Made available in DSpace on 2016-03-15T19:42:15Z (GMT). No. of bitstreams: 1 Janaina Quintas Antunes.pdf: 902765 bytes, checksum: d191abf2d64e0aa04ef87852d89f4721 (MD5) Previous issue date: 2012-02-02 / Fundo Mackenzie de Pesquisa / Nobrow is a new concept, a new aesthetics that characteristics the contemporary art and culture, it is a new moment in the XXI century art history. The term Nobrow refers to the term "highbrow" (a term of art and literature, which characterizes them as "intellectuals, high-quality"), and the term "lowbrow" (an expression that characterizes the literature and art as without connection or interest to serious cultural / intellectual ideas), so that represents the concept of art without a qualification of "lowbrow" or "highbrow" without specifically targeting a particular type of audience, or a specific area of knowledge. An art that is neither popular nor scholarly, an art that is not categorized. This dissertation analises this new aesthetics of Nobrow art, its concepts and origin, and relates them to the cultural history of the first ten years of this century. / Nobrow é um novo conceito, uma nova estética da cultura e da arte contemporâneas, é um novo momento na história da arte do século XXI. A expressão Nobrow faz referência à expressão highbrow (uma denominação de artes e literatura, que as caracteriza como intelectuais, de alta qualidade ), e à expressão lowbrow (expressão que caracteriza a literatura e a arte como sem conexão ou interesse em ideias culturais sérias/intelectuais), de maneira que representa o conceito de arte sem uma qualificação de lowbrow ou highbrow , sem um direcionamento específico a determinado tipo de público, ou à determinada área do conhecimento. Uma arte que não é nem popular, nem erudita, uma arte não categorizada. Esta dissertação analisa essa nova estética Nobrow, sua origem e seus conceitos, e os relaciona com a história cultural dos dez primeiros anos deste século.

This thesis aims to analyze Dorothy Cross’s sculptural, installation, and video works in relation to Ireland’s Post-Conflict struggle with its cultural and global identity. Throughout the course of history, Ireland’s identity has always been in question, sparking new interest over the last thirty years in producing an Irish identity discerned by “hybridity, multiplicity, and mobility.”[1] Declan McGonagle states that the traditional Irish constructs of gender and sexuality were primarily challenged by Dorothy Cross during this period of rapid sociopolitical change.[2] Cross consistently deconstructs pre-Christian Mother Ireland and patriarchal Catholic Ireland in her early sculptural works, and ultimately transitions towards communicating a collective identity rooted in loss and desire. [3] The constructions of gendered, cultural, and collective identity are dismantled across multiple media throughout Cross’s oeuvre, which can be analyzed through a synthesis of poststructuralist, postmodern, and French feminist theory. In evaluating Dorothy Cross’s destabilization of identity, I will expand the literature on contemporary Irish art during the nation’s turbulent time of globalization, which has been underemphasized in the study of contemporary European art. [1] Robin Lydenberg, “Contemporary Irish Art on the Move: At Home and Abroad with Dorothy Cross,” Éire-Ireland: a Journal of Irish Studies 39, no. 3/4 (2004): 145. [2] Declan McGonagle, Fintan O’Toole, and Kim Levin, Irish Art Now: From the Poetic to the Political (London: Merrell Publishers Ltd., 1999): 19. [3] Enrique Juncosa and Sean Kissane, eds, Dorothy Cross (Milan: Edizioni Charta, 2005), 16.

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<p>An analysis of Konstvägen Sju Älvar, an exhibition of modern Nordic sculpture along a road trough the wilderness of Northern Sweden. Konstvägen is a project for public art and contemporary art in northern Sweden. The intention is to see what happens when you exhibit art alongside a road and what function it fills. By comparing the qualities of Konstvägen to the qualities of a monument Konstvägen and it’s exhibitional functions are sought to be understood.</p>

В украинской современной социальной сфере наблюдается тенденция развития в направлении демократии. Эта тенденция, как и любое изменение мира, не могло не отразится в сфере искусства, причем образцом, как и для социальной сферы, так и для искусства является Европа. Но переход не может осуществиться сразу от одной системы ценностей к другой, для этого перехода требуется трансформация общества и ценностей, искусство в данном случае выступает катализатором таких процессов. Данные четыре художника создают объеты, которые несут пропагандистский характер и их концепции затрагивают сложивщиеся в данный момент в Украине политические и социальные проблемы. Трансформация в выбранных работах современных украинских художников является объектом исследования данной работы. / Ukrainos šiuolaikinėje socialinėje sferoje pastebima vystymosi demokratijos link tendencija; ši tendencija kaip ir bet kuri pasaulio kaita negalėjo neatsispindėti ir meno sferoje, kurioje pavyzdžiu kaip socialinei sferai taip ir menui yra Europa. Bet perėjimas iš vienos vertybių sistemos į kitą negali įvykti iškart, šiam perėjimui reikia visuomenės ir vertybių transformacijos; menas šiuo atveju reiškiasi kaip tokių procesų katalizatorius. Transformacija šiuolaikinių Ukrainos menininkų darbuose yra šio darbo tyrimo objektas. / In Ukrainian modern social sphere there is a trend of development towards democracy. This trend , as well as any change in the world , is reflected in art. Europe could be a good example for both. But transition from one value system in to another can not occure immediately, as transformation of society and its values is required. Art, in this case, acts as a catalyst for such process. Transformation in the works of modern Ukrainian artists is research object of this work.

Art is everything what people do with time and space is a theoretical text, which includes some of the author’s ideas on contemporary art situation and its definition. The work could be interesting for the people working in the sphere of humanities, as much as to everybody else living in this world. / "Menas yra viskas, ką žmonės daro su laiko ir erdve" - teorinis tekstas, kuriame galima atrasti kai kurias autoriaus mintys apie šiandieninę situaciją su menu ir apie šio termino definiciją. Darbas gali būti įdomūs kaip žmonėms, dirbantiems humanitarinių mokslų srityje, taip pat ir visiems kitiems žmoniems gyvenantiems šiame pasaulyje.

Disertacijoje analizuojama problematika, susijusi su šiuolaikinio meno praktikomis, kai menininkas ar kuratorius, siekdamas įgyvendinti savo kūrybinį sumanymą, meno projekte kaip medžiagą pasitelkia žmones. Tokie projektai paprastai išeina už estetinio lauko ribų: jie nebe reprezentuoja socialinę ar politinę tikrovę, bet ją atlieka. Todėl disertacijoje siekiama suformuoti koncepcinį modelį, kuris leistų kelti ir analizuoti dalyvaujamojo meno, kaip lygiagrečiai estetinėje ir socialinėje sferoje egzistuojančios praktikos, problemas. Modelis pagrindžiamas ir išplėtojamas remiantis pirmiausia klasikinės gamybos ir veiksmo (poiēsis ir praxis) skirties permąstymu ir pamatine prielaida, kad šiuolaikinė gamyba vis labiau panėšėja į veiksmą (Paolo Virno, Giorgio Agambenas). Teigiama, kad dalyvavimo praktikos bene aiškiausiai išreiškia šią gamybos ir veiksmo dialektiką šiuolaikiniame mene. Į vieną tinklą susiejus skirtingas filosofines koncepcijas (šnekos, taktikos, kasdienių praktikų, performatyvumo, kartotės), suformuojamas modelis, kuris pritaikomas dalyvavimo praktikų Lietuvos šiuolaikiniame mene analizei. Parodoma, kaip žvelgiant per gamybos ir veiksmo prizmę išryškėja tam tikros bendros su dalyvavimu susijusios problemos (pvz., dokumentacijos, meno įvykio ir meno kūrinio, darbo ir pramogos santykio ir kt.). Drauge koncepcinis modelis padeda atskleisti kiekvieno paskiro projekto specifiką, kvestionuoti kai kurias įsigalėjusias meno kritikos nuostatas, išryškinti naujus aspektus. / The dissertation deals with issues of those art practices, where an artist or a curator employs people as a project material so as to realize his/her creative purpose. Projects like this commonly expand beyond the aesthetic field: instead of representing social or political reality, they actually perform it. Therefore the dissertation aims at constructing a conceptual model that would enable the analysis of the problems around participatory art, as a practice operating both in aesthetic and social fields. The model is based primarily on rethinking of the classical divide between production and action (poiēsis and praxis) and the principle premise that contemporary production is increasingly becoming akin to action (Paolo Virno, Giorgio Agamben). The dissertation suggests that participatory practices are the clearest evidence of this dialectics between production and action in contemporary art. The model constructed of diverse philosophical concepts (idle talk, tactics, everyday practices, performativity, iteration) is employed for analysis of participatory art practices in Lithuania, which shows how looking through the prism of production and action foregrounds certain problems, general to participatory art (e.g. those of documentation, relation between art event and artwork, labor and entertainment, etc.). At the same time it proves to be a handy tool that helps to highlight peculiarities of a particular project, to question certain established prejudices, and to unveil new... [to full text]

The essay acts as a blueprint over my artistic practice. It is through the friction caused by th relations between the Keywords mentioned above I strive to achieve a dynamic which will act as an interlocutor between the fields, which are not separated but which fail to understand each others' logic and instead more or less intentionally seek to overwrite each other. / [I examensarbetet ingår utställningen: "Taking care of business":] The show was a total installation spanning over 7 days in which Studio Stök (Fredrik Fermelin and I) were constantly keeping the exhibition going: One room was filled with gelatine and lasers, was connected to another room by a tunnel in which a robotic vacuum cleaner constantly active. The other room was filled with +20 office chairs with incense sticks. Fredrik and I were never seen, but for 13 hours a day (07:00am-06:00pm), we mopped up the water from the "melting" gelatin so people could walk, lightning new incense, switching vacuum cleaners and mixing playlists with binaural beats for the tunnel. It was a way of catering an immediate sensation experienced as a viewer, no textualization was presented and enunciated indicating the exhibition was to be read in a certain way, and no artist was present creating a somewhat eerie sensation of a presence or absence. The smells were carried through the exhibition by the draft from the open doors and each room thus pre-empted the other. . Each room had an entrance and people were thus entering from two directions, there was no wrong way of entering and experiencing, the choreography of the exhibition created a sort of moebious strip which ended as quickly as it had lasted. During the week various flash events were held where the backspace which in normal circumstances acts as the entrance was opened. Material: Various Teknik: Installation The exhibition and partially the essays was a completely collaboration between Cecilie Hundevad Meng and Fredrik Fermelin as the artist group Studio Stök. The Exhibition and the essay(s) was only indirectly connected. / <p>The essay was abstractly linked to the exhibition.</p>

This thesis is an investigation into some of the influences, reasons, concepts and processes in my sculptural practice. Referencing the use of absurdity, pseudoscience, mythological instrumentality, and normal consumer logic, it is a questioning into what type of cultural production is viable within a contemporary art context.

This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.