena. La tesi doctoral s'estructura en quatre grans capítols. Arrenca amb un apartat d'introducció dedicat a emmarcar el tema d'estudi, en què primer s'analitza i contextualitza l'arquitectura feta exposició; després, es presenta la rellevància que té l'obra expositiva en el treball d'Alison i Peter Smithson; i finalment es contextualitza el període concret en què se centra l'estudi, atenent tant a la seua pròpia trajectòria com al discurs arquitectònic general. Els dos grans capítols de la dissertació són les exposicions de Nadal i les realitzades junt amb TECTA, i s'estructuren tots dos de manera similar. Després d'una breu introducció al grup d'exposicions que s'analitzarà, apareixen amplament documentades cadascuna de les exposicions que conforma el grup, a partir principalment de la documentació inèdita a la qual s'ha tingut accés en els tres principals arxius dedicats a Alison i Peter Smithson: The Alison and Peter Smithson Archive a l'Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estats Units d'Amèrica); The Alison and Peter Smithson Archiv / TECTA Archiv a Lauenförde (Alemanya); i The Smithson Family Archive a Stamford (Anglaterra). Finalment, cada capítol es tanca amb un assaig en què s'analitzen i relacionen les diferents reflexions que les exposicions ofereixen, de manera individual i en conjunt. L'últim capítol és un breu epíleg que reuneix i entrellaça tot allò exposat anteriorment, a través de les exposicions de Nadal i TECTA, en la seua obra més experimental, la Hexenhausen Bad Karlshafen. / Ábalos Ramos, A. (2016). ALISON AND PETER SMITHSON: THE TRANSIENT AND THE PERMANENT [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62223

The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method.  In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping.  In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.

[pt] Os trabalhos de Richard Serra e Robert Smithson apresentamuma relação constituitiva com o espaço público da megalópole contemporânea. Explorando a noção de tempo específico da matéria, suas produções expandem a concepção de processo artístico e criam uma tensão com a arquitetura e o espaço institucional da arte. Ao propor a crítica a estes espaços e explorar o mundo, ambas as obras estabelecem um jogo de semelhança com a megalópole, incorporando a racionalidade de seu espaço ético, político e cultural. Para tal, considero a relação com a Nova York laboratorial na qual Serra e Smithson desenvolvem intenso debate com seus pares, relação constitutiva que aconteceu com e na caótica Manhattan do final dos anos de 1960, bem como nas áreas suburbanas de New Jersey. Smithson constrói sua obra tendo a entopia do subúrbio de new Jersey como referência determinante, a partir da qual tempos e espaços infinitos são trazidos às suas realizações. O embate de Serra com a cidade assume por sua vez um caráter concreto e literal. Trabalhando no próprio caos e nas ruínas contemporâneas da urbe, ele propõe uma nova relação entre obra, o espectador e o entorno. Em ambos os artistas encontrados o esforço do largamento do conceito da escultura contemporânea numa nova relação como mundo. / [en] The works os Richard Serra and Robert Smithson have a founding relationship with the public space of the contemporary megalopolis. By incorporating the notion of the specific time of material, their output expands conceptions of the artistic process and sets up a tension with architecture and the institutional space of art. As they propose to criticize institutional space and explore the word, the works set a play of similarities with the megalopolis, incorporating the rationale of its ethical, political and cultural space. I therefore investigate the relationship with the New York laboratory where Serra and Smithson engage in intense debate with their peers. This founding relationship was formed in and through the bustling Manhattan of the late 1960s and suburban areas of new Jersey. The decisive reference for Smithson s work was the entropy of the New Jersey suburb, from which infinite times and spaces are brought into his work. Serra s clash with the city is concrete and literal in nature. Working in the midst of the chaos and contemporary ruins of the city, he proposes a new relationship between the work, the spectator and the surroundings. There are elements in both artists that strive to broaden the concept of contemporary sculpture in a new relationship with the world.

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