This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.

This is about acting from a situation, a place, its conditions and its actors. It is an attempt to understand the ongoing transformations of the city of Umeå, to grasp how it functions and gain the knowledge to be able to act within and suggest new possible futures. By looking at Umeå and the current situation with the parking lot as an index, a tool, a laboratory, and a possible new common, new ways of building the city while living within it will be suggested. The non place of the parking lot with its singular purpose is part of the mechanisms that makes our city, at the same time it is the effect of this city making and it is also a great place to start a change of such system. The 2.5x5 meters that makes a parking lot is small in comparison with the city, and even more so in comparison with the country or the world, but the size also makes it possible to grasp, touch and inhabit. The smallness makes it seem rather innocent and without much importance but the power lies within its multiplicity. A change within a parking lot might not be much, but the possibility of spreading throughout the city and the world makes the parking lot a very powerful place. Since humans can sometimes be creatures of habit, I believe that it is extremely important to keep on questioning the way we inhabit the world together. Widely spread and accepted habits can start acting like dysfunctional natural laws steering us in a direction we might not have chosen if alternatives were presented to us. By investigating and testing the possibilities of such a bland and unquestioned place as the parking lot, I am looking to find glimpses of alternative ways of making the world while living it.

This thesis investigates the work of the Canadian artist and filmmaker Joyce Wieland (1930-1998) from the late 1960s to the mid-1970s in relation to its historical conditions of production and considers both her film and non-film work, including quilts, embroidery and prints. To examine these artistic media together not only provides a means to re-contextualize Wieland’s work, but rethinks disciplinary boundaries and contributes to a renovation of both art historical and filmic methods of critical inquiry. Wieland’s work from this period serves as an exemplary case study of the ways in which female artists have consistently had to negotiate contemporaneous constructions of femininity/feminism, modernity, and representation in relation to their art practice. I argue that Wieland consistently explored, through aesthetic means, the terms by which contemporary re-conceptualizations of gendered, classed, and raced identities were being defined as new national subjects within the Canadian nation-state. I begin by outlining the ways in which Wieland’s work as been constructed within the dominant narratives of Canadian art and film, and argue that the disciplines that generated them, with their formalist and textual foci, inhibit larger discussions of the historical, political and cultural contexts of Wieland’s art production. Each chapter subsequently examines an identity that emerged as a collective during the late 1960s in Canada –women, the working classes, French Canadians, and aboriginal peoples– that Wieland aesthetically explores. Through her engagement with second-wave feminism, the development of the New Left in English and French Canada, Québécois nationalism, and shifting notions of aboriginal identity, Wieland’s art production visually materializes the intersection of feminism and nationalism –discourses that were actively circulating in Canada during this period. / Thesis (Ph.D, Art History) -- Queen's University, 2007-12-21 06:48:06.423

Five graduate students from the Marital and Family Art Therapy Program at Loyola Marymount University (LMU) conducted a research study to explore the characteristics and attributes of collective art practices and how they contribute to healing. A survey including quantitative measures and qualitative responses were administered on the Qualtrics platform, allowing for a wide geographic reach and rapid data collection. The subsequent qualitative analysis involved the creation of visual artworks by the researchers, utilizing the arts as data to identify additional common themes contributing to healing attributes. The data revealed three major themes, or characteristics, of how art contributes to healing: (1) shared collective experience, (2) validation and space for emotional expression, and (3) art as a conduit of healing. These three themes were recurrent throughout the responses and emerged from participants' responses to three specific questions, driven by a curiosity about the attributes and experiences involving art and community. The results gathered not only provided parallel alignment with significant deviation from those gathered during the literature review, but also shed light on the profound impact of creative expression in fostering well-being, cultivating interpersonal connections, and promoting emotional healing within collective settings. This insight offers valuable guidance for future researchers and art therapists, emphasizing the importance of incorporating collective healing elements into their practice and theoretical frameworks.

Praxis queer s'intéresse à l'utilisation de pratiques artistiques au sein du militantisme queer. La réflexion s'organise en trois axes : artistique, militant, et quotidien. L'axe artistique analyse les techniques d'invention de soi, de subversion des normes corporelles, sexuelles et de genre. Les militant-es établissent des jeux entre la performativité et la performance. L'axe militant met en évidence l'utilisation de l'art en tant qu'outil de lutte queer, ce qui questionne les stratégies de lutte et l'efficience politique de l'art. Le troisième axe se concentre sur les pratiques quotidiennes de résistance. Ces pratiques sont analysées à la fois sous l'angle de la micropolitique et de la performance artistique, questionnant les limites de l'art. Certains thèmes transversaux se retrouvent dans ces trois axes : la performance, l'enjeu des archives au sein des luttes queers, l'utilisation militante des nouvelles technologies et la figure du cyborg. De nouveaux enjeux du militantisme queer, comme les affects, l'écologie et l'anticapitalisme, sont abordés. Cette thèse est un geste militant. Elle s'adresse autant au monde universitaire qu'aux activistes et elle correspond à un engagement personnel. Elle se base sur des entretiens réalisés avec des militant-es de France et d'Espagne. Ces entretiens sont utilisés de façon à valoriser les savoirs militants et à les mettre en parallèle du savoir "légitime" que représentent les auteur-es comme Judith Butler, Jack Halberstam, Paul Preciado ou Amélia Jones. Les outils de l'histoire des arts sont utilisés pour analyser des actions militantes. La dimension politique ou militante des oeuvres est systématiquement analysée. / Praxis queer questions the use of artistic practices in queer activism. The reflection is organized around three lines of thought : artistic, militant, and daily life resistance. The artistic axis analyses the techniques of self-invention and subversion of corporal, sexual and gender norms. Activists establish games between performativity and performance. The militant axis highlights the use of art as a tool of queer activism, which interrogates the strategies of struggle and the political efficiency of art. The third axis focuses on daily life resistance practices. These practices are analysed from both a micropolitical and artistic performance point of view, questioning the limits of art. Some cross-disciplinary themes can be found in these three areas : performance, the issue of archives in queer struggles, the militant use of new technologies and the figure of the cyborg. New issues of queer activism, such as effects, ecology and anticapitalism, are discussed. This thesis is a militant act. It is dedicated to academics as well as activists and is a personal involvement. It is based on interviews with activists from France and Spain. These interviews are analysed in such a way that it enhances militant knowledge and put it in parallel with the "legitimate" knowledge represented by authors such as Judith Butler, Jack Halberstam, Paul Preciado or Amelia Jones. The tools of art history are used to analyse militant actions. The political or militant dimension of works is systematically analysed.

To explore documenting practices in detail that use the time-based medium of film to engage with performance art’s negotiation of duration and disappearance, this article addresses Stuart Brisley’s and Ken McMullen’s 16 mm film “Being and Doing”. “Being and Doing” is an experimental, highly subjective documentation of live art practices of the late 1970s and early 1980s in Eastern and Western Europe. The film’s highly concentrated and rhythmically elaborate montage assembles photographs, sound recordings, footage of communal rituals, and artists’ performances with a voice-over narration by Brisley. Starting from a detailed analysis of particular montage sequences the article elaborates on the inventive aesthetics of “Being and Doing” as a conjunction of body art practices and a process-oriented mode of documentation, which is concerned with the frame as the essential constituent of film form.

Aboriginal arts practices in the southeast of Australia have, since the early years of colonisation, been rarely considered within the realm of authentic Aboriginal arts practices. Such attitudes were a reflection of the colonial encounter and associated attempts to assimilate the Aboriginal population with the White. This thesis explores Aboriginal arts practices and asserts that there has always been Aboriginal art in the southeast and that, despite the overwhelming effects of colonisation, the work of Aboriginal artists provides a distinct and definite counter-history to that endorsed by the dominant culture. Using published historical and contemporary accounts and recent interviews from Aboriginal artists and arts workers, this thesis investigates the continuation of the knowledge and practice of southeast Australian Aboriginal art and its connection to culture, identity and wellbeing. It explores the corresponding adaptations and changes to these practices as Aboriginal people contended with the ever-expanding European occupation of the region from 1834 onwards. / This project adopted a collaborative research methodology, where members of the Aboriginal arts community were consulted throughout the project in order to develop a study which had meaning and value for them. The collaborative approach combined an analysis of historical data along with the stories collected from participants. By privileging the Aboriginal voice as legitimate primary source material, alternative ways of exploring the history of Aboriginal art were possible. Although the story of Aboriginal art in the southeast is also one of tensions and paradoxes, where changes in arts practices frequently positioned art, like the people themselves, outside the domain of the ‘real’, the findings of this project emphasise that arts practices assist people with connecting and in some cases reconnecting with their communities. Aboriginal art in the southeast is an assertion of identity and wellbeing and reflects the dynamic nature of Aboriginal culture in southeast Australia.

A Lima, au XIXe siècle, au sein d’une quête identitaire locale et nationale, l’altérité de la population descendante d’Africains fut réélaborée notamment après l’abolition de l’esclavage (1854). Ce processus définit des représentations particulières attribuées aux noirs qui entrecroisaient à la fois des catégories socio-économiques et raciales liées à une histoire culturelle de la ville dite criolla. A travers un éclairage historique, cette thèse analyse cette construction de lo negro (ce qui est entendu comme noir) et étudie la réappropriation et la resignification de ces images. Au XXe siècle, à partir de la revalorisation d’expressions artistiques, plusieurs artistes révélèrent et revendiquèrent leurs origines africaines, réécrivant une narrative identitaire et définissant un corpus culturel singulier afro-péruvien. Celui-ci devint central pour les subjectivations identitaires des générations suivantes d’Afro-descendants. Ainsi, l’enquête ethnographique, auprès de jeunes péruviens, s’identifiant comme afro-péruviens, montre de quelles manières la narrative culturelle afro-péruvienne leur permet de renouer avec « leur histoire » et « leur culture ». Enfin, dans une dynamique globale d’affirmation de l’afro-descendance et un contexte politique national de reconnaissance de la diversité ethnique du pays, cette recherche analyse l’institutionnalisation de l’afro-péruvianité. En réponse aux enjeux issus de cette reconnaissance se développent des renégociations identitaires, principalement, au sein d’un espace militant afro-péruvien. En quête de légitimité, ces réélaborations identitaires ne cessent de réinventer la narrative afro-péruvienne en fédérant des expériences singulières et plurielles, et esquissant le projet d’un collectif afro-péruvien. / Within a context of local and national search for identity, in the 19th century, in Lima, the alterity of the Afro-descendant population was re-evaluated. This re-evaluation process defined the particular representations ascribed to the black population that criss-crossed both socio-economic and racial categories related to the cultural history of the town dubbed Criolla. Through a historical perspective, this thesis analyses the blackness construction and studies the reappropriation and redefinition of these representations. During the 20th century, with the revaluation of artistic expressions, many artists unveiled their African heritage through their expressions and claimed their African roots, establishing a singular Afro-Peruvian cultural corpus. It became a central and founding movement for the identity subjectivations of the next generations of Afro-descendants. Thus, the ethnographic investigation carried out on young Peruvians, identifying themselves as Afro-Peruvians, shows how the Afro-Peruvian cultural narrative enables them to reconnect with their ‘history’ and ‘culture’. Finally, in a global impetus of Afro-descendant’s assertiveness and a national political context of acknowledgement of the country’s ethnic diversity, this study analyses the institutionalization of Afro-Peruvianity. In response to the stakes caused by this acknowledgement, one notices the development of identity renegotiations. In the quest for legitimacy, while rallying historical figures of alterity, these identity re-evaluations keep on reinventing the Afro-Peruvian narrative, by unifying individual and group experiences, and by drafting the project of an Afro-Peruvian community. / En Lima, en el siglo XIX, en el contexto de una búsqueda identitaria local y nacional, la alteridad de la población afrodescendiente fue nuevamente elaborada luego de la abolición de la esclavitud (1854). Este proceso definió representaciones particulares atribuidas a los negros que entrecruzaban categorías socioeconómicas y raciales relacionadas a una historia cultural (criolla) de la ciudad. A través de una perspectiva histórica, esta tesis analiza esta construcción de lo negro y estudia una nueva apropiación y una nueva significación de estas imágenes.En el siglo XX, a partir de la revalorización de expresiones artísticas, varios artistas dieron a conocer la herencia africana y reivindicaron sus orígenes africanos, volviendo a escribir una narrativa identificatoria y definiendo un corpus cultural singular afroperuano. El cual se volvió central para los procesos del subjetivismo identificatorio de las generaciones futuras de Afrodescendientes. De esta manera, la investigación etnográfica con jóvenes peruanos, que se identifican como afroperuanos, muestra en qué medida la narrativa cultural afroperuana les permite reanudar con "su historia" y "su cultura".Finalmente, en una dinámica global de afirmación de la afrodescendencia y en un contexto político nacional de reconocimiento de la diversidad étnica del país, esta tesis analiza la institucionalización de la afroperuanidad y el desarrollo de negociaciones identificatorias en respuesta a los desafíos y tensiones nacidas de este reconocimiento político. En busca de legitimidad, estas reelaboraciones no dejan de inventar de nuevo la narrativa afroperuana federando experiencias singulares y plurales, y delineando el proyecto de un colectivo afroperuano.

[ES] La presente tesis doctoral aborda las prácticas artísticas colaborativas en la ciudad de Valencia durante la etapa de los gobiernos del Partido Popular de la Comunidad Valenciana a las instituciones local y autonómica, es decir, entre 1991 y 2015, estableciendo este marco espacial y temporal como el contexto de esta investigación. Este pasado reciente se define por una clara connivencia del ámbito de la política con un sector económico concreto que se materializará en operaciones urbanísticas que afectarán al territorio, en general, y a ciertos barrios en particular; también hay que destacar una serie de políticas espectaculares con el objetivo de situar a Valencia al frente del turismo internacional. El despilfarro de recursos económicos vendrá a socavar el bienestar de sus habitantes y a dejar de lado muchas de las necesidades ciudadanas por carencia de inver-siones. Esta política espectacular tendrá su oposición en una serie de movimientos, grupos, asocia-ciones vecinales o colectivos culturales que tomarán la calle con sus protestas y demandas. Esta investigación ha seleccionado algunos de los grupos activistas locales más representa-tivos para profundizar en el conflicto que dio lugar a su formación, sus demandas y su tra-yectoria. De este modo se cartografiará el terreno donde se han desarrollado prácticas ac-tivistas que podemos denominar prácticas artísticas colaborativas. Por otro lado, desde la vertiente artística, esta investigación postula la pertenencia de estas prácticas como prácticas artísticas justificando esta relación según una revisión de algunas tendencias artísticas contemporáneas como pueda ser el arte activista en el cual incluire-mos qué entendemos por prácticas artísticas colaborativas. Finalmente, la investigación empírica de estas prácticas se materializará en tres tipologías analíticas diferentes con el objetivo de concluir que estas actividades activistas facilitan la visibilidad del conflicto y al mismo tiempo pueden ser una herramienta de construcción o reconstrucción de la cohesión social de un barrio o de un grupo social en particular. De acuerdo con esta idea, el estudio concluye con la selección de una serie de prácticas artísti-cas colaborativas y su definición atendiendo a los parámetros más significativos, así como la puesta en relación de estas prácticas de calle con un conjunto de obras artísticas locales, nacionales e internacionales, como ejercicio de visibilizar las influencias mutuas. / [CA] La present tesi doctoral aborda les pràctiques artístiques col·laboratives a la ciutat de València durant l'etapa dels governs del Partit Popular de la Comunitat Valenciana a les insti-tucions local i autonòmica, és a dir, entre 1991 i 2015, establint aquest marc espacial i tem-poral com el context d'aquesta investigació. Aquest passat recent es defineix per una clara connivència de l'àmbit de la política amb un sector econòmic concret que es materialitzarà en operacions urbanístiques que afectaran al territori, en general, i a certs barris en particular; també cal destacar una sèrie de políti-ques espectaculars amb l'objectiu de situar a València al capdavant del turisme internacio-nal. El balafiament de recursos econòmics vindrà a soscavar el benestar dels seus habitants i a deixar de costat moltes de les necessitats ciutadanes per manca d'inversions. Aquesta política espectacular tindrà la seua oposició en una sèrie de moviments, grups, associacions veïnals o col·lectius culturals què prendran el carrer amb les seues protestes i demandes. Aquesta investigació ha seleccionat alguns dels grups activistes locals més re-presentatius per a aprofundir en el conflicte que donà lloc a la seua formació, les seues de-mandes i la seua trajectòria. D'aquesta manera es cartografiarà el terreny on s'han desenvo-lupat pràctiques activistes que podem denominar pràctiques artístiques col·laboratives. D'altra banda, des del vesant artístic, aquesta investigació postula la pertinença d'aquestes pràctiques com a pràctiques artístiques justificant aquesta relació segons una revisió d'algunes tendències artístiques contemporànies com puga ser l'art activista en el qual in-clourem què entenem per pràctiques artístiques col·laboratives. Finalment, la investigació empírica d'aquestes pràctiques es materialitzarà en tres tipologi-es analítiques diferents amb l'objectiu de concloure que aquestes activitats activistes facili-ten la visibilitat del conflicte i al mateix temps poden ser una eina de construcció o recons-trucció de la cohesió social d'un barri o d'un grup social en particular. D'acord amb aquesta idea, l'estudi conclou amb la selecció d'una sèrie de pràctiques artístiques col·laboratives i la seua definició atenent als paràmetres més significatius així com la posada en relació d'aquestes pràctiques de carrer amb un conjunt d'obres artístiques locals, nacionals i inter-nacionals, com a exercici de visibilitzar les influències mútues. / [EN] This doctoral thesis addresses collaborative artistic practices in the city of Valencia during the stage of the governments of the Popular Party of the Valencian Community to local and regional institutions, that is, between 1991 and 2015, establishing this spatial and temporal framework as the context of this research. This recent past is defined by a clear collusion of the field of politics with a specific eco-nomic sector that will materialize in urban operations that will affect the territory, in gen-eral, and certain neighbourhoods in particular; It is also necessary to highlight a series of spectacular policies with the aim of placing Valencia at the forefront of international tour-ism. The waste of economic resources will undermine the well-being of its inhabitants and put aside many of the citizens' needs due to lack of investment. This spectacular policy will have its opposition in a series of movements, groups, neigh-bourhood associations or cultural collectives that will take to the streets with their pro-tests and demands. This research has selected some of the most representative local activ-ist groups to deepen the conflict that gave rise to their formation, their demands and their trajectory. In this way, the terrain where activist practices have developed that we can call collaborative artistic practices will be mapped. On the other hand, from the artistic perspective, this research postulates the belonging of these practices as artistic practices, justifying this relationship according to a review of some contemporary artistic trends such as activist art in which we will include what we understand by collaborative artistic practices. Finally, the empirical investigation of these practices will materialize in three different analytical typologies with the aim of concluding that these activist activities facilitate the visibility of the conflict and at the same time can be a tool for the construction or recon-struction of the social cohesion of a neighbourhood or community. a particular social group. In accordance with this idea, the study concludes with the selection of a series of collaborative artistic practices and their definition according to the most significant pa-rameters as well as the relationship of these street practices with a set of local, national artistic works. and international, as an exercise to make mutual influences visible. / Martínez Biot, B. (2022). Pràctiques artístiques col·laboratives i protesta ciutadana. Valencia: 1991-2009 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/185191

The master’s dissertation is devoted to the researching of contemporary art in the city space. Yekaterinburg is the illustrative material for the theme of the research. The work is focused on the analysis of the forms and ways of existence for actual art practices in the city, as well as the establish an adequate research tools for their comprehension. The author turns to art history discourse, post-non-classical aesthetic theory and system approach and formulates basic methods of analysis of art practices in the city. Considering the city as an aesthetic phenomenon, the author shows the special role of the art-practices in shaping the image of the city and its experience by its citizens. The author insists on consideration art-practices in the city as partisipative art, which interacts with the viewers, including them in the space of artistic expression, as well as in the space of people's interactions with each other. The work reveals aesthetic and cultural transformations of the city with contemporary art. / Магистерская диссертация посвящена изучению актуального искусства в пространстве города, конкретизируя их функционирование в Екатеринбурге. Работа сосредоточена на исследовании форм и способов существования актуальных арт-практик в городе, а также выработке адекватного исследовательского инструментария для их осмысления. Автор обращается к искусствоведческому дискурсу, постнеклассической эстетической теории и системному подходу и формулирует основные способы анализа городских арт-практик. Рассматривая город как эстетический феномен, автор показывает особую роль арт-практик в формировании образа города и его переживания его жителями. Автор в исследовании настаивает на рассмотрении арт-практик в городе в качестве партисипаторных – взаимодействующих со зрителем, включающих их в пространство художественного высказывания, а также в пространство взаимодействий друг с другом. В работе выявляется эстетические и культурные трансформации, триггерами которых является современное искусство в городе.