Esta dissertação é uma reflexão do artista sobre sua produção, os procedimentos e relações visuais das peças instaladas que materializam sua arte. Por meio da observação crítica, são estabelecidas relações entre os processos de criação das peças tridimensionais - iniciados com a apropriação e deslocamento da imagem - e seu desenvolvimento com apoio da repetição, o que abre potencialidades construtivas no espaço e dialógicas com ele. Diante da efetivação de tais possibilidades, busca-se expor e questionar a natureza do que é explorado em suas diferentes propriedades, como a cor, as formas sinuosas e geométricas, os planos, as escalas. O resultado de toda essa abordagem abre novas vertentes de pesquisa e elaboração de trabalhos, transformadas em projetos que, de certa forma, sintetizam esta dissertação. / This essay is a reflection of the artist on its production procedures and visual relationships of the parts installed that embody his art. Through critical observation, relations are established between the processes of creating three-dimensional parts - beginning with the appropriation and displacement of the image - and its development with the support of repetition, which opens potential constructive and dialogue space with him. Faced with the realization of such possibilities, seeks to expose and question the nature of what is explored in its various properties such a s color, sinuous shapes and geometric plans. The result of this approach opens up new areas of research and development work, turned into projects that somehow synthesize this essay.

O texto versa inicialmente sobre campos, ou o que denomina protocampos da arte contemporânea em um recorte que observa as interações entre arte e tecnologia, arte sonora e performance, para propor questões sobre novos suportes de representação e reterritorialização nas artes, em relação aos conceitos de campos expandidos. Posteriormente discute a escrita sobre arte e a produção de conceitos no campo, para finalmente apresentar duas experiências práticas nas quais tentou-se aplicar ideias de hibridismo pela via dos processos e poéticas. / The text is initially about fields, or what it calls protocampos of contemporary art in a cut that observes the interactions between art and technology, sound art and performance, to propose questions about new supports of representation and reterritorialization in the arts, in relation to the concepts of expanded arts fields. Later he discusses writing about art and the production of concepts in the field, to finally present two practical experiences in which attempts were made to apply ideas of hybridity through processes and poetics.

Esta pesquisa envolveu a realização de um trabalho de arte o conjunto de vídeos intitulado Programa e, paralelamente, de uma reflexão teórica. A reflexão tomou o Programa como objeto, procurando compreendê-lo, mas ela também constituiu instrumento do Programa, conduzindo as formalizações. Ao dedicar-se à investigação da área de Poéticas visuais, às dificuldades da reflexão sistemática sobre uma obra em andamento e às especificidades da fala do artista sobre o próprio trabalho, enunciou, para o trabalho que então se iniciava, as condições do contexto em que ele iria se produzir. Descrevendo um procedimento geral reincidente nos meus trabalhos, a reflexão apontou-lhe um repertório de operações. Ela foi movimento interno do Programa nas considerações sobre o campo que ele elegeu como objeto: as propagandas de televisão, e sobre aqueles que surgiram de modo incidental, como o vídeo. Também o foi na discussão de cada um dos esquetes que foi esboçada antes da finalização do trabalho e orientou algumas últimas decisões. Depois do trabalho pronto, procurou-se rever e aprofundar os conceitos que vinham sendo utilizados, bem como submeter o Programa a uma apreciação mais distanciada. / This research involved the production of an art work the set of videos entitled Programa [Program] and, simultaneously, of a theoretic reflection. The reflection took the work as its object, trying to comprehend it, but it also constituted an instrument of this work, guiding its formalizations. The reflection was initially dedicated to the investigation of the postgraduate concentration area called Visual poetics, as well as to the difficulties of a systematized conceptual apprehension of an ongoing art work and to the specificities of the artists talks about his own work. In this manner it enunciated, for the work that was, then, getting started, the conditions of the context in which it would be produced. Describing a general procedure that was recurrent in the authors recent works, the reflection unveiled, to the new work, a repertoire of operations. The reflection was an internal movement of Programa while considering the field it had elected as its object: TV propaganda. This was also the case while considering those objects that appeared incidentally, such as the video. In the discussion of each one of the sketches discussion that was outlined before the videos were finished the reflection was also an internal movement as it oriented the last decisions. After the art work was finished, an attempt was made to review and deepen the concepts that had been used, as well as to submit Programa to a more distanced appreciation.

A presente pesquisa deu-se a partir do material de arte da Rede Salesiana de Escolas, Galeria de retratos, para alunos do 1º ano do Ensino Fundamental, no ano de 2012. Tem como objeto de investigação a relação entre autorretratos e crianças de seis anos, inserida numa educação contemporânea em Arte. A partir de uma abordagem autobiográfica, apresentam-se as diferentes situações de investigações vivenciadas nas aulas com os alunos, buscando entender como acontecem seus processos expressivos. O trabalho é desenvolvido em três capítulos: o primeiro trata do autorretrato e a relação com a criança. O segundo apresenta o relato das aulas realizado através de registros. Já no terceiro são apresentadas as questões relacionadas ao processo de identificação e de identidade cultural. / This research aims to research the relationship between the self-portraits in the identity formation of students six years, set in contemporary education in Art. The issue occurred after receipt the art material of Rede Salesiana de Escolas in 2007, \"Gallery of portraits,\" for students in the 1st year of elementary school. The object of investigation the relationship between self-portraits and six year olds, set in contemporary art education. From an autobiographical approach, present the different situations experienced investigations in classes with students, seeking to understand how their expressive processes happen. This work is developed in three chapters: the first deals with the self-portrait and the relationship with the child. The second presents an account of lessons conducted through records. In the third the issues relating to identification and cultural identity process.

O trabalho tem, como tema, o estudo do sagrado na sociedade contemporânea, observando um importante fenômeno social: a retomada do sagrado. A produção artística do beneditino Carlos Eduardo Uchôa, inserida neste contexto, é considerada um exemplar, ao tangenciar este fenômeno. Para o procedimento desta pesquisa será empreendido um estudo do sagrado na sociedade atual, a partir de uma análise que estabelece as relações entre o sagrado e o profano. Desta forma, estes estudos apontam o surgimento de novos elementos simbólicos ritualísticos e míticos, provocando o desencadeamento de uma crise no sagrado. Por outro lado, as investigações comprovam, em diversos setores, a instauração de uma nova situação emblemática percebida através de um comportamento e de uma mentalidade vigentes no mundo contemporâneo. Uma pesquisa sobre a questão do espaço-tempo no aspecto da historicidade e no âmbito do Sagrado, igualmente serão perscrutados. Todos esses fatores serão observados à luz da produção artística do artista, respaldado em seu histórico de vida. Os aspectos socioculturais serão privilegiados, através de sua formação artística, acadêmica e literária até 1996 e após este período, quando ingressa para a vida monástica. Portanto, esta pesquisa será desenvolvida a partir da análise e reflexão sobre o ideário conceitual e imaginário do artista e monge beneditino Carlos Eduardo Uchôa, com a sua produção artística adensada por este contato com o mundo do sagrado refletido em sua poética. Este é o foco central da dissertação: estudar o sagrado na obra do artista que converge para a sua arte na sociedade atual. Contudo, através dos tempos, o sagrado se mantém vivo e atuante, resistindo e permanecendo até os dias atuais. / The work has, as in the subject, the study of the sacred in contemporary society, observing an important social phenomenon: the resumption of the sacred. Artistic production of Carlos Eduardo Benedictine Uchôa, inserted in this context, it is considered a copy, to lightly brush this phenomenon. For the procedure of this research will be undertaken a study of the sacred in current society, from an analysis that establishes the relationship between the sacred and the profane. In this way, these studies point to the emergence of new symbolic ritual and mythical elements, causing the triggering a crisis in the sacred. On the other hand, the investigations prove, in several sectors, the establishment of a new flagship situation perceived through a behavior and mindset prevailing in the contemporary world. A research on the issue of space and time in the aspect of historicity and under the Holy, will also be searched. All of these factors will be seen in the light of production artist, supported in its life history. Socio-cultural aspects will be privileged, through his artistic training, academic and literary until 1996 and after this period, when he enters to the monastic life. Therefore, this research will be developed from the analysis and reflection on the conceptual ideas and imagination of the artist and Benedictine monk Carlos Eduardo Uchôa, with their artistic production thickened for this contact with the sacred world reflected in his Poetics. This is the central focus of the dissertation: study the sacred work of the artist that converges to its art in current society. However, through the ages, the sacred remains alive and active, enduring and remaining until the present day.

Este trabalho aborda processos de produção de obras de arte, partindo de uma investigação sobre a paisagem e suas manifestações no cotidiano. Sob forma de manual, reúne procedimentos e conceitos que auxiliam na produção de trabalhos de arte contemporânea, tais como instruções ilustradas e um glossário de termos e fundamentos importantes para a discussão sobre o tema. Apresenta reflexões sobre a paisagem que abrangem desde sua constituição como fenômeno moderno até os processos de reificação e dissolução no cotidiano, pelos quais passa na contemporaneidade. / This work approaches processes of artworks production, starting from an investigation on the landscape and its manifestations in everyday life. In the form of manual it brings together concepts and procedures that assist in the production of contemporary art works, such as illustrated instructions and a glossary of terms and important theoretical foundations for the discussion on the topic. It presents reflections on the landscape which ranges from its establishment as a modern phenomenon to the reification processes and dissolution in everyday life, through which passes in contemporaneousness.

Esta dissertação tem como objeto de estudo a minha produção de pintura entre os anos de 2006 e 2008 e as relações que esta estabelece com as séries produzidas anteriormente durante minha permanência na Alemanha. O vínculo entre estes trabalhos dá-se principalmente através do uso da fotografia - da sua manipulação e posterior releitura através da pintura - que tem como tema as relações com o cotidiano tanto através da Internet como do contato direto com pessoas e coisas. A montagem destas pinturas no espaço é outro elemento importante dentro do processo de trabalho que enfatiza as relações com o espectador e com a lógica interna da própria pintura. / This paper has as a study purpose my painting production between the years of 2006 and 2008 and the relations that it established with the series previously produced, during my time in Germany. The link between these works occurs mainly through the use of photograph of its manipulation and the subsequent reinterpretation through painting -, which has as subject the relations with the everyday life, whether through the Internet or through the direct contact with people and things. The montage of these paintings in space is another important element within the work process, which emphasizes the relations with the audience and the internal logic of painting itself.

The photographer discusses the work in Elsewhere, her Master of Fine Arts exhibition held at East Tennessee State University in the Reece Museum, located in Johnson City, Tennessee. The exhibition is displayed from March 1 through March 31, 2016 and consists of 17 color photographs and 3 videos representing a body of work that visually communicates the photographer’s interest in transient lifestyles. The influence and research regarding the concept is communicated by a focus on artists, literature and art historical knowledge that pertain to Law’s work. The artists included are Rineke Dijkstra, Jocelyn Lee, Lise Sarfati, Stephen Shore, Robert Frank, Rania Matar, Gregory Crewdson, and Walker Evans, as well as Edward Hopper, Lucian Freud, and Rachel Whiteread, and the poet Charles Baudelaire, among other writers referenced and other topics concerning aesthetics of travel and space. Images of the photographer’s work and a catalogue of the exhibition is included.

Le chamanisme, exprimé dans l’art contemporain des Premières Nations du Canada, opère comme un puissant marqueur ethnique. Il symbolise l’espace sacré où se joue la résistance culturelle, avec les engagements politiques qui la sous-tendent. Il représente aussi un référent identitaire. L’analyse de ce courant esthétique actuel soulève des questions essentielles : de quelle manière le chamanisme est-il abordé par les artistes, à la fois comme concept et comme pratique artistique ? Quelle est la mission de l’art d’inspiration chamanique contemporain, du point de vue de son rôle social, en tant que gardien de l’identité et de la spiritualité mais aussi comme catalyseur du processus de guérison collective et individuelle ? Dans le contexte artistique postmoderne, le chamanisme peut être considéré comme une source de pouvoir et d’inspiration, une terre sacrée que les artistes autochtones explorent avec détermination. En puisant dans les racines profondes de la tradition, et en s’engageant dans une expérience moderne, les artistes se donnent pour mission de raviver la sagesse des anciens et de se relier à la cosmogonie autochtone.Leur pratique a pour but de réduire le clivage psychique entre nostalgie des origines et indianité contemporaine. Ainsi, le statut d’hybridité donne naissance à une force de transformation d’une grande créativité. Cette thèse analyse les enjeux philosophiques et politiques auxquels l’art d’inspiration chamanique est confronté, en s’appuyant sur un point de vue anthropologique et esthétique. Après un rappel du contexte socio-historique canadien, nous abordons les deux missions essentielles des chamanes de l’art : la réécriture de l’histoire et la reconquête de leur identité, qui dessinent, à travers la reconnaissance de leur différence, l’architecture d’une nouvelle Amérindie. / Shamanism in contemporary native art in Canada is becoming one of the most relevant ethnic markers. It is the sacred place, the major source for cultural resistance, with strong roots and political implications underneath. It works as a powerful identity referent. As we analyse the aesthetic phenomenon from a modern perspective,different issues are emerging : how shamanism is acknowledged, both as a concept and as a practice by the First Nations artists ? Which social functions and philosophical involvements are assumed by the contemporary “shamanic art”, considering its symbolic part as the keeper of identity and spirituality, or/and performed or seen as a healing process ?In the postmodern artistic context, shamanism may be considered as an essential source of power and inspiration, a sacred land that most of the native artists are now exploring, defining therefore a new ontology. From the deep roots of the traditional knowledge, their legacy, and through their own contemporary experiment, these artists are trying to bring back the original wisdom in order to reconnect themselves with the native cosmogony and consequently, to reduce the psychic schism between traditionalism’s nostalgy and contemporary indianness (nativeness). Therefore the status of “betweenness”, that is specifically attributed to the native artists, is shifted into a power of creative transformation. This thesis analyses the process of shamanistic inspiration in contemporary native art, through the philosophical and political issues as well as with an anthropological and aesthetics point of view. The historical and sociological contexts are explored before defining th! e two main missions of the “Shamen of Art” : the rewrighting of the History and the Conquest of Identity, drawing through the recognition of their alterity, the architecture of a new “Amerindia”.

Through the analysis of Judy Baca's mural, The Great Wall of Los Angeles, Baca's reevaluates muralism to create her revisionist take on the Mexican tradition of muralism. The piece combines different cultural and historical perspectives that convey the diversity of California, and bring people together through shared experiences. In addition to portraying the histories of minority races, ethnicities, religions and sexuality, the piece was created by a diverse team of community members who each contributed their own viewpoints to the piece. Unlike the traditional practice of muralism, Baca works with community members to create a mural that includes a varied sense of identity so as to facilitate social change and foster community.