Esta pesquisa se fundamenta na hipótese de que ao longo da redemocratização foi desenvolvido um novo tipo de ativismo artístico, o ativismo institucional. O qual, por ter efetivamente impactado no processo de reformulação institucional e nas políticas voltadas para as artes visuais, se diferencia das estratégias de ativismo comumente associadas ao período da ditadura militar, o frentismo - quando um grupo de artistas se unem para problematizar e/ou se opor a uma dada situação - e o ativismo da obra, quando o trabalho artístico é indissociável de seu vínculo com o político. Desse modo, essa estratégia de intervenção artística está diretamente conectada a três questões: a relação das artes visuais com o estado autoritário no pós-1974; o processo de institucionalização das artes visuais ao longo da redemocratização e o desenvolvimento de um horizonte de inteligibilidade para arte contemporânea no Brasil. / This research is based on the hypothesis that during the re-democratization a new type of artistic activism was developed, institutional activism. Which, by having an effective impact in the process of institutional reformulation and in the policies for the visual arts, differs from the activism strategies commonly associated with the period of the military dictatorship, the frentismo - when a group of artists unite to problematize and / or oppose to a given situation - and the activism of the work, when the artistic work is inseparable from its link with the politician. Thus, this strategy of artistic intervention is directly connected to three questions: the relation of the visual arts to the authoritarian state in post-1974; the process of institutionalization of the visual arts along the redemocratization and the development of a horizon of intelligibility for contemporary art in Brazil.

Esta pesquisa se fundamenta na hipótese de que ao longo da redemocratização foi desenvolvido um novo tipo de ativismo artístico, o ativismo institucional. O qual, por ter efetivamente impactado no processo de reformulação institucional e nas políticas voltadas para as artes visuais, se diferencia das estratégias de ativismo comumente associadas ao período da ditadura militar, o frentismo - quando um grupo de artistas se unem para problematizar e/ou se opor a uma dada situação - e o ativismo da obra, quando o trabalho artístico é indissociável de seu vínculo com o político. Desse modo, essa estratégia de intervenção artística está diretamente conectada a três questões: a relação das artes visuais com o estado autoritário no pós-1974; o processo de institucionalização das artes visuais ao longo da redemocratização e o desenvolvimento de um horizonte de inteligibilidade para arte contemporânea no Brasil. / This research is based on the hypothesis that during the re-democratization a new type of artistic activism was developed, institutional activism. Which, by having an effective impact in the process of institutional reformulation and in the policies for the visual arts, differs from the activism strategies commonly associated with the period of the military dictatorship, the frentismo - when a group of artists unite to problematize and / or oppose to a given situation - and the activism of the work, when the artistic work is inseparable from its link with the politician. Thus, this strategy of artistic intervention is directly connected to three questions: the relation of the visual arts to the authoritarian state in post-1974; the process of institutionalization of the visual arts along the redemocratization and the development of a horizon of intelligibility for contemporary art in Brazil.

Cartografia figurada Atlas e Caderno de Campo é o resultado da pesquisa de Mestrado que tem por objeto a produção artística de Guilherme Teixeira entre os anos de 1999 e 2010. O projeto artístico equivalente a uma dissertação de mestrado apresenta-se em duas partes: Atlas e Caderno de Campo. O Atlas é um pôster em que estão reproduzidos 58 trabalhos, oferecendo ao leitor uma visão panorâmica da produção estudada. Cerca de uma centena de outras imagens estão impressas em cartões, organizados em seis bolsos transparentes. Caderno de Campo reúne textos, em forma de comentários, relacionados aos trabalhos e projetos apresentados no Atlas. / Figurative Cartography Atlas and Field Notebook is the result of the Master research focused in the artistic production of Guilherme Teixeira between 1999 and 2010. This artistic project equivalent to a dissertation is made up of two parts: Atlas and Field Notebook. Atlas is a poster that shows pictures of 58 artworks disposed in a panoramic view. The reader can handle about a hundred images, available in six transparent pockets. Field Notebook shows texts, as personal annotations, related to the works and projects printed in the Atlas.

My thesis on contemporary animated documentaries links new media aesthetics with the documentary turn in contemporary visual culture. Drawing from the fields of Contemporary Art, Animation, Film Studies and Gaming Theory, my aim has been to explore the development of animated documentaries in the context of animation's intersection with other visual fields in a very specific technological moment of the past two decades in order to broaden the scope within which animation is analysed and understood. The starting point of my research was the widely accepted divide assumed to exist between animation and documentary. I, however, claim that the supposedly contradictory nature of animated documentaries can no longer be considered a given. Despite the potentially challenging reception of animated documentaries, it is important to identify what it is that the animated image contributes to documentary, which is the visualisation of what is otherwise un-representable. My thesis investigates a new area of the intangible, focusing on the virtualisation of culture rather than on subjective or imaginary aspects of documentary works and visual interpretations. This cultural shift consequently requires new aesthetics of documentation that exceed the capacities of the photographic. My main argument is that due to contemporary technological changes, animation has permeated real contexts of daily life to the extent that it has become disassociated from the realm of fiction. Rather, in altering the way viewers are becoming accustomed to observing, learning about and connecting with reality, animation has brought about a constitutive change in ways of seeing one's world. This change can be described as animation’s impact on the relation between visual signification and believability. It is this which necessitates a reconsideration of what shapes a sense of realism in documentaries today. My research therefore culminates with new conceptualisations concerning the cultural role of animation, introducing what I argue is the formation of the "animated document" and "documentary animation". In these contexts, animation is no longer an interpretive visualisation substituting for photography but a direct capturing of animated realities. Animation thus expands what is considered to constitute reality and, as a result, also destabilises assumptions about the perceived conflict between animation and documentary, widening the sphere of documentary aesthetics.

L'Exposition a fait l'objet de nombreuses analyses et pourtant son rapport à la photographie est rarement évoqué. Considérée comme un procédé, elle développe de nombreux liens avec celui de la Photographie. Toutes les deux consistent à "montrer". Au-delà de leurs analogies, la Photographie et l'Exposition sont interdépendantes. L'étude de l'Exposition passe désormais inévitablement par la photographie. Les artistes et les commissaires utilisent aujourd'hui la photographie non pas comme une finalité mais comme un outil permettant de penser la mise en espace. Une photographie de vue d'exposition n'est jamais une reproduction, elle se détermine en fonction du temps et de l'espace. Elle est, avant, pendant et après l'exposition, à la fois un indicateur et un vérificateur. Les indices qu'elle fournit constituent des éléments de l'analyse critique de l'exposition. La mise en photographie dont l'exposition a toujours fait l'objet permet les "comparaisons", et "vérifications" qui influent, par voie de conséquence, sur sa conception.Car l’acte d’exposer, régulièrement remis en question, est en perpétuelle évolution. Parce qu'il s'est autonomisé, il est toujours plus difficile de l'appréhender. S’attacher à ses ambiguïtés, notamment celle de son "devenir-image", permet d'en mesurer toute la complexité. Ce qui ouvre certainement la voie à de nouvelles stratégies d’étude qui permettront progressivement une compréhension plus complète et mieux opératoire de son influence certainement décisive sur l’évolution à venir de l’art contemporain. / The Exhibition as format has been the object of numerous analyses and nevertheless its relationship with photography is rarely evoked. Considered as a process, it develops numerous links with the process of Photography. Both consist in "showing". Beyond their analogies, Photography and Exhibition are interdependent. The study of Exhibitions is now inevitably related to photography. Today artists and curators use photography not as an end but as a tool allowing them to think about space.An exhibition view is a photograph but it is never a reproduction, it is determined according to time and space. It indicates and verifies at the same time, before, during and after the exhibition. The indications it supplies establish elements for the critical analysis of the exhibition. The process of photography, to which exhibitions have always been submitted allows "comparisons", and "verifications" which influence, consequently, its conception.Because the act of exhibiting, regularly questioned, is in perpetual evolution. Because it is autonomous, it is always more difficult to comprehend. Focusing on its ambiguities, in particular its capacity to become an image, allows to measure its complexity. This probably opens the way to new strategies of study which will gradually allow a more complete and effective understanding of its certainly decisive influence on the future evolution of contemporary art.

Cartografia figurada Atlas e Caderno de Campo é o resultado da pesquisa de Mestrado que tem por objeto a produção artística de Guilherme Teixeira entre os anos de 1999 e 2010. O projeto artístico equivalente a uma dissertação de mestrado apresenta-se em duas partes: Atlas e Caderno de Campo. O Atlas é um pôster em que estão reproduzidos 58 trabalhos, oferecendo ao leitor uma visão panorâmica da produção estudada. Cerca de uma centena de outras imagens estão impressas em cartões, organizados em seis bolsos transparentes. Caderno de Campo reúne textos, em forma de comentários, relacionados aos trabalhos e projetos apresentados no Atlas. / Figurative Cartography Atlas and Field Notebook is the result of the Master research focused in the artistic production of Guilherme Teixeira between 1999 and 2010. This artistic project equivalent to a dissertation is made up of two parts: Atlas and Field Notebook. Atlas is a poster that shows pictures of 58 artworks disposed in a panoramic view. The reader can handle about a hundred images, available in six transparent pockets. Field Notebook shows texts, as personal annotations, related to the works and projects printed in the Atlas.

Talking about spirituality can be uncomfortable. The topic is especially precarious within the sphere of education. Despite the discomfort and precarity, many scholars argue that there may be room in the postmodern curriculum for safe, open, and generative dialogue about religion and spirituality as cultural phenomena. These curriculum theorists (see Slattery, 2013; Doll, 2002; Huebner, 1991; Noddings, 2005; Whitehead, 1967a/1929; Wang, 2002) propose a sensitive critique of spirituality and religion that can lead to cultural healing, re-membering, re-integration and re-collection (Huebner, 1991). In an increasingly fractured world (Slattery, 2013), where spiritual and religious underpinnings cause an array of conflict, this study works toward critical dialogue in a secondary level public school art classroom. Through art-making, writing, and class discussions, the teacher and student researchers explored, critiqued, and de/constructed their own spirituality<&mdash> with the aim of aggregating, accommodating (Rolling, 2011) and appreciating ways of thinking, being, and practicing that were different from their own. The project adopted A/r/tography as a qualitative research methodology, which views art-making, writing, and conversations as generative pools of data that can produce new understandings, meanings, and potentialities (Irwin et al., 2006; Irwin & de Cosson, 2004; Irwin & Springgay, 2008).

Secondary art education programs primarily offer courses in traditional mediums like drawing, painting, sculpture, and ceramics. In addition to valuing these traditional art forms, art education research supports integrating new technologies and media in the classroom. However, the possibilities of creating an exclusively contemporary, new genres curriculum have yet to be explored. This study examines the affordances and limitations of a high school-level new genre curriculum and describes how students reacted to these new genres and how their perceptions of art, student-peer relationships, and artist identities changed over time. By introducing students to new genres, the author found students expanded their definitions of art, became excited about art, and created personally relevant and meaningful artwork. The results of this case study may be valuable to art educators desiring to integrate more contemporary art into their curriculum.

Secondary art education programs primarily offer courses in traditional mediums like drawing, painting, sculpture, and ceramics. In addition to valuing these traditional art forms, art education research supports integrating new technologies and media in the classroom. However, the possibilities of creating an exclusively contemporary, new genres curriculum have yet to be explored. This study examines the affordances and limitations of a high school-level new genre curriculum and describes how students reacted to these new genres and how their perceptions of art, student-peer relationships, and artist identities changed over time. By introducing students to new genres, the author found students expanded their definitions of art, became excited about art, and created personally relevant and meaningful artwork. The results of this case study may be valuable to art educators desiring to integrate more contemporary art into their curriculum.

As a first-generation Georgian to be born the year after Soviet Union collapsed, I carry the weight of the uncertainty and the shared memory of the years before my birth that is engraved in the minds of the people around me. Through the years of chaos that had to come later, I always thought that me and my country grew up and matured together, as the peers of same age. Transition from a strictly Atheistic society into predominantly fundamental Orthodox Christian nation has been the process that I witnessed while growing up. Being raised by an Orthodox iconographer father, working on frescoes and icons have left the permanent mark on my identity as an artist. My work, through the range of media, deals with this clash of radical ideologies, while drawing from Orthodox iconography and compositions, I transport the images into a neutral, sterile state where they are re-examined and re-evaluated. Even though my work deals with social issues in Georgia, I see most of it as an autobiographical narrative that addresses the local space that I come from.