Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en images. / To evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images.

Cette thèse se propose d’analyser la politique culturelle chilienne à partir des programmes proposés par le Conseil National de la Culture et des Arts (CNCA) destinés à favoriser l’accès des citoyens à la culture et le développement des pratiques culturelles de ceux-ci. L’accent est mis sur le rôle de la médiation culturelle dans ce processus, principalement dans les zones d’habitat les plus défavorisées du pays.Le thème de l’accès constitue, dès lors, le coeur de la problématique. Il permet d’étudier deux stratégies complémentaires du CNCA, d’une part, la volonté d’imposer un type d’art spécifique aux citoyens et, d’autre part, l’objectif de permettre le développement optimal de chaque communauté en diversifiant l’offre pour favoriser l’intensité des pratiques artistiques. Ainsi, le CNCA propose des outils mais les agents de médiation s’en emparent et leurs orientations politiques et idéologiques apparaissent telles des éléments déterminants.Cette recherche qualitative repose principalement sur des entretiens réalisés auprès d’agents de médiation, de spécialistes du domaine de la culture et des responsables des programmes du CNCA. Elle cherche à contribuer à une meilleure compréhension des processus de médiation, qu’il s’agisse des enjeux pour la communauté, en particulier du type de liens qui s’établissent avec les habitants des quartiers où ils sont mis en oeuvre, que des dispositifs sur lesquels l’Etat s’appuie. La recherche vise également à mettre en évidence le rôle que peut jouer la médiation dans la réduction des inégalités d’accès. Notre analyse se focalise ainsi plus particulièrement sur les agents de médiation et leur rôle dans l’identification et la résolution des tensions qui apparaissant entre les objectifs de ces programmes et les attentes de leurs participants en matière de pratiques culturelles et artistiques. Nous étudions aussi les formes de subjectivisation que ces derniers expérimentent.Les transformations que les programmes sont susceptibles de générer au sein des communautés font également l’objet d’une attention particulière afin d’identifier les principaux problèmes que soulève l’action de l’Etat lorsque celle-ci vise à générer des voies d’accès diversifiées à la culture afin de promouvoir une identité culturelle respectueuse de la culture spécifique de chaque groupe de population. / This thesis aims to analyze the Chilean cultural policy through the programs offered by the National Council of Culture and Arts (CNCA) to promote access for the citizens to culture and the development of cultural practices. The focus is put on the role that the cultural mediation has in this process, mainly in underprivileged sectors of society.The issue of access is, therefore, the heart of the problem in this area. It addresses two complementary strategies of the CNCA, on one hand, the intention to impose a specific type of art (high culture) toward citizenship, and on the other, the culture development of each community by means of diversifying culture offer and supporting artistic practices. Thus, the CNCA provides tools, but the success in these implementation by mediation agents depend of their political and ideological orientations not always in line with CNCA guidelines.This qualitative research is based mainly on interviews with mediation agents, subject experts and programs managers of CNCA. It seeks to contribute to a better understanding of the mediation process and especially the links established in the community where they are immersed. The research also aims to highlight the potential role of mediation in reducing inequalities of access. Our analysis has revealed the role of mediation agents in identifying and resolving tensions arising between the objectives of these programs and the expectations of their participants in cultural and artistic practices. We also study forms of subjectivation that they are experimenting.The transformations that the programs may achieve on the communities, are also a point of special attention to identify the main problems raised by the performance of the State when it seeks to generate diverse routes of access to culture to promote a respectful cultural identity about the specific culture of each population group.

Curating practices appear in various fields as a common practice of immaterial labour today. To ‘curate’ is an active verb that suggests ‘doing’ something. Seldom if ever are the implications of curating critically discussed outside the arts, and this provides a reason for this thesis to investigate. What does ‘to curate’ mean, imply or suggest in the urban context? How are urban curatorial practices legitimized and where can they contribute to urban planning? Embedded in contemporary urban challenges and the “state of crisis” often referred to, this paper introduces curating as an emerging cultural practice into this field. A vital part of the discussion this thesis opens up, is where art can become part of urban planning. Noting that the relationship between arts and urban environments is ambivalent, since the arts’ symbolic power is recognized within international competition of cities, it is about the margin between the field of arts and urban development. By laying a groundwork of contemporary curatorial understandings in the arts, the paper gives an overview on the existing notions and practices of ‘urban curation’ and highlights that there are strong positions but no existing definition as such. A look into urban planning theory pinpoints the crucial role of economic growth and its implications for the organization of urban developments under the term neoliberalism, a condition in which festivals replace urban development policies and culture becomes a structuring element. The occurrence of projects as organizational structure dominates and challenges long term developments. This constitutes the framework in which the paper discusses three very different project examples from Hamburg, Liverpool and Vienna for closer analysis. Between preservation and management, arranging and staging curating can alternatively be understood as an epistemology producing new knowledge. By cross-referencing between the arts, where the critical discussion on curating is held, and urban planning and architecture, where curatorial practice is applied, the paper suggests strengthening the critical discourse on the relevance and use of cultural practices in urban studies.

[pt] A pesquisa investiga, através de uma abordagem teórico-prática, a relação entre a dimensão estética da experiência sensível humana e o fenômeno de produção de subjetividades – dialogando com o campo de pensamento sobre estética –, analisando uma possibilidade, oferecida pela operações das práticas artísticas contemporâneas, de flexibilização, ou mesmo de ruptura, dos regimes de visibilidade e das materialidades que configuram a realidade compartilhada do homem. Um grupo de práticas artísticas realizadas por mim ao longo da pesquisa é tomado como referência, juntamente a trabalhos de artistas como Marina Abramovic e Ulay, Chris Burden, Orlan, Stelarc e Tehching Hsieh, cuja poética consiste essencialmente no entrelaçamento de processos cotidianos e práticas artísticas; uma poética de deslocamento. Entende-se que através dessa produção estética é possível contemplar estratégias do corpo (do sujeito) análogas, em termos específicos, a uma ideia de processos de subjetivação que permitam ao sujeito a experiência de um deslocamento de si sobre si, uma problematização da constituição de sua própria subjetividade. Assim, procura-se entender sobre como a estética pode configurar modos de existência para os sujeitos, delimitando a maneira como estes operam no mundo através de suas manifestações, e questionar qual a possibilidade de reconfigurar tais operações através da intenção formativa estética das artes visuais e plásticas contemporâneas. / [en] The research investigates, through a theoretical and practical approach, the relationship between the aesthetic dimension of the human sensible experience and the phenomenon of production of subjectivities – in a dialog with the field of thought on aesthetics –, analysing a possibility, offered by the experimentation in contemporary artistic practices, of flexibilization, or even rupture, with the visibility and materiality regimes that configurate man s shared reality. A set of artistic practices I conducted throughtout the research is taken as reference, including works from artists such as Marina Abramovic and Ulay, Chris Burden, Orlan, Stelarc and Tehching Hsieh, whose poetics consist essentially on the intertwining of daily processes and artistic practices; a displacement poetics. It is understood that through this aesthetic production it is possible to contemplate strategies of the (subject s) body analogous, in specific terms, to an idea of processes of subjectivation that allow the subject to have an experience of displacement of self onto itself, a problematization of the very process of constitution of a subjectivity. This way, an understanding of the means through which aesthetics may configurate the subject s mode of existence is intended, delimitating the way they operate in the world through its manifestations, as is the questioning of the possibility of reconfiguration of such operations through the aesthetic formative intention of contemporary visual and plastic arts.

A seguinte pesquisa se propõe a analisar algumas poéticas artísticas contemporâneas a partir de diferentes categorias e temáticas espaciais que organizam os capítulos da dissertação: cartografias, lugar e fronteira. A hipótese inicial da pesquisa considera que os oito trabalhos de arte escolhidos, denominados aqui como criações poético-espaciais, podem se apropriar, contribuir, mas também subverter formas de entendimento de abordagens espaciais. Assim, verifica-se a relevância de investigar como práticas artísticas podem instaurar novas e outras poéticas e políticas do e para o espaço, refletindo como podem ocorrer cruzamentos, possíveis contribuições, diálogos e contrastes entre arte e Geografia, já que se entende que as práticas artísticas aqui analisadas desnaturalizam concepções espaciais arraigadas / The following research aims to analyze some contemporary artistic poetics from different thematic and spatial categories that organize the chapters of the dissertation: cartography, place and borders. The initial hypothesis consider that the eight chosen artwork, here named spatial-poetic creations, can appropriate, contribute, but also subvert the forms of understanding spatial approaches. Thus, the importance of investigating how artistic practices may introduce new and other poetics and politics of and for space and reflecting as intersections, possible contributions, dialogues and contrasts between art and geography may occur it appears, since it is understood that the practices artistic analyzed here disnaturalize entrenched spatial conceptions

Esta dissertação tem início em uma inquietação partilhada por muitos estudiosos: certo interesse na relação entre práticas artísticas e pedagógicas. A partir de um horizonte agonístico, vislumbra-se aqui a indiscernibilidade entre as referidas práticas. Para tanto, aciona-se a obra de Michel Foucault em duas frentes, quais sejam: a partir de alguns ditos e escritos ativados por práticas artísticas; e de uma abordagem específica do político, considerado aqui como efeito na economia de forças. Na primeira de seis seções, afirma-se como problema de pesquisa a investigação das tensões entre o artístico e o pedagógico a partir de seus modos. Na segunda parte, apresentam-se as fontes empíricas, constituídas por registros em pesquisa de campo junto a cinco ambientes de residência artística localizados na capital paulista. Nos dois primeiros capítulos teórico-analíticos, confrontamos alguns dados do arquivo com os princípios de interpretação e mediação. Ambos os princípios são carreados por certa tradição da crítica de arte, uma especificamente fundamentada num princípio hermenêutico. No primeiro deles, os dados de arquivo compreendem a relação entre procedimento e tema nas práticas artísticas, fazendo ver certo caráter artificial no procedimento de interpretação. No segundo, relaciona-se a experiência de imersão no trabalho artístico, no interior das residências, às considerações efetuadas por alguns artistas em relação às práticas artístico-pedagógicas por eles conduzidas, confrontando essa relação com o princípio mediador. O capítulo subsequente atenta ao tônus político da relação entre práticas artísticas e pedagógicas, na medida em que ela eventualmente ensejaria uma alteração na economia de forças. O último capítulo perscruta categorias do pensamento pedagógico em curso no interior da produção das ditas obras de arte. Ao longo do percurso analítico, toma vulto uma outra agonística, esta entre dois modos de pensamento e, por conseguinte, de análise, os quais num primeiro momento apresentavam-se, de maneira estratégica, com fronteiras demarcadas: um representacional e um performativo. Em seu deslinde, a dissertação analisa os dois campos de tensão armados. / This work begins in a concern shared by many scholars: some interest in the relationship between artistic and pedagogical practices. From an agonistic horizon, it glimpses the indiscernibility between those practices. Therefore, it triggers the work of Michel Foucault on two fronts, namely: from some sayings and writings activated by artistic practices; and a specific approach of the political, considered here as an effect on the economy of forces. In the first of six sections, it is stated as research problem the investigation of the tensions between the artistic and the pedagogical by their respective ways. The second part presents the empirical sources, consisting on records in field research in five artists-in-residence environments, all located in São Paulo. In the first two theoretical and analytical chapters, we confront some file data with the principles of interpretation and mediation. Both principles are carried by certain tradition of art criticism, one specifically based on a hermeneutical principle. In the first one, the file data comprise the relationship between procedure and theme in artistic practices, making seen some artificial character about the interpretation procedure. In the second one, it relates the experience of immersion into the artistic practices, within the residences, to considerations made by some artists in relation to the artistic-pedagogical practices conducted by them, comparing this relationship with the principle of mediation. The subsequent chapter attempts to the political tone of the relationship between artistic and pedagogical practices, to the extent that it eventually would cause a change in the economy of forces. The last chapter scrutinizes pedagogical categories of thinking ongoing within the production of so-called works of art. Throughout the analytical course, it takes shape another agonistic relationship, henceforth between two modes of thinking and, therefore, of analysis, which were firstly brought forward strategically, with marked boundaries: a representational one and a performative one. In its disentangling, the thesis analyzes the two fields of tension once armed.

A seguinte pesquisa se propõe a analisar algumas poéticas artísticas contemporâneas a partir de diferentes categorias e temáticas espaciais que organizam os capítulos da dissertação: cartografias, lugar e fronteira. A hipótese inicial da pesquisa considera que os oito trabalhos de arte escolhidos, denominados aqui como criações poético-espaciais, podem se apropriar, contribuir, mas também subverter formas de entendimento de abordagens espaciais. Assim, verifica-se a relevância de investigar como práticas artísticas podem instaurar novas e outras poéticas e políticas do e para o espaço, refletindo como podem ocorrer cruzamentos, possíveis contribuições, diálogos e contrastes entre arte e Geografia, já que se entende que as práticas artísticas aqui analisadas desnaturalizam concepções espaciais arraigadas / The following research aims to analyze some contemporary artistic poetics from different thematic and spatial categories that organize the chapters of the dissertation: cartography, place and borders. The initial hypothesis consider that the eight chosen artwork, here named spatial-poetic creations, can appropriate, contribute, but also subvert the forms of understanding spatial approaches. Thus, the importance of investigating how artistic practices may introduce new and other poetics and politics of and for space and reflecting as intersections, possible contributions, dialogues and contrasts between art and geography may occur it appears, since it is understood that the practices artistic analyzed here disnaturalize entrenched spatial conceptions

Made available in DSpace on 2016-12-08T16:19:03Z (GMT). No. of bitstreams: 1 CapaAdriana.pdf: 384998 bytes, checksum: e61670df7a94c985d32fc7fe0f31b8a7 (MD5) Previous issue date: 2008-11-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This master thesis deals with my current artistic practice that embraces collaborative and participative artistic processes that are connected to specific contexts. In this research, I discuss how procedures in my work are related to the universe of artistic procedures opened up since the 1960s that have sprung up with the questioning of the work of art as a consumer product, with the dissolution of traditional artistic categories and the contamination of artistic processes by situations, tensions e thematic concerns that derive form other areas in society. The first chapter is about participative artistic practices and some historic references, as well as a few examples of my earlier production that serve as a starting point for the analysis of the works presented in this thesis. The second chapter deals with the group of works realized throughout my artistic partnership with Bruna Mansani. I review participative action e tactics that try to produce an involvement in the situation to which they relate. Chapter three is about the project Espaço Contramão , a project run by artists and in which I took part from the beginning. Its main characteristics is its geographic mobility and the fact that it confers artistic direction to the participating hosts. Throughout the whole text, there are intersections with letters of mine in which I focus on my experience as a participant in projects by Laercio Redondo, Ricardo Basbaum and Rubens Mano. All these practices have as their common characteristics the fact that the creative process is shared with others, infused by situations that are marked by a temporary cooperation and that it plays with artistic possibilities that exist parallel to the official system of how to legitimize art / Esta pesquisa trata de minha prática artística neste exato momento, que compreende processos artísticos colaborativos, participativos e conectados a situações contextuais específicas. Nela, é abordada a relação desses procedimentos com um universo de práticas processuais que vêm sendo exploradas na arte contemporânea desde os anos 1960 e que se tornaram possíveis a partir do questionamento da obra de arte como produto de consumo, da desmaterialização das categorias artísticas tradicionais, e da contaminação por situações, tensões e temáticas próprias a outras esferas da sociedade. O primeiro capítulo trata a questão da participação e suas referências históricas, assim como de minha produção anterior, sendo esta o ponto de partida para a análise dos trabalhos presentes neste volume. O segundo capítulo trata de trabalhos realizados em parceria com a artista Bruna Mansani. Nele, são revistas ações participativas e táticas que procuram envolvimento com a situação com a qual se relacionam. O terceiro capítulo trata do "Espaço Contramão", iniciativa de artistas da qual faço parte. Ele tem como característica central a mobilidade e a entrega da articulação artística de uma exposição; curadoria, montagem e divulgação aos participantes. O texto é intercalado por cartas onde enfoco minha experiência como participadora em projetos dos artistas Laercio Redondo, Ricardo Basbaum e Rubens Mano. Todas essas práticas possuem como característica comum o compartilhamento do processo criativo com o Outro, diluído em situações que se configuram através de agenciamentos temporários e que jogam com possibilidades paralelas ao sistema de legitimação da arte

Esta dissertação tem início em uma inquietação partilhada por muitos estudiosos: certo interesse na relação entre práticas artísticas e pedagógicas. A partir de um horizonte agonístico, vislumbra-se aqui a indiscernibilidade entre as referidas práticas. Para tanto, aciona-se a obra de Michel Foucault em duas frentes, quais sejam: a partir de alguns ditos e escritos ativados por práticas artísticas; e de uma abordagem específica do político, considerado aqui como efeito na economia de forças. Na primeira de seis seções, afirma-se como problema de pesquisa a investigação das tensões entre o artístico e o pedagógico a partir de seus modos. Na segunda parte, apresentam-se as fontes empíricas, constituídas por registros em pesquisa de campo junto a cinco ambientes de residência artística localizados na capital paulista. Nos dois primeiros capítulos teórico-analíticos, confrontamos alguns dados do arquivo com os princípios de interpretação e mediação. Ambos os princípios são carreados por certa tradição da crítica de arte, uma especificamente fundamentada num princípio hermenêutico. No primeiro deles, os dados de arquivo compreendem a relação entre procedimento e tema nas práticas artísticas, fazendo ver certo caráter artificial no procedimento de interpretação. No segundo, relaciona-se a experiência de imersão no trabalho artístico, no interior das residências, às considerações efetuadas por alguns artistas em relação às práticas artístico-pedagógicas por eles conduzidas, confrontando essa relação com o princípio mediador. O capítulo subsequente atenta ao tônus político da relação entre práticas artísticas e pedagógicas, na medida em que ela eventualmente ensejaria uma alteração na economia de forças. O último capítulo perscruta categorias do pensamento pedagógico em curso no interior da produção das ditas obras de arte. Ao longo do percurso analítico, toma vulto uma outra agonística, esta entre dois modos de pensamento e, por conseguinte, de análise, os quais num primeiro momento apresentavam-se, de maneira estratégica, com fronteiras demarcadas: um representacional e um performativo. Em seu deslinde, a dissertação analisa os dois campos de tensão armados. / This work begins in a concern shared by many scholars: some interest in the relationship between artistic and pedagogical practices. From an agonistic horizon, it glimpses the indiscernibility between those practices. Therefore, it triggers the work of Michel Foucault on two fronts, namely: from some sayings and writings activated by artistic practices; and a specific approach of the political, considered here as an effect on the economy of forces. In the first of six sections, it is stated as research problem the investigation of the tensions between the artistic and the pedagogical by their respective ways. The second part presents the empirical sources, consisting on records in field research in five artists-in-residence environments, all located in São Paulo. In the first two theoretical and analytical chapters, we confront some file data with the principles of interpretation and mediation. Both principles are carried by certain tradition of art criticism, one specifically based on a hermeneutical principle. In the first one, the file data comprise the relationship between procedure and theme in artistic practices, making seen some artificial character about the interpretation procedure. In the second one, it relates the experience of immersion into the artistic practices, within the residences, to considerations made by some artists in relation to the artistic-pedagogical practices conducted by them, comparing this relationship with the principle of mediation. The subsequent chapter attempts to the political tone of the relationship between artistic and pedagogical practices, to the extent that it eventually would cause a change in the economy of forces. The last chapter scrutinizes pedagogical categories of thinking ongoing within the production of so-called works of art. Throughout the analytical course, it takes shape another agonistic relationship, henceforth between two modes of thinking and, therefore, of analysis, which were firstly brought forward strategically, with marked boundaries: a representational one and a performative one. In its disentangling, the thesis analyzes the two fields of tension once armed.

L’objet de cette thèse porte sur les liens artistiques qui unissent la France et Venise au début du XVIIIe siècle. Sont interrogés tout d’abord les voyages d’artiste et d’amateurs dans une perspective historique et sociale. Nous analyserons ainsi leur réciprocité inhérente, tout en montrant l’importance de l’apprentissage dans la transmission de modèles. La deuxième partie propose un regard sur certaines expériences artistiques en les replaçant dans leur contexte de création et le lieu qui les accueille. Enfin, nous nous intéressons aux transferts de modèles et de techniques qui bouleversent les pratiques et engendrent un nouveau discours sur l’art. Dans une approche historique, iconographique et théorique, cette thèse propose d’assister à la rencontre de deux nations artistiques, de leurs moments d’éclat communs à la prise de conscience de leurs divergences. / The purpose of this thesis focuses on the artistic links between France and Venice in the early eighteenth century. Questioned first travel of artists and amateurs in historical and social method. We analyze their inherent reciprocity, while showing the importance of learning in the transmission pattern. The second section provides a look at some artistic experiences by placing them in context of creation and the place that welcomes them. Finally, we focus on the transfer of patterns and technics that disrupt the pratices and create a new discourse on art. In a historical, iconographic and theoretical, this thesis proposes to attend the meeting of two artistic nations, their moments of brilliance to theirs differences.