This thesis is a sociological exploration of emergent social relations at art exhibition venues. It focuses on the experience of art which the dominant “decoding” metaphor fails to describe conceptually and empirically. To grasp the interactional and emergent character of interaction with art, I constructed a framework that defined audiences as sets of emerging social relations. Building on the concepts of experience (Merleau-Ponty), enchantment (Gell), multiplicity and enactment (Latour, Mol and others), I emphasise the situated and embodied nature of art experience. The study draws on a series of ethnographic observations at the exhibition sites of a number of Moscow art institutions. It is supplemented with unstructured interviews with visitors and art professionals at these venues (artists, curators, wardens etc.). Conceptually, I have suggested a dual social ontology that art establishes in the events of perception. Bringing uncertainty into visitors’ actions, art enables interactions in which visitors establish meanings, and leads to practices that make their art experience organized and less problematic. The thesis examines the ways art experience becomes stable through meaning-making events supported by socio-material relations. These relations enable participants to produce recognizable actions. The process of meaning-making at the exhibitions is seen not as a direct communication of pre-given aesthetic meanings (as the decoding perspective would assume), but rather is understood as consisting of multiple instances of micro-level discoveries which mediate an “enchanting” form of art experience. Enchantment engenders the social relations of expertise which visitors practically achieve in their interaction with material objects and through performances of meaningfully recognizable actions. T Though the study mainly focuses on the experience of interactive art installations, I argue that the conceptual considerations and empirical results are relevant to the experience of other forms of art. The thesis is intended to make a contribution to the so-called “new sociology of art”, not just by subjecting the dominant Bourdieu-inspired assumptions about “decoding” to critique, but also by pointing out the conceptual limits of much of the new sociology of art, and pointing towards new conceptual horizons for sociology’s ongoing encounter with matters artistic.

Esta tese investiga a trajetória e a produção artística do artista norueguês radicado no Paraná, Alfredo Andersen (1860-1935) a partir de uma perspectiva históricosociológica. Nascido em Kristiansand, no sul da Noruega, o pintor teve sua formação artística realizada em ateliês particulares em seu país e na Academia de Belas Artes de Copenhagen, na Dinamarca, então locais periféricos em se tratando de Europa. A análise da sua fase norueguesa auxilia na compreensão da construção de seu esquema, em particular pela presença em sua juventude do movimento nacionalista, que trouxe para o artista, de um lado, uma visão do nacional ligada ao folk e, de outro, uma forma de ver a paisagem como um elemento identitário. A tese busca reinterpretar também sua vinda para o Brasil e sua fixação em Paranaguá, comparando as condições e alternativas que se apresentavam ao artista na Europa e as oportunidades que pode ter vislumbrado no Brasil. Rapidamente acolhido pelo meio local, Andersen desenvolve uma obra vasta e é considerado pai da pintura paranaense, mito que este estudo buscou desconstruir com o apoio de uma sociologia das biografias do pintor, que trouxe à tona os principais interessados em alçá-lo a essa condição. A tese analisou os principais gêneros praticados por Andersen dentro do contexto em que foram produzidos, buscando compreender seus significados sociais, e cada um trouxe elementos do intrincado quebra-cabeças que caracterizava a sua trajetória, repleta de tensões e ambiguidades. Com a análise da retratística foi possível compreender a função que sua arte teve para as elites locais, que se aburguesavam e buscavam distinção, e um gosto local bastante conservador. Já sua obra paisagística, que o levou a ser considerado pela historiografia como um regionalista, se mostrou um terreno fértil para perceber sua relação ambivalente com o paranismo, e a construção de uma alternativa mais autoral que desenvolveu nas marinhas. Com sua experiência social marcada pela condição de estrangeiro e pelo casamento nativo, as cenas de gênero se mostraram documentos ricos para a apreensão da sua posição na cena local e configuram uma faceta pouco valorizada e talvez a mais rica do pintor. Palavras-chave: Alfredo / This thesis investigates the trajectory and the artistic production of the Norwegian painter settled in the state of Paraná, Alfredo Andersen (1860-1935) through a historicalsociological perspective. Born in Kristiansand, Norway, the artists had his artistic training held in private studios and at the Academy of Fine Arts of Copenhagen, Denmark, then peripheral when it comes to Europe. The analysis of his norwegian phase search to comprehend the construction of his schema, and also his involvement with the nationalistic movement, which brought the artist, on the one hand, a vision of the national folk and on the other, a way of seeing landscape as an element of identity. The thesis also seeks to review his migration to Brazil and his settling in Paranaguá, by comparing the conditions and alternatives that were presented to him in Europe and the opportunities that he might have seen in Brazil. His plastic services quickly found a market, and by the importance of his work he is considered the father of Paranás painting, a myth that this study sought to deconstruct through a sociology of his biographies, that brought up the main interests behind that canonization. Also, this study analyzed the main genres painted by Andersen inside the context of their production, seeking to understand their social meanings, and each one brought elements of the intricate puzzle that characterized his trajectory, full of tensions and ambiguities, specially concerning his relation with the local elites. By analyzing portraiture, it was possible to understand the role that his art had to the rising bourgeoisie, that sought distinction, and had a conservative taste. Meanwhile, his landscapes, which led to him being considered by the historiography as a regionalist, has proved a fertile ground to see his ambivalent relationship with paranismo, and the construction of an alternative solution within his marines. With his social experience marked by the condition of beeing a foreigner and by the marriage with a native, the genre scenes were rich documents to the apprehension of his position in the local field and are perhaps the richest of the painter.

A investigação apresenta os processos de aproximação do grafite e da arte urbana em direção aos espaços de legitimação da arte contemporânea museus, galerias, bienais, feiras, etc. Para tanto, a pesquisa considera as variáveis de recepção, produção, e institucionalização da linguagem ao longo de 40 anos de publicações sobre a temática, entre textos jornalísticos, acervos de museus e centros culturais que receberam exposições grafiteiras, e manifestações jurídicas ou oficiais atinentes ao objeto. O texto analisa as propriedades estéticas que a linguagem elabora para além da imagem imediatamente realizada, levando em consideração os aspectos agenciais de conquista dos espaços urbanos, e a localização cênica das intervenções responsáveis por evocar chaves semânticas de interpretação. A partir da composição figurativa e colorida, o grafite virtuoso desenvolve relações de pertencimento e entusiasmo com seus respectivos entornos vicinais, e passa a ser apoiado por parcela significativa da população, com repercussões sensíveis na administração oficial da visualidade coletiva. A gestão municipal, ao endossar políticas públicas de fomento à arte urbana, seleciona o tipo de imagem autorizada a reivindicar a atenção transeunte, hierarquizando as intervenções com base no respaldo jurídico de atuação. A despeito disso, a recepção crítica, especializada e erudita, ao contrário dos agregados de opinião majoritária, busca nos assaltos de rebeldia e agressividade o elemento de interesse e relevância que a linguagem desenvolve, e que a compatibiliza com a gramática de provocação do paradigma contemporâneo de arte. Nesse sentido, as instituições legítimas desenvolvem estratégias expográficas que, no plano discursivo e curatorial, aproximam a prática grafiteira das urgências do mundo da vida, negando, portanto, sua condição de mera imagem festiva e virtuosa. O acúmulo de prestígio e notoriedade que o grafite recolhe no trânsito institucional repercute significativamente na dinâmica da cidade, que passa a adotar os repertórios de conservação, curadoria e especulação artística característicos dos espaços de legitimidade. No plano metodológico, a linguagem da pichação será constantemente evocada como um contra-fato analítico, dado que o relativo parentesco agencial entre as duas práticas nos permite inferir algumas das especificidades do reconhecimento do grafite. / The research presents the processes of approximation of graffiti and urban art towards the spaces of legitimation of contemporary art museums, galleries, biennials, fairs, etc. To do so, this study considers the variables of reception, production, and institutionalization of the language over 40 years of publications on the subject, among journalistic texts, documents belonging to museums that have received graffiti exhibitions, and legal or official archives related to the object. The text analyzes the aesthetic properties of the language beyond the immediately performed image, taking into account the aspects of subversive conquest of urban spaces, and the scenic location of the interventions, which is responsible, ultimately, for evoking different kinds of interpretation. From its colorful and figurative composition, virtuous graffiti develops relationships of belonging and enthusiasm with their respective surroundings, with significant repercussions on the official administration of visuality. The municipal authority, when endorses public policies to promote urban art, selects the type of image authorized to claim the attention of pedestrians, hierarchizing the interventions based on their legal support. In spite of this, the critical, specialized and erudite reception, contrary to the majority opinion of population, seeks in rebellion and aggressiveness the elements of interest and relevance that the language develops, and that reconciles graffiti with the provocative grammar of the contemporary art. In this sense, art institutions develop exhibition strategies that, at the discursive and curatorial level, bring the graffiti practice closer to the urgencies of life, denying, therefore, its condition of mere festive and virtuous image. The accumulation of prestige and notoriety that graffiti collects in the institutional circuit has significant repercussions on the dynamics of the city, which begins to adopt the repertoires of conservation, curation and artistic speculation that characterize the spaces of legitimacy. Methodologically, the language of pichação will be constantly evoked as an analytical counterfactual, given that the relative similarities between the two practices allow us to infer some of the specificities of graffiti recognition.

Esta dissertação tem como objetivo mapear as principais mostras coletivas de tapeçaria que ocorreram no Brasil entre as décadas de 1960 e 1970. O recorte inicial foram as Trienais de Tapeçaria ocorridas no Museu de Arte Moderna de São Paulo em 1976, 1979 e 1982, depois a pesquisa foi ampliada para as demais mostras nacionais de tapeçaria: Primeira Mostra de Tapeçaria Brasileira, realizada no Museu de Arte Brasileira da Fundação Armando Álvares Penteado, em 1974; e Evento Têxtil 85, realizado no Museu de Arte do Rio Grande do Sul, em 1985. Nesse sentido pretendeu-se estabelecer quem foram seus principais artistas, e apresentar os discursos sobre tapeçaria produzidos na época. / This thesis aims to map mains coletive tapestry shows, which occurred between the 1960s and 1970s in Brazil. Thus, the Tapestry Triennials held at the Museum of Modern Art of São Paulo in 1976, 1979 and 1982 and then expanded the research for the other national tapestry exhibitions was expanded: First Brazilian Tapestry Exhibition held at the Museum of Art Brazilian Association of the Armando Álvares Penteado Foundation in 1974 and the Textile Event 85 held at the Rio Grande do Sul Art Museum in 1985. In this sense, it was intended to establish who were its main artists and present the speeches on tapestry produced at the time.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A Tese a seguir, apresentada ao IESP/UERJ como pré-requisito para obtenção do grau de Doutor em Sociologia, demonstra a forma como o estilo pictórico grafite teve sua percepção social subvertida a partir da assimilação de sua estética pelas instituições ditas oficiais do mundo das artes visuais no Brasil, leia-se mercado e locais de culto às obras de arte (galerias e museus, respectivamente), no início do século XXI. A partir da categoria mundo artístico em Becker (1982)1, o trabalho busca dar contornos ao mundo do grafite carioca e a seus pontos de contato com estabelecimentos e sujeitos próprios do mundo oficial das artes plásticas. A hipótese da pesquisa - investigada através de trabalho de campo microssociológico em conformidade com o paradigma de pesquisa social qualitativo inerente à Escola de Chicago (Coulon, 1995)2 - é que desta intercessão ou desses pontos de contato, estreitados nas últimas duas décadas, emergiu um subjetivo processo de legitimação do grafite como atividade artística no Brasil, promovendo o deslocamento de sua ampla percepção social, situada primariamente numa atmosfera que o classificava como poluente (Douglas, 1976) 3 e desviante (Becker, 2009)4, para uma atmosfera de valorização e conseqüente assimilação de sua estética por nichos como a moda, a publicidade, a decoração de ambientes e as políticas públicas de combate à delinqüência e ócio juvenis. / The thesis then presented to IESP/UERJ as a prerequisite for obtaining a Ph.D. in Sociology, demonstrates how the pictorial style graffiti had its social perception subverted since its aesthetic assimilation by institutions called "official" from world of the visual arts in Brazil, basically the market and places of worship to works of art (galleries and museums, respectively), at the beginning of the XXI century. From the category "art world" in Becker (1982), the work seeks to outline the "world of graffiti in Rio de Janeiro" and their points of contact with institutions and individuals own the "official world of the arts. The research hypothesis - investigated through microsociological fieldwork according to qualitative social research paradigm inherent Chicago School (Coulon, 1995) - is from this intercession or these contact points, narrowed in the past two decades, there emerged a subjective process of legitimization of graffiti as artistic activity in Brazil, promoting the displacement of its broad social perception, located primarily in an atmosphere classed as a pollutant (Douglas , 1976) and deviant (Becker, 2009), to an atmosphere of appreciation and consequent assimilation of its aesthetic by niches like fashion, advertising, home decoration and public policies to combat juvenile delinquency and idleness.

Esta tese investiga a trajetória e a produção artística do artista norueguês radicado no Paraná, Alfredo Andersen (1860-1935) a partir de uma perspectiva históricosociológica. Nascido em Kristiansand, no sul da Noruega, o pintor teve sua formação artística realizada em ateliês particulares em seu país e na Academia de Belas Artes de Copenhagen, na Dinamarca, então locais periféricos em se tratando de Europa. A análise da sua fase norueguesa auxilia na compreensão da construção de seu esquema, em particular pela presença em sua juventude do movimento nacionalista, que trouxe para o artista, de um lado, uma visão do nacional ligada ao folk e, de outro, uma forma de ver a paisagem como um elemento identitário. A tese busca reinterpretar também sua vinda para o Brasil e sua fixação em Paranaguá, comparando as condições e alternativas que se apresentavam ao artista na Europa e as oportunidades que pode ter vislumbrado no Brasil. Rapidamente acolhido pelo meio local, Andersen desenvolve uma obra vasta e é considerado pai da pintura paranaense, mito que este estudo buscou desconstruir com o apoio de uma sociologia das biografias do pintor, que trouxe à tona os principais interessados em alçá-lo a essa condição. A tese analisou os principais gêneros praticados por Andersen dentro do contexto em que foram produzidos, buscando compreender seus significados sociais, e cada um trouxe elementos do intrincado quebra-cabeças que caracterizava a sua trajetória, repleta de tensões e ambiguidades. Com a análise da retratística foi possível compreender a função que sua arte teve para as elites locais, que se aburguesavam e buscavam distinção, e um gosto local bastante conservador. Já sua obra paisagística, que o levou a ser considerado pela historiografia como um regionalista, se mostrou um terreno fértil para perceber sua relação ambivalente com o paranismo, e a construção de uma alternativa mais autoral que desenvolveu nas marinhas. Com sua experiência social marcada pela condição de estrangeiro e pelo casamento nativo, as cenas de gênero se mostraram documentos ricos para a apreensão da sua posição na cena local e configuram uma faceta pouco valorizada e talvez a mais rica do pintor. Palavras-chave: Alfredo / This thesis investigates the trajectory and the artistic production of the Norwegian painter settled in the state of Paraná, Alfredo Andersen (1860-1935) through a historicalsociological perspective. Born in Kristiansand, Norway, the artists had his artistic training held in private studios and at the Academy of Fine Arts of Copenhagen, Denmark, then peripheral when it comes to Europe. The analysis of his norwegian phase search to comprehend the construction of his schema, and also his involvement with the nationalistic movement, which brought the artist, on the one hand, a vision of the national folk and on the other, a way of seeing landscape as an element of identity. The thesis also seeks to review his migration to Brazil and his settling in Paranaguá, by comparing the conditions and alternatives that were presented to him in Europe and the opportunities that he might have seen in Brazil. His plastic services quickly found a market, and by the importance of his work he is considered the father of Paranás painting, a myth that this study sought to deconstruct through a sociology of his biographies, that brought up the main interests behind that canonization. Also, this study analyzed the main genres painted by Andersen inside the context of their production, seeking to understand their social meanings, and each one brought elements of the intricate puzzle that characterized his trajectory, full of tensions and ambiguities, specially concerning his relation with the local elites. By analyzing portraiture, it was possible to understand the role that his art had to the rising bourgeoisie, that sought distinction, and had a conservative taste. Meanwhile, his landscapes, which led to him being considered by the historiography as a regionalist, has proved a fertile ground to see his ambivalent relationship with paranismo, and the construction of an alternative solution within his marines. With his social experience marked by the condition of beeing a foreigner and by the marriage with a native, the genre scenes were rich documents to the apprehension of his position in the local field and are perhaps the richest of the painter.

Esta dissertação tem como objetivo mapear as principais mostras coletivas de tapeçaria que ocorreram no Brasil entre as décadas de 1960 e 1970. O recorte inicial foram as Trienais de Tapeçaria ocorridas no Museu de Arte Moderna de São Paulo em 1976, 1979 e 1982, depois a pesquisa foi ampliada para as demais mostras nacionais de tapeçaria: Primeira Mostra de Tapeçaria Brasileira, realizada no Museu de Arte Brasileira da Fundação Armando Álvares Penteado, em 1974; e Evento Têxtil 85, realizado no Museu de Arte do Rio Grande do Sul, em 1985. Nesse sentido pretendeu-se estabelecer quem foram seus principais artistas, e apresentar os discursos sobre tapeçaria produzidos na época. / This thesis aims to map mains coletive tapestry shows, which occurred between the 1960s and 1970s in Brazil. Thus, the Tapestry Triennials held at the Museum of Modern Art of São Paulo in 1976, 1979 and 1982 and then expanded the research for the other national tapestry exhibitions was expanded: First Brazilian Tapestry Exhibition held at the Museum of Art Brazilian Association of the Armando Álvares Penteado Foundation in 1974 and the Textile Event 85 held at the Rio Grande do Sul Art Museum in 1985. In this sense, it was intended to establish who were its main artists and present the speeches on tapestry produced at the time.

This thesis investigates the relationship between the social movement and theatre art in Turkey between 1960 and 1971 and investigates how the development of a dependent capitalism influenced the development of the classes and the political theatre. It tries to reveal the convergences between the political ideology of the classes, their organizations and the aesthetic ideology of the field of cultural production. While doing so it investigates the ties between the ideological and practical aspects of the class struggle, the artists&rsquo / aesthetic views and their relations of production.

In a university undergraduate dance department, students seem to be learning more than pirouettes and pas de bourees; students are learning how to construct their identities and present themselves as 'dancers'. As they progress through their undergraduate careers, the students are not only developing technical skills, but they are also learning the ins and outs of how dancers look, speak and behave. Based on three months of observation and in-depth interviews, it seems that developing into a dancer requires developing into an individual who shows unique commitment both to him/herself and to the art of dance itself. While many of the students enter the university focused on increasing their technical prowess measured in terms of turning ability, elevation in leaps, and flexibility, the older students in the program seem to be focused more on finding their own - individualized - standards of excellence, which frequently have little to do with technical 'tricks'.

Pour Boltanski et Chiapello (1999), la critique artiste a été récupérée par le capitalisme. La motivation repose aujourd’hui grandement sur certains principes au nom desquels il était critiqué dans les années 60. Pourtant n’existe-t-il pas dans certaines organisations artistiques des grandeurs, valeurs ou pratiques, des modes d’organisation et de vie commune, constituant un ferment critique qui n’a pas été récupéré par le capitalisme contemporain ? Une exploration de type ethnographique a été menée au sein d’Odin Teatret, au Danemark, une organisation où la critique artiste s’élabore et se vit. Nous avons observé et participé au total pendant six mois aux créations et activités de ce groupe hors norme. Dans un premier temps, en nous inspirant de la description dense de Geertz, nous avons constaté que, bien que parfois avec des formes et une acuité particulière, bien des ressorts décrits par Boltanski et Chiapello étaient à l’oeuvre mais que cependant certaines énigmes demeuraient. Abandonnant l’approche cognitive de Geertz pour celle plus réflexive et tournée vers les affects de Stewart, nous avons ensuite entrepris de poursuivre et re-décrire notre expérience en insistant sur le désir, la transformation, la présence, pour chercher une autre manière de faire sens, riche et affective, de l’activité à Odin. Dans un troisième temps, cette expérience à Odin est réfléchie grâce aux concepts de Stiegler. Nous comprenons alors que ce lieu est le théâtre de certains processus différents de l’entreprise capitaliste, fut-elle organisée en réseau. L’individuation psychique, collective et technique, le rôle du désir et d’une certaine économie libidinale, le rôle du non calculable, l’insistance de la recherche non de motivations mais de ce qui fait que la vie mérite d’être vécue… sont autant de facettes qui ne peuvent être que partiellement récupérées par l’économie capitaliste. Par ailleurs la présence, l’ouverture au possible, la créativité, peut-être même l’authenticité, demandent un entraînement long, répété et épuisant (exigeant). A la différence de la standardisation et de la pulsion dans la consommation, il s’agit de mettre son être en mouvement – non pour devenir une forme précise, mais cherchant le mouvement pour lui-même qui ouvre à la présence et à une intensité de vie. Une critique artiste, réinterrogeant ces éléments, peut toujours être présente, même virulente contre un capitalisme qui fait de nous des endormis et des corps stupides / [non communiqué]