This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.

Viele zeitgenössische Institutionen (Theater, Festivals, Biennalen, Kunsthallen, Museen, etc.) haben sich seit Mitte der 1990er Jahre wieder verstärkt experimentellen Formen zugewandt, sowie einen Theorie und Praxis verzahnten Diskurs gefördert. Wie aber sieht es in der Realität mit einer kontinuierlichen Programmarbeit in diesem Bereich aus? Gehören diese Formate und programmatischen Überschriften lediglich zu einer aufgeklärten Gesellschaft des Spektakels, die nach mehr Abwechslung verlangt oder existieren substantielle und kulturpolitische Langzeitperspektiven?

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This thesis addresses a gap in scholarship by centering curators at often-overlooked university art institutions in the Appalachian region in order to analyze the practical applications of feminist curatorial methodologies in comparison to established feminist curatorial scholarship Three case studies focus on the Reece Museum at Eastern Tennessee State University, the Art in the Libraries initiative at West Virginia University, and the Eleanor D. Wilson Museum at Hollins University. This study uses qualitative and anecdotal data collection methods, such as surveys and one-on-one interviews to demonstrate how feminist methodologies are employed as a theoretically informed curatorial practice, following the framework originally developed in feminist curatorial scholarship. An analysis of feminist curatorial scholarship reveals three core principles of feminist curating: institutional critique, collaboration and engagement, and inventive exhibition strategies. Data analysis found that staff at these three university institutions utilize various intersectional methodologies under the umbrella of feminist interventions when creating exhibitions in their respective institutions. The concept of "feminist curating," as understood and expressed by the staff, has evolved from traditional gender-centered approaches to address a broader scope of socio-economic inequalities as well as power dynamics within museums It is intended to serve as an entry point for further critique of self-described curatorial feminist methods and their practical implementations, in order to analyze what these strategies and practices look like, and how they are intended to affect the university community. / Master of Arts / This thesis explores the feminist practices of curatorial staff from three university art institutions in Appalachia: the Reece Museum at Eastern Tennessee State University, the Art in the Libraries initiative at West Virginia University, and the Eleanor D. Wilson Museum at Hollins University, and connects their work to the larger landscape of feminist curatorial scholarship. The self-described feminist interventions in these curatorial practices aim to disrupt power hierarchies present in museums and other exhibition spaces. A tradition of feminist curating initially served as a method for highlighting women artists and questioning the underlying societal systems that led to their exclusion from the art world, however, this thesis found that contemporary iterations of feminist curating now have an expanded focus to include other historically marginalized populations. Despite the change in scope, both contemporary and historic feminist curators utilize three primary feminist approaches that are common to a variety of curatorial methods: institutional critique, collaboration and engagement, and inventive exhibition strategies. These three methods are continued threads that link feminist curatorial methodologies over time and provide a basis for analyzing distinctions between traditional feminist curatorial methods, feminist curating in scholarship, and how feminist interventions are implemented in a practical sense at university institutions in the Appalachian region.

The thesis examines the evolving realtions of the aesthetic and conceptual aspects in exhibition-making after the 'conceptual turn' that took place in the late-1960s and instigated key transformations in the aesthetic condition of art and contemporary curatorial practice. Drawing on a broadly construed and variously manifested conceptualism pervading the growing field of curating since 1990s, the thesis focuses on investigating the relation between the aestheti and conceptual dimensions of three exhibitions that have had a significant impact on the postconceptual development of curating. In doing so, it aims to construct an alternative genealogy that reaffirms the significance of the aesthetic element, and so to reconstruct curatorial practice from the perspective of an Aesthetics of Curating. This trajectory unfolds a non-unitary Curatorial Aesthetics that emerges and develops together with the conceptual shift offering a revisionist perspective to dominant practices and discourses today that tend to devalue or repress aesthetic modes of production. The driving force of the thesis is neither to affirm aestheticism nor simply reversing the received positions. Instead, the investigation of aesthetics - as the poetics of an exhibition and a philosophical understanding of the experience offered - provides a reading that contests the emphasis placed upon conceptualism in order to revise those relations and established assumptions, and enable us to understand contemporary aspects of curating that have been downgraded. The thesis focuses on three case-studies, which mark important shifts in the conceptual development of curating from 1969 to 2007: When Attitudes Become Form: Works-Processes-Concepts-Situations-Information (Live in Your Head), curated by Harald Szeemann. Kunsthalle Bern (1969); Les Immateriaux, co-curated by Jean-Francois Lotard and Thierry Chaput, Centre George Pompidou, Paris (1985); Documenta 12, under the artistic directorship of Roger Buergel and chief curatorship of Ruth Noack, Kassel (2007). By exploring the different ways in which these exhibitions accommodate, engage with, and define aesthetic experience in relation to their conceptual modes, the study provides an alternative account of Curatorial Aesthetics that attains its transformative potential and political efficacy in the present through the invention of new sensations that incite new modes of thinking and acting.

Discovering the city of Bruges through the lens of its Triennial is the starting point to research the potential for contemporary art to influence one’s way of experiencing the city. Taking the case study of a still not so renowned large-scale event like the Bruges Triennial, this thesis investigates the background of this recurring event, how it started, the evolution of its curatorial process and its socio-political challenges being set, every three years, in the context of a Unesco-protected site. After providing the historical background of the city of Bruges, it evidences the ways in which the Bruges Triennial gradually adopted a flâneuristic approach to curating art and in turn encourages flânerie. This sensible way of progressing in the city, mostly via walking and based on the bodily experience, is allowing the refining of a curatorial practice concerned with generating a sensorial reading of the city and results in a curatorial experiment entitled La Dérive.

Esta dissertação tem o objetivo de refletir sobre as práticas de Curadoria Educativa e Mediação da Arte Urbana a partir da observação de suas relações com Instituições Culturais e Educacionais na cidade de São Paulo. Analisamos exposições de Arte Urbana, entre 2009 e 2013, no Museu de Arte de São Paulo Assis Chateaubriand e no Museu Brasileiro da Escultura, os quais, a partir de agora, serão representados pelas siglas MASP e MuBE. Pesquisamos as mostras: De dentro para fora/De fora para dentro e De Dentro e de Fora, no MASP; e as I e II Bienal Internacional do Graffiti Fine Art, no MuBE. As mostras citadas foram escolhidas por se tratarem de exposições de Arte Urbana sediadas em museus. Realizamos também dois estudos de caso, duas propostas de práticas em Arte Urbana, direcionados à educação. A primeira é o trabalho do Eduqativo do Instituto Choque Cultural que mantém projetos como o Linguagens Artísticas: Arte Urbana na Escola, um projeto de Arte Urbana ligado à educação junto às instituições educativas públicas no município de São Paulo. A segunda é um projeto de Arte Urbana, que acontece na Escola Municipal de Ensino Fundamental Deputado João Sussumo Hirata, citada de forma abreviada (EMEF) Dep. João Sussumo Hirata, localizada no bairro Jardim Ofélia, periferia da cidade de São Paulo, que pelo segundo ano consecutivo, realizou o projeto Fazendo Arte no Sussumo, com base na cultura hip hop cujo encerramento é a festa do Grafite no Sussumo, nomeada de Graffitassu. Preocupados com a leitura dessas imagens, trazemos uma discussão sobre o processo de comunicação entre o emissor e o receptor dessas imagens quando estas transitam em diferentes espaços como os institucionais e os públicos, a rua. Com base nos estudos voltados à Educação de Freire, de Vygotsky, de Foucault, à Sociologia de Bauman, Hall, Bourdieu, Badiou, à Arte-educação de Ana Mae Barbosa e à Arte de Rancière, Baudrillard, Cauquelin, temos o intuito de refletir acerca das práticas e abordagens aplicadas por instituições culturais e educativas, de forma social, política e educativa para contribuir com as discussões direcionadas à Arte Urbana quando em diferentes ambientes, visando a Arte-educação. / This paper aims to reflect on the practices, Educational Curating and Mediation of Street Art, from the observation of its relations with cultural and educational institutions in the city of São Paulo. For this, we analyzed Street Art exhibitions that happened at MASP (Museum of Art of São Paulo Assis Chateaubriand) and at MuBE (Brazilian Museum of Sculpture), made between 2009 and 2013. Our focus is on the exhibitions: De dentro para fora/De fora para dentro e De Dentro e De Fora/Inside out Outside in, both at MASP; and the 1st and 2nd International Biennial of Graffiti Fine Art, both at MuBE. The samples cited were chosen specifically as they were exhibitions based in cultural institutions, as our goal is to investigate how this art manifestation has been addressed by the Educational Curating, and how the work mediation was directed to the schools and/or groups that have visited these exhibitions. In addition to this analysis, we conducted two case studies, two proposal practices in Street Art. The first is the work of the Eduqativo of Institute Choque Cultural that, since 2011, keeps projects like the Artistic Languages: Street Art at school, and Street Art project connecting education with the public educational institutions in São Paulo. The second proposal deals with a Street Art project, which takes place at EMEF Dep. João Sussumo Hirata, school located at Jardim Ofélia neighborhood, suburb of Sao Paulo, which for the second year carries the project Making Art at Sussumo, under the guidance of one of the Arts teacher, based on the hip hop Culture whose final event is the Graffiti party at Sussumo, named Graffitassu. Concerned with the reading of the Graffiti images also bring a discussion of the process of communication between the sender and the receptor of the images. Based on studies in Education of Freire, Vygotsky, Foucault, in Sociology of Bauman, Hall, Bourdieu, Badiou, in Art education of Barbosa and in Art of Rancière, Baudrillard, Cauquelin, the last goal of this research is to reflect in a social, political and educational way about the practices and approaches surveyed with a view to contributing to discussions regards Street Art through different environments with the overriding aim of Art education.

A tese está organizada em torno dos estudos de caso de três edições da Documenta de Kassel (1997, 2002, 2007), bem como das 24ª (1998), 27ª (2006) e 28ª (2008) edições da Bienal de São Paulo, tendo como foco de análise as transformações ocorridas nas práticas curatoriais e na esfera institucional da arte a partir dos anos 1960 e 1970. A construção conceitual foi realizada através de um diálogo entre as transformações nas práticas curatoriais contemporâneas, resultado de uma revisão dos papéis das instituições como mediadoras entre a produção artística e o público, com os processos de inserção de regiões e discursos periféricos em um sistema cultural global. / The Thesis is organized around the case studies of the last three editions of Kassel´s Documenta (1997, 2002, 2007), and the 24th (1998), 27th (2006) and 28th (2008) editions of São Paulo Bienal. It is focused on the analysis of the transformation that has been occurring in the curatorial practices and in the art institutions since the 1960s and 1970s. Its conceptual background is based on the relationship between the critical (aesthetic) practices and the process of cultural globalization.

Esta tese de doutorado consiste na remontagem virtual da exposição A casa tomada (de Julio Cortázar) por desenhos que não deram certo. Desenhos de 1978/80. Apogeu do Claro-escuro Pós-Caravaggio, do artista joinvilense Luiz Henrique Schwanke, realizada no Museu Nacional de Belas Artes, do Rio de Janeiro (RJ), em 1980. Tal remontagem é ancorada na curadoria educativa, entendida no contexto desta pesquisa como uma forma de desenhar exposições pensadas para todos os tipos de público, por meio da qual a arte se coloca em articulação com o indivíduo e com a sociedade, de maneira a ser ativada como um instrumento de ação cultural. Essa exposição acontece no Museu de Arte Contemporânea Luiz Henrique Schwanke Virtual (MAC Schwanke Virtual), localizado no website do museu, que ainda não possui sede física, mas que já atua enquanto tal mediante seus programas e suas ações. Defende-se a existência do museu no ambiente virtual em rede, assim como a utilização desse espaço pela exploração de suas especificidades, ou seja, como um meio de ampliar as ações do museu e de pôr o seu acervo constantemente em ativação, para deleite, pesquisa e estudo, sem reproduzir os recursos utilizados na realidade física. Portanto, a versão virtual da exposição promovida está alicerçada na exploração da natureza não linear e hipermidiática no ciberespaço, e não na tentativa de reprodução do espaço e da lógica de exposições existentes na realidade física, o que aqui, conforme já dito, ocorreu por intermédio da curadoria educativa. / This PhD thesis consists on the virtual reinstallation of A Casa Tomada exhibition (by Julio Cortázar) with drawings that did not work. Drawings from 1978/1980. The prime of post-Caravaggio chiaroscuro, by Joinville-born artist Luiz Henrique Schwanke, at the National Fine Arts Museum, of Rio de Janeiro, in 1980. Such reinstallation is anchored on educational curating, understood in the context of this research as a way to plan exhibitions for all kinds of public, through the means of which art is articulated with the individual and with society, so that it is activated as an instrument of cultural action. This exhibition is at Schwanke Virtual Museum of Contemporary Art, located in the website of the museum, which does not have a physical headquarters yet, but is already active through its programs and actions. We defend the existence of the museum in the virtual network environment, just as utilizing this space from the exploration of its specificities, that is, as a means to enlarge the actions of the museum and activate its collection, for delight, research and studies, without reproducing the resources of the physical reality. Thus, the virtual version of the exhibition is based on the exploration of non-linear and hypermediatic nature of cyberspace, and not in the attempt to reproduce the space and the logic of exhibitions that exist in physical reality, which, as said, was achieved by the means of educational curating.

Made available in DSpace on 2016-04-26T18:11:50Z (GMT). No. of bitstreams: 1 Gabriel Menotti Gonring.pdf: 17653281 bytes, checksum: 35f5e728825b50d5ba3289485ce26cb6 (MD5) Previous issue date: 2012-06-22 / Itaú Cultural / Under the light of the recent developments in mass media and computer technologies, this thesis proposes a relational perspective that allows us to evaluate the creative autonomy of curatorial practices in other words, the capacity of the curator to intervene in the meaning and value of the artist s work, and even to be able to create meaning and value with her own activity. Departing from ideas of Cecília Salles and Bruno Latour, we established that an artwork, more than an autonomous gesture or singular artefact, is the manifestation of disputed networks of intersubjective processes. The importance of the activity of the curator in these networks is underscored by a close reading of the history of art exhibitions from the middle of the 19th century until today, the period in which the profession of curator as we know it has been established. This is based on critical studies such as those of Karsten Schubert, Nicholas Serota, Brian O Doherty and Mary Anne Staniszewski. Simultaneously, we analyse how curatorial practices have been transformed in relation to art making, changing its scope according to the way media systems were incorporated by creative processes. In that sense, we propose that such practices do not operate only in the conservation and exhibition of artworks, but rather participate actively of its dynamics of production and consumption. Finally, another way of understanding the work is proposed by the means of the concept of exhibition design, which would create an intersection between the fields of media, arts and design, allowing us to understand in detail how these disciplines interact and influence each other historically, specially in what concern the negotiation of the limits of creative activity in each of them. This approach is exercised in the making of the exhibition Denied Distances, employing curatorial practices as a self-reflexive opportunity to promote a deeper understanding about their own intervention in creative networks. Besides calling our attention to the degree of influence of the curator in the communication of art making, such methodology underscored the role of contingencies and institutional realities in the work of the independent curator / À luz do desenvolvimento dos meios de comunicação de massa e das tecnologias telemáticas, essa tese tem o objetivo de propor uma perspectiva relacional que nos permita avaliar a autonomia criativa das práticas curatoriais em outras palavras, a capacidade do curador de intervir no valor e sentido do trabalho do artista, e mesmo de ser ele próprio apto a criar valor e sentido com a sua atuação. Partido de teorias de Cecília Salles e Bruno Latour, estabelecemos que a obra de arte, mais do que um gesto autônomo ou artefato singular, é uma manifestação de disputadas redes de processos intersubjetivos. Buscamos ressaltar a preponderância da atividade do curador nessas redes ao acompanhar a história das exposições de arte desde meados do século XIX até os dias de hoje, período em que a profissão como a conhecemos atualmente tomou forma. Esse estudo tem por base levantamentos críticos como os de Karsten Schubert, Nicholas Serota, Brian O Doherty e Mary Anne Staniszewski. Simultaneamente, analisamos como as práticas curatoriais se transformaram em relação ao fazer artístico, alterando seu escopo na medida em que os processos de criação se deixaram contaminar por sistemas midiáticos. Nesse sentido, concluímos que tais práticas atuem não apenas na conservação e divulgação das obras, mas participem ativamente das dinâmicas de produção e consumo do trabalho de arte. Por fim, sugerimos outra forma de entender a obra em exposição com base no conceito de arranjo expositivo, que possibilita uma intersecção entre a comunicação, as artes e o design, nos permitindo apreender de maneira mais detalhada o modo como esses campos interagem e se influenciam historicamente, especialmente no que se refere à negociação dos limites de atuação criativa em cada um deles. Exercitamos essa abordagem na realização da mostra Distâncias Negadas, utilizando a própria prática curatorial como uma oportunidade autorreflexiva, de maneira a compreender o seu desempenho nas redes de criação. Além de chamar atenção para o grau de influência do curador na comunicação do fazer artístico, tal metodologia salientou o papel das contingências e realidades institucionais na atuação do curador independente