É perceptível a tendência contemporânea da multifuncionalidade do objeto e do espaço. Este último desdobra-se e desconstrói-se em ambientes inter ou não-relacionados, agregando funções num mesmo lugar. Se o espaço mais óbvio para se encontrar arte e história é em uma galeria ou em um museu, é de se estranhar que estabelecimentos comerciais possam atuar nesta função artístico-cultural. Neste caso, é quase imediato pensar que esta ação poderia ser exercida deficientemente ou que alguma forma de lucro estaria fortemente envolvida. Mas há exceções; são locais onde não só o objeto deve ser tocado, sentido, experienciado como nas instalações artísticas contemporâneas como o ingresso a eles é sempre livre. Como em galerias e museus, a exposição do objeto é primordial, podendo fazer parte de um cenário original e preservado, reconstituído ou quase teatral, onde esta recepção estética apoia-se também em um conjunto de informações e interações com seu espectador. Quando a arquitetura do lugar também destaca-se, especialmente se tombada pelo patrimônio histórico e artístico (ou com possibilidades de ser), torna-se quase impossível somente se ater a uma única atividade exercida no local e não ao conjunto em si. As relações e fusões entre estabelecimentos comerciais com alguns artifícios e técnicas museológicas, através de desdobramentos tais como loja-museu, loja de museu e loja-galeria são objetos desta pesquisa, onde procura-se não só refletir sobre a abrangência dos lugares culturais, como sobre a identidade de uma cidade através do comércio local. A opção por modos de pesquisa diversos textuais, iconográficos e de campo foi fundamental para a constatação do comércio como uma forma de cultura, sendo que os três estudos de caso, todos localizados na Cidade de São Paulo, possibilitam também verificar a necessidade de seleção para a explicação desta ocorrência, assim como a abrangência cultural através da descrição de práticas tanto em comum quanto bem diferentes entre si. Assim, o comércio associa-se à arte, ao design, à moda, à história, ao lugar e à identidade, constituindo-se também como uma demonstração a visões que negam ou excluem esta atividade como também sendo legitimamente cultural. / It is noticeable the contemporary tendency of the multifunctionality of an object and the space. The latter unfolds and deconstructs into inter or not related environments, aggregating functions in the same place. If the most obvious place to find art and history is in a gallery or in a museum, it is quite strange that commercial establishments are able to act in this artistic-cultural activity. In this case, it is almost immediate thinking about this action as one that could be defectively performed or that some kind of profit could be strongly involved. However, there are exceptions; they are places where not only the object must be touched, be felt, be experienced as in the contemporary installations art but also the ticket for them is always free. Like in galleries and museums, the exhibition of the object is primordial, being able to take part in a original and well preserved scenery, reconstructed or almost theatrical, where the aesthetic reception is also based upon a combination of information and interactions with the spectator. When the architecture of the place is remarkable too, especially if it is under governmental trust as a historic or artistic heritage (or it has great possibilities), considering only one performed activity in this spot is almost impossible when there is a combination of them. The relations and fusions among commercial establishments with some museological resources and techniques - by the expansions such as shop-museum, museum shop, shop-gallery, are objects of this research, which attempts not only reflecting about the scope of cultural places but also about the identity of a city, observing the local trade. The option for different ways of research textual, iconographic and of field was fundamental for the confirmation of the commerce as a form of culture, observing that the three case studies, all localized in the City of São Paulo, also enable to verify the necessity of selection for the explanation about this occurrence, as well as the description about the cultural scope of practices both in common and unlike each other. Thus, there are associations between commerce and art, design, fashion, history, place and identity, constituting oneself also as a demonstration to visions which deny or exclude this activity as a legitimately cultural one too.

Située au centre du triangle formé par la France, les Pays-Bas et l’Allemagne, la Belgique est au cœur du réseau de diffusion des tendances conceptuelles dans les années 1970. La scène artistique belge est cependant sous-représentée dans les études consacrées à ce sujet. Il s’agit donc de montrer la place occupée par les travaux réalisés par Jacques Charlier, Jacques Lizène, Schwind et Alain D’Hooghe entre 1969 et 1974, en les analysant à la lumière des œuvres, mais aussi des textes qui ont contribué à la définition de l’art conceptuel. Cette approche permet de voir qu’ils en utilisent les codes afin de mettre en évidence leur position extérieure à ce réseau, tout en démontrant leur connaissance des débats provoqués par cette nouvelle manière de définir l’art. Au moyen des stratégies subversives puisées dans l’histoire du surréalisme belge, ils y participent en testant dans la pratique les limites de cette définition. Reconsidérer leur situation par rapport aux centres amène ainsi à réévaluer la position occupée par les travaux de ces artistes au sein des conceptualismes européens / Located in the centre of the geographical triangle formed by France, the Netherlands and Germany, Belgium is a merging point in the network that developed the conceptual art trends in the Seventies. The Belgian art scene is, however, under-represented in the critical and academic studies on this topic. The aim of this PhD thesis is therefore to show the relevance of the works by outstanding Belgian artists - Jacques Charlier, Jacques Lizène, Schwind and Alain D'Hooghe - between 1969 and 1974 in the light of those of conceptual art, but also in relation to the essays that have contributed to define it. Although their awareness of the international debate and even if they made use of the conceptual art codes, this comparative approach allows to underline how the above mentioned Belgian artists positioned their practices and how they operated independently from the main conceptual art network. Through subversive strategies inherited from Belgian surrealism, their works contributed to challenge the limit of the notion of conceptual art. To reconsider their stance leads to reassess the position of their work in the scope of the European conceptualisms

I advanced the understanding of particle morphology and its implications for the behavior and effects of atmospheric aerosol particles. I have developed new experimental methods for the Aerosol Optical Tweezers (AOT) system and expanded the AOT’s application into studying realistic secondary organic aerosol (SOA) particle phases. The AOT is a highly accurate system developed to study individual particles in real-time for prolonged periods of time. While previous AOT studies have focused on binary or ternary chemical systems, I have investigated complex SOA, and how they interact with other chemical phases, and the surrounding gas-phase. This work has led to new insights into liquid-liquid phase separation and the resulting particle morphology, the surface tension, solubility, and volatility of SOA, and diffusion coefficients of SOA phases. I designed a new aerosol optical tweezers chamber for delivering a uniformly mixed aerosol flow to the trapped droplet’s position. I used this chamber to determine the phase-separation morphology and resulting properties of complex mixed droplets. A series of experiments using simple compounds are presented to establish my ability to use the cavity enhanced Raman spectra to distinguish between homogenous single-phase, and phase-separated core-shell or partially-engulfed morphologies. I have developed a new algorithm for the analysis of whispering gallery modes (WGMs) present in the cavity enhanced Raman spectra retrieved from droplets trapped in the AOT. My algorithm improves the computational scaling when analyzing core-shell droplets (i.e. phase-separated or biphasic droplets) in the AOT, making it computationally practical to analyze spectra collected over many hours at a few Hz. I then demonstrate for the first time the capture and analysis of SOA on a droplet suspended in an AOT. I examined three initial chemical systems of aqueous NaCl, aqueous glycerol, and squalane at ~ 75% relative humidity. For each system I added α-pinene SOA – generated directly in the AOT chamber – to the trapped droplet. The resulting morphology was always observed to be a core of the initial droplet surrounded by a shell of the added SOA. By combining my AOT observations of particle morphology with results from SOA smog chamber experiments, I conclude that the α-pinene SOA shell creates no major diffusion limitations for water, glycerol, and squalane under humid conditions. My AOT experiments highlight the prominence of phase-separated core-shell morphologies for secondary organic aerosols interacting with a range of other chemical phases. The unique analytical capabilities of the aerosol optical tweezers provide a new approach for advancing the understanding of the chemical and physical evolution of complex atmospheric particulate matter, and the important environmental impacts of aerosols on atmospheric chemistry, air quality, human health, and climate change.

This thesis examines the media coverage and image of the National Gallery in Prague from 2010 till 2013. During this period, in 2011 Milan Knížák was removed from the post of Director of the National Gallery where he was since 1999. He was replaced by Vladimír Rösel, who was dismissed in 2013, Vít Vlnas was designated the director of the gallery in his stead. Jiří Fajt was selected as the Chief Director in July 2013, but he wasn't appointed until July 2014. The main source for research will be relevant articles published in the selected press (Lidové noviny, Právo, Mladá fronta DNES, Hospodářské noviny). The aim of the thesis is to describe and analyze the way the media reported about events related to the management of the National Gallery in Prague. It will try to answer the question why this institution is given such weight and importance as to whether it is related to the concept of "national" in the name of the gallery. This can evoke the connection with other institutions that have this word in the name. There are some expectations connected to this "national" title, but there are also certain responsibilities associated with that. The work will also look at the media space given to the gallery's leadership and how the media express themselves considering this subject. This can fundamentally...

Notre étude vise à interroger le goût artistique des financiers du xviiie siècle, à travers l'analyse de leurs comportements face aux différents acteurs du monde de l'art. qu'ils soient financiers collectionneurs, financiers amateurs, financiers artistes, ou encore financiers mécènes, ces manieurs d'argent, parfois jalousés, parfois adulés pour leur fortune, évoluent dans une sphère complexe, où rivalité et excentricité mondaine se mêlent aux codes de bienséance et de magnificence de la société nobiliaire. sévèrement critiqués au xviiie siècle, les financiers du siècle des lumières sont pleinement réhabilités dans la société, grâce, peut-être, à leur conformisme avec les us et coutumes de leurs contemporains. cherchant à égaler leurs semblables dans le paraître, nous pouvons nous interroger sur la manière dont les financiers, qu'ils soient fermiers généraux, receveurs des finances ou encore trésoriers, collectionnent leurs œuvres. ainsi, existe-t-il une manière ' financière ' de collectionner / Our study aims at questioning the artistic taste of the financiers of the eighteenth century, through the analysis of their behaviors vis-a-vis the different actors of the world of art. Whether financial collectors, financial amateurs, financial artists, or financial sponsors, these money handlers, sometimes jealous, sometimes adulated for their fortune, evolve in a complex sphere, where rivalry and eccentricity mundane mingle with the codes of decency And the magnificence of the noble society. Severely criticized in the eighteenth century, the financiers of the age of enlightenment were fully rehabilitated in society, perhaps thanks to their conformity with the habits and customs of their contemporaries. Seeking to equal their fellows in appearance, we may question the manner in which the financiers, whether general farmers, receivers of finance, or even treasurers, collect their works. Thus, is there a 'financial' way of collecting

In the last 30 years in the world of art increased the need to implement the economic strategies for the administration of non-profit organizations. The aim of the thesis is to describe to the readers the application of the marketing tools in the field of gallery management. The thesis consists of three parts. The first part concerns the development of museology and the situation of culture in Czech Republic. In the second part the thesis deals with the development of art marketing and the way in which the world of art perceives the basic differences between product and customer. The third part is the analytical part. It analyzes the different ways in which specific applications of marketing tools are used in five selected Prague galleries. The goal of the thesis is also to illustrate the situation of galleries in Prague and the revision of some basic elements needed to improve their competitiveness in Europe.

The aim of the thesis was to analyze the situation in contemporary Slovak art market and the characteristics of entities dedicated to the sale of works of art.This work deals with specific marketing problems in this area. At the end of the analyzed Matica slovenska as an important institution with a long tradition.

The thesis is focused on development of exhibition activity in Telč with emphasis on the present situation. It keeps an eye on the influence of exhibitions on tourism in the town and suggests measures that could lead to great interest in Telč's exhibitions.

This theses focuses on fulfilling of the potential of cooperation between volunteers and the four biggest museums and galleries in the Czech Republic (The National Museum, The National Gallery, The Moravian Museum and The Moravian Gallery). As an inspiration and comparison, the situation in The British Museum in London is addressed. The main hypothesis is that there are so few volunteers in the four mentioned institutions because they cannot and do not want to cooperate with volunteers properly and they do not even understand the basic idea of volunteering. The main aim of this theses is to identify the main barriers in the relationship and cooperation of volunteers and the four Czech museums and galleries and to provide recommendations for elimination of these problems and for improvement.

The master's thesis deals with the marketing potential of the recent art work fairs. The aim of the thesis was to analyse the potential of the fair trades with the emphasis on the benefits of participation for the Czech private galleries in such fairs. The thesis also deals with the fair as one of the communication mix tools, which shall serve to achieve the marketing and communication goals and presents the relationships between the participants in the art work market. The advantages of the participation in recent art work fairs were analysed through the method of interview comparison with the gallery owners and employees. The analytical part covers the analysis of the participation of a Czech private gallery in an international recent art fair and presents the barriers of entry for Czech galleries in such fairs. With regard to the results of the analysis the measures were recommended that would lead to more effective usage of the marketing potential of the recent art fairs.