Made available in DSpace on 2016-04-26T18:14:34Z (GMT). No. of bitstreams: 1 Ananda Carvalho.pdf: 30191795 bytes, checksum: 9b856af03add8e53f11cd03efc5b3083 (MD5) Previous issue date: 2014-08-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research seeks to map the creation procedures of curatorial networks, understanding them as communication practices in contemporary art system. Such networks are mappings of these procedures, developed by curators in contemporary art exhibitions, mainly in São Paulo city in the last decade. From the methodological point of view, the research analyzes the objects according to the theory of the creation processes in network proposed by Cecilia Almeida Salles. From the communication point of view, it likewise relies on the theory of complex thinking developed by Edgar Morin. To understand the term contemporary art, this research agrees with Anne Cauquelin, who argues for the existence of an art system that prevails in a communication society. The thesis begins by presenting the introductory courses of curatorial networks with the aim of demonstrating their complexity. Then, it observes the São Paulo s curatorial production from files used for the communication of the exhibitions as curatorial texts, interviews with curators published in the press, photographs and videos of the exhibitions. Through the analysis of these files, the research highlights three major procedures: the relationship between curating and reconstruction of historical discourse; the spatialization of curatorial thinking through exhibition s resources as texts and the organization of the artworks in the space; and the relationship between curating and distribution, that accounts discourse practices that trespass one another, connecting the production and the reception processes. It also analyzes curatorships with historic importance those contextualize the mapped procedures. The three major procedures are broken down into several others, that could interact with each other forming communicative spaces from the perspective of a complex system. Finally, this thesis presents a broad overview of the studied field with a methodological approach that provides the curatorship analysis under an unprecedented point of view of the subject in Brazil / A presente pesquisa busca mapear os procedimentos de criação das redes curatoriais, compreendendo-os como práticas da comunicação no sistema da arte contemporânea. Tais redes são mapeamentos desses procedimentos, desenvolvidos pelos curadores em exposições de arte contemporânea realizadas, principalmente, na cidade de São Paulo na última década. Do ponto de vista metodológico, a pesquisa analisa os objetos de acordo com a teoria dos processos de criação em rede proposta por Cecilia Almeida Salles. Do ponto de vista da comunicação, também se apoia na teoria do pensamento complexo elaborada por Edgar Morin. Para compreender a denominação arte contemporânea, esta pesquisa concorda com Anne Cauquelin, que defende a existência de um sistema da arte que impera num regime da sociedade da comunicação. A tese inicia apresentando os percursos introdutórios das redes curatoriais com o objetivo de demonstrar a complexidade dessas redes. Em seguida, observa a produção curatorial paulistana a partir de arquivos utilizados para a comunicação das exposições como textos curatoriais, entrevistas dos curadores publicadas na imprensa, fotografias e vídeos das exposições. Por meio da análise desses arquivos, destacam-se três grandes procedimentos: a relação entre curadoria e reconstrução do discurso histórico; a espacialização do pensamento curatorial através dos recursos expositivos como textos e organização das obras no espaço; e a relação entre curadoria e partilha, que diz respeito a práticas discursivas que atravessam umas às outras, conectando processos de produção e de recepção. Também são analisadas curadorias de importância histórica que contextualizam os procedimentos mapeados. Os três grandes procedimentos são desdobrados em diversos outros, que podem interagir entre si constituindo espaços comunicacionais sob uma perspectiva de um sistema complexo. Por fim, esta tese apresenta uma visão ampla do campo estudado com uma abordagem metodológica que oferece a análise da curadoria sob um ponto de vista inédito do tema no Brasil

Made available in DSpace on 2016-12-12T20:17:56Z (GMT). No. of bitstreams: 1 119040.pdf: 15039381 bytes, checksum: 3b2f8b83fee7c0e69dc7bcc1aa1a41ed (MD5) Previous issue date: 2014-07-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study begins in the projecting issue, addressing concepts of knowledge building, specifically about projects related to communication interfaces. The starting point and motivation of the study lies in the perception of a frequent gap between audience, interface building theory and design practice. It is suggested that modern projective practices must break with the static paradigms from the past, joining new forms and practices, suggesting content curation in the world wide web. Raising points of convergence between: web content curating, interface design and "design design" (the metaproject) in creating up to date projecting practices, the work raises a discussion proposing the application of the possibilities that the so-called "new economy" brings to the intense routine of referencing that nowadays constitutes the designer praxis. Thus, the theoretical framework focuses on cognitive ergonomics in design practice, the meta-project, the communication design, semiotics, curating content and finally branding. / A presente dissertação se inicia na questão da problemática projetual, abordando conceitos sobre a construção do conhecimento, especificamente, dos projetos de interfaces comunicacionais. O ponto de partida e motivação do trabalho é a percepção de que ainda é frequente o distanciamento entre público-alvo, teoria da construção de interfaces e a prática projetual. Sugere-se que as práticas projetuais modernas devem romper com os paradigmas estáticos do passado, aderindo novas formas e práticas, como, por exemplo, a curadoria de conteúdo na rede mundial de computadores. Levantando pontos da convergência entre: curadoria de conteúdo web, design de interfaces e design do design (o metapojeto) na criação de práticas projetuais atualizadas, o trabalho suscita uma discussão propondo a aplicação das possibilidades que a chamada nova economia traz ao cotidiano de intenso referenciamento, que hoje, constitui o projetar do designer. Deste modo, o referencial teórico concentra-se na ergonomia cognitiva, na prática projetual, no metaprojeto, no design da comunicação, na semiótica, na curadoria e por último em branding.

The topic I have chosen for my diploma thesis is the curation of architecture as a possible overlap of teaching architecture towards the general public, but also a tool for connecting academic and municipal institutions. In my work I will examine the possibilities of creating an architecture center within the Faculty of Architecture, BUT. Galleries and museums of architecture, and thus various other associations and groups dealing with architecture, often function as separate institutions. I decided to solve the creation of a similar center, which as such has been missing in the Czech environment for many years, through its placement in academia. In my work I will first focus on the theoretical study of the possibilities of presentation and representation of architecture together with new approaches in the field of exhibition and curation of architecture. Subsequently, I will deal with the possibilities of connecting the activities of the Center of Architecture and the Faculty of Architecture. The aim of the work will be a practical design of the center within the BUT campus, for which I chose a space near Veveří Street in Brno, also known as Academic Square. For me to design the center, it will be important for me to analyze the place and find possibilities for its new concept. Today, the space of the Academic Square is in a state of disrepair and is waiting for an important gesture that can unite the place. Can it be the center of architecture?

Jana Kerhartová Play, playfulness and humour in the practice of the Art Gallery H Abstract This thesis presents activities of an unofficial private art gallery which operated in Kostelec nad Černými lesy in the 1980s. The research for the paper combined the oral history method, work with visual and textual archives and (visual) semiotic analysis. The aim of the research was to describe the activities of The Art Gallery H and to verify the possibilities of didactic transformation of some chosen aspects into visual arts education. The data, especially interviews with witnesses, historical documents, artworks and school lessons have the character of utterances in the poststructuralist context. Memories of the time and the alternative community viewed through the lens of today bring us important information about the present as well. Clandestine culture arisen in the totalitarian regime brings a new perspective into issues such as freedom, focus of our activities, relation to the establishment, ethics. The main concept that interconnects the whole thesis is the relation between humour, play and art creation. This motive is also important for the context of visual arts education.The outputs of the research were presented in the book Humour and Play in The Art Gallery H and at the exhibition of the same name...

The concept of care has recently gained significant attention in cultural institutions and among artists. This trend was particularly evident in 2020, during the COVID-19 pandemic and the Black Lives Matter movement, which contributed to increased public programming focused on caring practices and the concept of care. One notable example is documenta fifteen, organized by ruangrupa, which used "lumbung" (a method of collectivity and sharing) as its core working method for both funding distribution and organization. Previous research has shown how the role of the curator has changed from one who takes care of artworks to one that is dependent on “social infrastructures and personal charm.” This study identifies problems and structures that hinder care practices among curators through interviews and an auto-ethnographic approach.

This research examines how the practice of curating has been used to further counter-hegemonic agendas in public art institutions since 1989. The central aim is to provide a fuller, contextualised, and medium specific understanding of the how the institutional exhibition might be used to challenge the hegemony of neoliberalism and the post-political consensus politics that sustains its dominance. It provides insights, through both historic case studies and reflective practice, that problematise the idea that the institutional art exhibition is a viable medium for counter-hegemonic critique, or represents the ideal space for the development of an agonistic public discourse. This thesis presents collaborative research undertaken with Tate Liverpool and Liverpool John Moores University. The research presented both extrapolated from, and contributed to, the development of an exhibition, co-curated with Tate Liverpool, entitled Art Turning Left (8 November 2013 – 2 February 2014) and a supplementary publication of the same name. The first section investigates how the idea that curators can counter neoliberal dominance, through institutional exhibition-making, developed. It draws from analyses of previous exhibitions, and the theory of Chantal Mouffe, in order to critically evaluate the curatorial application of counter-hegemonic critique and agonistic practice. It also provides a review of how exhibitions (held in major art institutions since 1989) have articulated politics, in order to determine their relationship to neoliberal dominance, and to identify significant gaps in the dialogue facilitated by these institutions. These analyses provides the theoretical and contextual grounding for the final two chapters, which provide a rationale and critical evaluation of my own attempt to develop an alternative counter-hegemonic curatorial strategy for the exhibition at Tate Liverpool. They document, and analyse, the areas of dissensus, and the ideological and pragmatic limitations that emerged, in trying to realise these theoretical propositions (in practice) in a public art museum. The thesis therefore provides a critical framework for the development of an alternative practice that positions the exhibition as a form of post-political critique and specifically targets the hegemonic role that institutional exhibitions play in reinforcing class distinctions and devaluing nonprofessional creativity.

This essay investigates and compares two Swedish artist homes made into museums using an applied version of Danish scholar Rune Gade’s exhibition analysis method. The homes that were chosen for the study are Tallbo, in the region of Gästrikland, the home of Swedish painter Ecke Hedberg (1868-1959) and Bror Hjorths Hus in the city of Uppsala, the home of Swedish painter and sculptor Bror Hjorth (1894-1968). The essay focuses on the permanent exhibitions of the artists private homes and ateliers, and the interior and artworks that are shown. This essay answers the questions of which objects have been chosen for the exhibitions (with a presentation of the interior and art in both homes), how the objects are organized and curated, how the objects are presented and in which public context the exhibition functions in. The latter question is answered within the frame of intermediation, musealization, cultural heritage and identity connected to Australian historian and curator Linda Young’s theories of historical homes. / I denna studie undersöks och jämförs två svenska musealiserade konstnärshem utifrån en tillämpad användning av den danske konsthistorikern Rune Gades metod för utställningsanalys. Konstnärshemmen som valts ut för studien är Tallbo i Gästrikland, hem till konstnären Ecke Hedberg (1868-1959) och Bror Hjorths Hus i Uppsala, hem till konstnären och skulptören Bror Hjorth (1894-1968). Fokus ligger på interiören och konstverken i de permanenta utställningarna. Studien svarar på frågor som rör vilka objekt som valts ut för utställningarna, hur föremålen är organiserade, hur föremålen är presenterade och i vilken offentlig kontext som utställningarna fungerar. Detta besvaras utifrån perspektiv som förmedling, musealisering, kulturarv och identitet kopplat till den australiensiska historikern och curatorn Linda Youngs teorier om historiska hem.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-03T14:19:01Z No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-03T14:21:12Z (GMT) No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5) / Made available in DSpace on 2015-12-03T14:21:12Z (GMT). No. of bitstreams: 1 talissonmelodesouza.pdf: 5159280 bytes, checksum: 518577b5946c28a4a28d6be6120c76c2 (MD5) Previous issue date: 2015-03-05 / A partir do contexto de emergência e consolidação da atividade do curador de exposições de arte contemporânea na esfera artística internacional, esta análise direciona-se a duas edições da Bienal de São Paulo (as 18ª e 19ª, promovidas em 1985 e 1987, respectivamente) para compreender as condições e desdobramentos dessa profissão no Brasil. As curadorias da crítica de arte Sheila Leirner são estudadas aqui em sua singularidade e em relação com diversas exposições realizadas em instituições congêneres. Colocamos em perspectiva a historiografia já estabelecida acerca dessas duas propostas curatoriais (“O Homem e a Vida” e “Utopia versus Realidade”), e esquadrinhamos o debate crítico suscitado por elas dentro e fora do país. Seleções de obras artísticas e artistas, expografia, discurso teórico e poder de legitimação são articulados com a trajetória crítica da curadora e as transformações nas políticas públicas para a cultura e no status das instituições culturais na década de 1980, em diálogo com a os processos de globalização da arte e redemocratização política no Brasil. / From the context of emergency and consolidation of the curator’s activity of organizing contemporary art exhibitions in the international artistic sphere, this analysis focuses on two editions of the Sao Paulo Art Biennial (the 18th and 19th ones, promoted in 1985 and 1987, respectively) to understand the conditions and consequences of this profession in Brazil. Here we study the curatorial projects of the art critic Sheila Leirner in its uniqueness and in relation to other events held in similar institutions. Questioning the approach already established by the Brazilian historiography about these two curatorial proposals ("Man and Life" and "Utopia vs. Reality"), this research scrutinizes the critical debate raised by them within and outside the country. We also link selections of art works and artists, expography, theoretical discourse and legitimation power to Leirner’s critic production and the transformations in public policy for culture and cultural institutions status during the 1980s, connecting them to the processes of globalization of art and political redemocratization in Brazil.

This thesis aims to examine if and how gender is framed, presented and problematized in contemporary art exhibitions. To achieve this, exhibitions and the curatorial function at the museums Bildmuseet in Umeå and MAN (Museum Anna Nordlander) in Skellefteå are investigated through interviews and analyses. These were made from a gender theoretical perspective, guided by Judith Butler's poststructural approach, focusing especially on perfomativity and queer. The thesis describes how contemporary art exhibitions can be curated in a gender aware manner. The areas identified as important when it comes to gender aware curation are: including and problematizing gender, educating in gender issues and gender awareness during internal as well as external collaborations. All of the analysed exhibitions contain gender aspects that ​are examined deeper, even though the curators did not intend all of the exhibitions to highlight and problematize gender. In the thesis, it is also discussed what role the curator has in the gender aware work and how gender/sex are represented in the examined exhibitions. It also problematizes the lack of non-binary artist in previous exhibitions of the museums and how this, through different strategies, can be counteracted in order to create a more democratic and inclusive museum.

This thesis is a study of representations of Pacific Asia in exhibitions in Stockholm. In the Swedish culture and art sphere, a public discussion surrounding Asia is conspicuously absent even though there are significant amounts of residents in Sweden with an Asian background. The thesis analyses three selected exhibitions: Korea Gallery at the Museum of Far Eastern Antiquities, Dreamers’ Quay, Dreamers’ Key at Bonniers Konsthall, and From dying to living at Moderna Museet. The material consists of field observations, exhibition catalogs, handouts, wall texts, and interviews with the involved curators alongside with the exhibitions themselves. The thesis aims to initiate a critical discussion around the representations of the so-called “Other” and the implications of curatorial approaches in these exhibitions that primarily revolve around Asian themes with the help of the following research questions: 1) How is Asia portrayed and represented in each exhibition?; 2) What perception of Asia and Asianness is conveyed through the exhibitions as well as by the way of other related material?; and 3) How is the curatorial approach to the exhibitions with ethnographic themes revolving around Asianness? The qualitative case studies assess both the content and visuals of the exhibitions and the preparation processes of the exhibitions, and theoretically, they are informed by Stuart Hall’s theory of representation as well as Hal Foster’s and Miwon Kwon’s writings on the artist as ethnographer. Through an examination of the three case exhibitions, the thesis finds that representations of Asia are varied and have benefited from extensive curatorial efforts but show occasional weaknesses in terms of displaying the Other. The thesis contributes to a better understanding of representations of Asia in exhibitions in Sweden and hopefully paves the way for future research of this kind.