Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994. / Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1987. / Document électronique également accessible en format PDF. CaQCU

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. [54]-55. Document électronique également accessible en format PDF. CaQCU

Contemporary art spaces are typically structured in accordance with a visual paradigm. However, sound has the capacity to leak into other spaces and does not conform to visual logics. Still, sounding artworks are frequently presented in these spaces. Thus, the aim of this thesis is to examine the effects of leaking sounding works within art spaces with an emphasis on the sensory experience of sound, and to further the understanding of how this can be operationalised curatorially. The research is focused on these questions: How is sound operating to produce experiential effects in the respective exhibition situations? What are the transformative potentials of sounding works in art spaces? What are the curatorial implications of these effects? The study investigates two cases, the exhibitions Mother Courage and Her Children (2022) and Undamming Rivers (2022) that both provide examples of the interactions of sounding works in contemporary art spaces. The material is gathered through observation and analysed using the theory of performativity. The analysis defines a set of terms that describe different experiences of sounding works in the art spaces. Furthermore, these effects are shown to operate transformatively on the art event as aspects of a contemporaneous production and reception of the art. The concluding discussion elaborates on the curatorial implications of these terms in the curation of sounding works to show how sonic leakage facilitates definition of space, movement through space, and a layering of experience.

Wie formen die Raumgestaltungspraktiken von Künstlern städtische Räume? Wie ist es möglich, dass Kunsträume ohne kommerzielle Galleriestrukturen im städtischen Wettbewerb überleben? Welche Konzepte, Strategien und Formen nehmen sie an? Wie sind diese urbanen Auseinandersetzungen im Hinblick auf den umfassenden Zwang zur Kreativität oder das neue Mobilitätsparadima aufgestellt? Und was verraten diese räumlichen Konsequenzen dieser Praktiken über die städtischen Möglichkeitsräume? Die Kritiken der vergleichenden Stadtforschung werden operationalisiert um diese Fragen zu beantworten. Statt Peking und Berlin kategorisch als Orte des Vergleichs voneinander zu trennen, wird eine breite Ontologie des Urbanen als Bezugsraum etabliert, um über die Kunsträume in ihrer Verbundenheit nachzudenken. Unter Verwendung einer engen Definition von Kunsträumen besteht die qualitative Feldforschung aus Interviews, Beobachtungen vor Ort und interpretativer Bündelung von Themen. Die empirischen Ergebnisse sind um konzeptuelle Motivationen, Raumgestaltungstrategien und räumlich-zeitliche Folgen der Kunsträume organisiert. Vom empirischen Material rückwärts theoretisierend wird der Mythos der „Frontier“ als Legitimation für Eroberung durch der Narrative von Erkundung und Zirkulation neu betrachtet - die „Frontier“ als Möglichkeit des Fortschritts wird durch eine Vorstellung von phoretischen Beziehungen in einem Raum nomadischer Kreuzfahrt ersetzt. Diese Konzepte bieten durch ihre Illustration eine alternative Interpretation von Mobilität als konstituierender Aspekt von Raum statt Mobilität zwischen Räumen an. Kunsträume als Möglichkeitsräume zu betrachten fordert Wahrnehmungen von Unvermeidlichkeit heraus, beschwört aber auch Risiken herauf, etwa in Form einer isolationistischen Geste. Schließlich wird eine Reflektion des heuristischen Präsentismus‘ der Studien von Mobilität verbunden mit einem Aufruf für mehr Längsschnittsmethodologien. / How do artists’ place-making practices shape urban space? How is it possible that art spaces with no commercial gallery structure survive in the competitive urban arena? What concepts, strategies and forms do they take? How are these urban contestations situated with regards to the ubiquitous creativity imperative or the new mobilities paradigm? And what do the spatial consequences of these place-making processes reveal about the urban spaces of possibility? The comparative urbanism critiques are operationalized to address these questions. Rather than categorically dividing Beijing from Berlin as comparative sites, a broad ontology of the urban as a relational space is established to think about the art spaces in connection to one another. Employing a narrow definition of art spaces, the qualitative fieldwork is comprised of interviews, on-site observation and interpretive clustering around themes. The empirical results are organized around conceptual motivations, place-making strategies and spatio-temporal consequences. Theorizing back, the myth of the urban frontier as a legitimation of conquest through the figure of the pioneer is reconsidered through narratives of exploration and circulation; the urban frontier as progressive possibility is displaced with empirically-sourced ideas of nomadic cruise ship space and phoretic relationships. These concepts offer an alternative to understanding mobility between places, through its illustration of mobility as constituted by a particular kind of place. Considering art spaces as spaces of possibility challenge perceptions of inevitability, but also evoke risks, such as the isolationist gesture. Finally, a reflection on the heuristic presentism of studying mobility is coupled with a call for more longitudinal methodologies in order to achieve a better balance for a comparative approach that overcomes presumed categories of difference without ignoring historically constituted structures of power.

Thesis (M. Arch.)--University of Tennessee, Knoxville, 2009. / Title from title page screen (viewed on Mar. 11, 2010). Thesis advisor: William Rudd. Vita. Bailey appendix II.pdf (18364 KB) link located at bottom of [Article summary page]. Includes bibliographical references.

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Made available in DSpace on 2016-03-15T19:42:27Z (GMT). No. of bitstreams: 1 Elaine Mathias da Silva.pdf: 12187224 bytes, checksum: 29f7a16c156ee18771f4defd71a1cf51 (MD5) Previous issue date: 2012-08-02 / This research project is aimed at delivering the outcomes of a study on the presence of contemporary works of art in multidisciplinary art exhibition spaces, and the dimensions assumed by them there. These places are unrelated to the neutrality of the white cube a term used to name spaces which are specifically set to host art exhibitions. In order to attain this goal, the development of this research paper is supported by the procedures and initiatives taken to make art exhibitions possible in the spaces previously mentioned, attempting to clarify the relational aspects that have grounded the curatorial actions as well as the artistic poetics which turned out to be part of the institutional collection. In this sense, the function that an institution can fulfill as a mediator space for art is investigated, and the circumstances where the curatorial critical position and bias adopted to select the works of art are made relevant, permeating the instances which articulate the art system: production, communication, reception. The research project is presented as a reflection on the curatorial activity that has involved artistic poetics entirely formulated in relation to multidisciplinary spaces belonging to three SESC s branches in São Paulo city, which started operating between 2010 and 2011 and have been inserting Brazilian contemporary works of art in several places which house its social cultural actions. Its purpose is to assess the art object as a factor of interaction and knowledge, as well as the institution s role in educating the audience on contemporary art. / Esta pesquisa destina-se a apresentar um estudo relativo à presença de obras de arte contemporânea e as dimensões que estas assumem em espaços expositivos de característica multidisciplinar, espaços portanto desvinculados da neutralidade do cubo branco termo que denomina o espaço específico para exposições de arte. Para tanto, a pesquisa tem como subsídio de seu desenvolvimento, os procedimentos e iniciativas realizados para exposição de obras em tais espaços, procurando esclarecer os aspectos relacionais que fundamentaram a ação curatorial bem como as poéticas artísticas que passaram a integrar um acervo institucional.Neste sentido, é investigada a função que uma instituição pode exercer como espaço mediador da arte bem como as circunstâncias que relevam o posicionamento e o viés curatorial e crítico na seleção de obras, permeando as instâncias que articulam o sistema de arte: produção/comunicação/recepção. Apresenta-se como reflexão da atividade em curadoria que envolveu poéticas artísticas formuladas com relação imediata aos espaços multidisciplinares de três unidades operacionais do SESC na capital de São Paulo, as quais iniciaram suas atividades entre 2010 e 2011, inserindo obras de arte brasileira nos múltiplos ambientes que abrigam suas ações socioculturais. Tem como proposição acentuar o objeto artístico como fator de interação, de conhecimento e o papel institucional na formação de público para a arte contemporânea.