Thesis (Ph.D.)--Pennsylvania State University, 2008. / Includes bibliographical references (leaves [202]-219)

This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.

Este trabalho tem como objetivo a análise de uma tipologia - os pavilhões, dentro de um caso singular que são os Pavilhões de Verão da Galeria Serpentine em Londres. Para se entender tanto a tipologia como o próprio programa desenvolvido em Londres, essa pesquisa se valeu de levantamento bibliográfico sobre o tema e sobre os projetos da Serpentine, assim como visita a um dos pavilhões e a obras do arquiteto desse projeto, o chileno Smiljan Radíc. Como ponto de partida foi usado como referência o autor Moisés Puente e o livro \"100 anos de pavilhões de exposição\", e na sequência, publicações sobre história da arquitetura e monografias sobre alguns arquitetos. Sobre a Galeria Serpentine, a pesquisa teve início com a publicação comemorativa aos dez anos do evento: \"Serpentine Gallery Pavilions\", do autor Philip Jodidio, assim como publicações sobre cada pavilhão. Por fim, foram levantadas as publicações monográficas sobre o arquiteto Smiljan Radíc, assim como sobre o pavilhão de 2014. Com isso, foi possível traçar um panorama sobre esses edifícios na história, e também reconhecer algumas das obras emblemáticas para a disciplina da arquitetura, e a partir daí, analisar as propostas que vem sendo desenvolvidas desde o ano 2000 por essa galeria de arte. Dessa forma, o pavilhão visitado em 2014 é apresentado juntamente com a obra do seu autor em uma investigação sobre o campo ensaístico desse arquiteto, campo esse também verificado na análise de alguns dos pavilhões mais significativos da história. / This paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.

The initial gesture One response An instant of recognition The manifestation of an idea Another reality THE SKETCH / Master of Architecture

A lot of research on the experience of atmosphere uses physical measurements. However, a recognised idea among lighting designers is that these physical values and the experience of light is not always the same, which makes it relevant to work more with visual observations to understand and analyse spatiality and the effects of light. The purpose of the study was to investigate how spaciousness and atmosphere in museum and art gallery environments can be linked to their lighting and art. This is to provide an increased understanding of how light affects spatiality and how it relates to the room’s atmosphere, and to be able to see how the atmosphere is experienced in connection with the exhibits. The study was conducted through visual observations during site visits, for each evaluated room at each museum and art gallery. The rooms were analyzed using the PERCIFAL and Branzell methods, but the values of illuminance, color temperature, color rendering index, and spectral power distribution were also documented. Additionally, an online survey was sent out to collect further data concerning the experience of atmosphere. Part 1 was quantitative and focused on atmosphere words and was judged on a 7-point scale, while Part 2 was qualitative and focused on the connection between the exhibited object and the room. Here, the respondents responded in text form. The result of the study shows that the experience of atmosphere is affected by the interplay between light and spatiality, and that it is not one lone parameter that is decisive. The respondents thought that an interplay between atmosphere and the exhibited object could elevate the experience of art, and that light was a big part of how the room and its atmosphere was experienced. This shows that there are opportunities to work more with lighting in gallery spaces to create an atmosphere that connect more with exhibitions and objects. The study was limited to art-related exhibitions in Sweden. Due to the study was conducted in a very specific context it can not be said with certainty to be generally valid, though parts of the result pertaining to the atmosphere affecting parameters are likely able to use in other situations. / Mycket forskning om atmosfärsupplevelse använder sig av fysikaliska mätningar. En vedertagen idé bland ljusdesigners är dock att fysikaliska värden och det upplevda ljuset inte alltid är detsamma, vilket gör att det blir relevant att arbeta mer med visuella observationer för att förstå och analysera rumslighet och ljusets påverkan. Syftet med studien var att undersöka hur rumslighet och atmosfär i musei- och konsthallsmiljöer kan kopplas till deras belysning och konst. Detta för att ge en ökad förståelse kring hur ljuset påverkar rumsligheten och hur det anknyter till rumsatmosfären, samt att kunna se hur atmosfären upplevs i anknytning till utställningsföremålen. Studien utfördes genom visuella observationer under platsbesök i respektive rum för varje museum och konsthall. Rummen analyserades genom metoderna PERCIFAL och Branzellmetoden, men även fysikaliska värden som belysningsstyrka, färgtemperatur, färgåtergivning och spektralfördelning dokumenterades. Slutligen skickades en digital enkät i två delar ut. Del 1 var kvantitativ och fokuserade på atmosfärsord och bedömdes på en 7-gradig skala, medan Del 2 var kvalitativ och fokuserade på kopplingen mellan utställningsföremålet och rummet. Här hade respondenterna möjligheten att svara i textform. Resultatet i studien visar att atmosfärsupplevelsen påverkas av samspelet mellan ljus och rum, och att det inte är en enskild parameter som avgör. Respondenterna ansåg att ett samspel mellan atmosfär och utställningsföremål kunde förhöja upplevelsen av konst och att ljus hade en tydlig påverkan för hur rummet och dess atmosfär uppfattades. Detta visar på att det finns möjligheter att arbeta mer med ljus i utställningslokaler för att skapa en atmosfär som samspelar mer med utställningar och utställningsföremål. Studien har begränsats till enbart konstutställningar på museer och konsthallar i Sverige. Utifrån att detta arbete genomfördes i denna specifika kontext kan det inte med säkerhet sägas vara generellt giltigt, men vissa delar av resultatet kring de atmosfärspåverkande parametrarna är sannolikt möjliga att överföra i andra situationer.

This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.

Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished

Si la fascination incitée par l'art se montre incontestable, son autonomie en tant que sphère de la vie sociale, qui existe par lui-même et en lui-même ne se confirme pas. Selon de nombreux sociologues, l'art, comme toutes les activités humaines, se construit socialement et ne se présente pas exclusivement liée à des éléments essentiellement esthétiques. Dans cette perspective, des artistes, des experts en général, commissaires-priseurs et les acheteurs jouent leur rôle sur le marché de l’art visuel. Le but de ma recherche doctorale est d'analyser le marché de l’art contemporain à Rio de Janeiro et São Paulo entre 2010 et 2013. Grâce à ce circuit de production et de circulation d’oeuvres d’art, nous allons analyser l'insertion, l'influence de ces parties prenantes exercent sur le monde de l’art contemporain et la relation qu’ils cultivent entre eux. En outre, nous allons explorer les similitudes et les différences entre le marché de l'art dans les deux plus grandes villes du Brésil et d'autres villes à l'étranger, en particulier le marché de l'art à Paris. / The writing of Clarice Lispector is inhabited by a deep tension to rapture. This term, which may correspond to the Brazilian words êxtase, enlevo, is not common in the lexicon of Lispector; however, we chose to build a question observing the multiple occurrences of ecstatic figures which belong to her work. First, the rapture unfolds as a fracture in the temporality plan: it tears the opacity of the daily life, exposing the female protagonists of Lispector’s stories and novels to a different order of meaning and of reality, placing them outside the scope of understanding. The tension triggered by this rupture, the (des)encontro, leads the speech into a space that is, in Lispector’s terms, behind the thought. This work explores the possibility of addressing some of Clarice Lispector’s texts to highlight the range and depth of the tension which characterizes rapture, pursuing the highly non-thinking power of the writing of Clarice Lispector: its hieroglyphic character. In this perspective, the work of the Brazilian writer can be (re)thought as a struggle toward the not knowing, to which the writer refers in her text Água Viva (1973) as « thought behind the thought ».

[ES] La talla es uno de los procesos escultóricos más antiguos. Se trata de una técnica sustractiva en la cual, partiendo de una masa sólida, se da forma a la materia mediante el corte, cincelado o abrasión. Este medio, que se popularizó en el pasado y fue preferido por artistas como Fidias, Miguel Ángel, Brancusi o Barbara Hepworth, implica un proceso lento y laborioso, un desarrollo pausado. Es, en este sentido, un quehacer disonante en el contexto social actual, cuyo modo de vida, rápido y agitado, no lo asumiría con naturalidad en el sistema artístico. Y su uso, en el arte de hoy, ha decaído hasta condicionarlo con la expresión "estar pasado de moda". Esta investigación analiza, desde aproximaciones cuantitativas y cualitativas, lo que se configura como un corpus documental para presentar una guía de artistas contemporáneos, cuyas poéticas siguen mostrando el protagonismo de este tipo de procedimiento escultórico. De este modo, intentamos argumentar razonadamente que no solo resiste al paso del tiempo, sino que ha logrado adaptarse a nuestro contexto creativo actual. / [CA] La talla és un dels processos escultòrics més antics. Es tracta d'una tècnica subtractiva en la qual, partint d'una massa sòlida, es forma la matèria mitjançant el tall, el cisellat o l'abrasió. Aquest mitjà, que es va popularitzar en el passat i que va ser el preferit d'artistes com Fídies, Miquel Àngel, Brancusi o Barbara Hepworth, implica un procés lent i laboriós, això és, un desenvolupament pausat. En aquest sentit, és una tasca dissonant en el context social actual, atés que, la manera de viure actual, ràpida i atrafegada, no ho assumiria amb naturalitat en el sistema artístic. A més, el seu ús, actualment, ha decaigut, fins al punt d'haver estat etiquetada com una tècnica "passada de moda". En aquesta investigació s'analitza, des d'aproximacions quantitatives i qualitatives, el que es configura com un corpus documental, per tal de presentar una guia d'artistes contemporanis, les poètiques dels quals segueixen mostrant el protagonisme d'aquest tipus de procediment escultòric. D'aquesta manera, intentem argumentar raonadament que aquesta tècnica no sols resisteix al pas del temps, sinó que ha aconseguit adaptar-se al context creatiu actual / [EN] Carving is one of the oldest sculptural processes. It is a subtractive technique through which starting from a solid mass the material is shaped by the cutting, the chiseling or the abrasion. This means, which became very popular in the past and which was preferred by artists such as Phidias, Michelangelo, Brancusi or Barbara Hepworth, involves both a slow and laborious process and also a measured development. According to this, it is a dissonant work in the contemporany social context, whose fast and hectic lifestyle would not assume it as a natural issue into the artistic system. Moreover, its use in today's art has declined such an extent that these days it is considered as"out of fashion". This research analyses what it is configurated as a documentary corpus from both qualitative and quantitative approaches, in order to introduce a guide of contemporary artists whose poetics go on showing the importance of this kind of sculpture technique. In this way, we are trying to argue thoughtfully that it has not only resisted the passage of time but it has also been able to adapt it to our current context. / Samo Terrasa, A. (2022). La talla en el mercado del arte en Europa Occidental. Una revisión de la actualidad (2018-2020) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/189152

The Situation. Downtown. An alleyway and adjacent building form the volumetric parametric parameters for a hypothetical, semi-urban addition. The Program. A synthesis of bookstore, art gallery, and cafe outlines the necessary conditions to be featured in the proposed building. The Strategy. To actualize each element of the program while attempting to construct, through minimal intervention, a space which maximizes the cross-sectional aspects of the situation and the internal organization of the program. / Master of Architecture