O trabalho evidencia um novo modelo de gestão e funcionamento do sistema da arte no Brasil, considerando a emergência de dois novos atores e de um tipo específico de instituição cultural a partir dos anos oitenta. Nesse sentido, analisa as atuações de curadores, produtores e plataformas culturais articuladas a corporações bancárias no destino de artistas e obras no contexto da história da arte na contemporaneidade. Para tanto, focaliza a atuação do Itaú Cultural, em São Paulo, e do Centro Cultural do Banco do Brasil do Rio de Janeiro, no período de 2000 a 2005, da qual são selecionados para entrevista um grupo de curadores, produtores culturais e artistas, além dos gestores das instituições. O objetivo do estudo é mostrar como o regime de eventos passou a vigorar no sistema, influenciado pela ação do Estado e das infra-estruturas emergentes, responsáveis pela circulação e visibilidade da produção artística. / The current paper highlights a new management and functioning model for the art system in Brazil, considering the emergence of two new agents and a specific type of cultural institution which appeared in the 1980´s. Thus, it analyses the work of curators, producers and also cultural platforms related to bank corporations in the career of artists and their works in the context of contemporary history of art. In order to reach that goal, it focuses on the work of Itaú Cultural in São Paulo and Centro Cultural Banco do Brasil in Rio de Janeiro from the year 2000 to 2005. It was selected a group of curators, producers, artists and managers of the institutions to take part in the interviews. The aim of the study is to show how a policy of events started to exist in the system, influenced by the action of the estate and the emerging infrastructure, which are responsible for the visibility and circulation of artistic production.

O trabalho evidencia um novo modelo de gestão e funcionamento do sistema da arte no Brasil, considerando a emergência de dois novos atores e de um tipo específico de instituição cultural a partir dos anos oitenta. Nesse sentido, analisa as atuações de curadores, produtores e plataformas culturais articuladas a corporações bancárias no destino de artistas e obras no contexto da história da arte na contemporaneidade. Para tanto, focaliza a atuação do Itaú Cultural, em São Paulo, e do Centro Cultural do Banco do Brasil do Rio de Janeiro, no período de 2000 a 2005, da qual são selecionados para entrevista um grupo de curadores, produtores culturais e artistas, além dos gestores das instituições. O objetivo do estudo é mostrar como o regime de eventos passou a vigorar no sistema, influenciado pela ação do Estado e das infra-estruturas emergentes, responsáveis pela circulação e visibilidade da produção artística. / The current paper highlights a new management and functioning model for the art system in Brazil, considering the emergence of two new agents and a specific type of cultural institution which appeared in the 1980´s. Thus, it analyses the work of curators, producers and also cultural platforms related to bank corporations in the career of artists and their works in the context of contemporary history of art. In order to reach that goal, it focuses on the work of Itaú Cultural in São Paulo and Centro Cultural Banco do Brasil in Rio de Janeiro from the year 2000 to 2005. It was selected a group of curators, producers, artists and managers of the institutions to take part in the interviews. The aim of the study is to show how a policy of events started to exist in the system, influenced by the action of the estate and the emerging infrastructure, which are responsible for the visibility and circulation of artistic production.

O trabalho evidencia um novo modelo de gestão e funcionamento do sistema da arte no Brasil, considerando a emergência de dois novos atores e de um tipo específico de instituição cultural a partir dos anos oitenta. Nesse sentido, analisa as atuações de curadores, produtores e plataformas culturais articuladas a corporações bancárias no destino de artistas e obras no contexto da história da arte na contemporaneidade. Para tanto, focaliza a atuação do Itaú Cultural, em São Paulo, e do Centro Cultural do Banco do Brasil do Rio de Janeiro, no período de 2000 a 2005, da qual são selecionados para entrevista um grupo de curadores, produtores culturais e artistas, além dos gestores das instituições. O objetivo do estudo é mostrar como o regime de eventos passou a vigorar no sistema, influenciado pela ação do Estado e das infra-estruturas emergentes, responsáveis pela circulação e visibilidade da produção artística. / The current paper highlights a new management and functioning model for the art system in Brazil, considering the emergence of two new agents and a specific type of cultural institution which appeared in the 1980´s. Thus, it analyses the work of curators, producers and also cultural platforms related to bank corporations in the career of artists and their works in the context of contemporary history of art. In order to reach that goal, it focuses on the work of Itaú Cultural in São Paulo and Centro Cultural Banco do Brasil in Rio de Janeiro from the year 2000 to 2005. It was selected a group of curators, producers, artists and managers of the institutions to take part in the interviews. The aim of the study is to show how a policy of events started to exist in the system, influenced by the action of the estate and the emerging infrastructure, which are responsible for the visibility and circulation of artistic production.

In ihrer Monographie widmet sich Sandra Frimmel hauptsächlich zweien der zehn Jahre nach der Perestroika wieder vermehrt vorkommenden Strafprozesse gegen Künstler. Erschienen ist die Studie als zweiter Band in der Reihe: Das östliche Europa: Kunst- und Kulturgeschichte. Frimmel, die selbst auch Kuratorin und Mitbegründerin des Projektraums Art Laboratory Berlin ist, ist in Zürich am Slawischen Seminar wissenschaftliche Mitarbeiterin im EU-Projekt „Performance Art in Eastern Europe“ und Koordinatorin des Zentrums Künste und Kulturtheorie. Es handelt sich bei der hier zu besprechenden Arbeit um ihre am Institut für Kunst- und Bildgeschichte der Humboldt-Universität Berlin verteidigte Dissertation, die von der Kunsthistorikerin Susanne von Falkenhausen betreut wurde.

Syftet var att studera hälso- och sjukvårdskuratorers erfarenheter av att arbeta i tvärprofessionella team samt hur det upplever sin egen yrkesroll. Vidare studerades deras erfarenheter av hur de upplevt att pandemin påverkat deras och teamets arbete. Informationen samlades in genom halvstrukturerade intervjuer med sex hälso- och sjukvårdskuratorer inom två olika verksamheter. Vår empiri analyserades med stöd av systemteori, interaktionsritualer och emotionell energi samt tidigare forskning. Av resultatet framgick å ena sidan att kuratorerna såg positivt på att ingå i tvärprofessionella team eftersom det var givande för både dem själva som professionella och för patienterna. Bidragande orsaker var bland annat patientcentrerad vård, emotionellt stöd, bredare kunskapsbas och främjandet av arbetsglädjen. Hög arbetsbelastning och tidsbrist visade sig å andra sidan vara en negativ faktor som kunde påverka samarbetet. Resultatet kunde urskilja att kuratorn inte hade någon tydlig arbetsbeskrivning och att konsekvenser av yrkesrollens otydlighet kunde orsaka en känsla av att vara vårdens slasktratt och en svårighet i att förstå rollens avgränsningar. Trots att kuratorerna upplevde en god kommunikation så nämndes försvårande omständigheter som för stora team, tidsbrist, förändrade kommunikationsvägar utifrån pandemin samt övergången till digitala möten i relation till fysiska. En slutsats vi gör är att ett samarbete kräver sociala relationer och sammanhållning och att en möjliggörande faktor till detta är mindre team med en balanserad samarbetsstruktur och tydlig arbetsbeskrivning för samtliga professioner i teamet.Hälsofrämjande aspekter behöver även få en högre prioritet i det digitala arbetssättet som pandemin bidragit till för att stärka sociala relationer och samarbetet i det tvärprofessionella teamet. / The aim was to study the experience of healthcare curators working in cross-professional teams and how they experience their own professional role. Furthermore, their experiences of how they experienced the pandemic affected their work and that of the team were studied. The information was collected through semi-structured interviews with six healthcare curators in two different activities. Our empirical data was analyzed using system theory, interaction rituals and emotional energy, as well as previous research. The results showed, on the one hand, that the curators were positive about being part of cross-professional teams because it was rewarding for both themselves as professionals and for patients. Contributing causes included patientcentred care, emotional support, a broader knowledge base and the promotion of job satisfaction. High workload and lack of time, on the other hand, proved to be a negative factor that could affect cooperation. The result could discern that the counsellor had no clear job description and that consequences of the ambiguity of the professional role could cause a feeling of being the sleagre steering wheel of care and a difficulty in understanding the boundaries of the role. Although the curators experienced good communication, aggravating circumstances such as magnifying teams, lack of time, changing communication paths based on the pandemic and the transition to digital meetings in relation to physical ones were mentioned. One conclusion we make is that collaboration requires social relationships and cohesion and that an enabling factor to this is smaller teams with a balanced collaboration structure and clear job description for all professions in the team. Health promotion aspects also need to be given a higher priority in the digital way of working that the pandemic has contributed to in order to strengthen social relations and cooperation in the cross-professional team.

The Master’s thesis deals with achievement of high-quality logistic activities concerning work with exhibits which should lead to the increase of cultural value of the National Technical Museum. As for the content of the work, it includes theoretical knowledge from the branch of museums, the description of the current premises for storing of the exhibits and the analysis of the curators’ activities. After the analysis some embarrassments are discovered and possible solutions are designed afterwards. The construction of a new depositary hall and the creation of a new division are the results.

No description available.

Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras. / This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.

Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras. / This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.

This thesis asks how the curatorial framing of medieval objects - the processes of selection, classification, display and interpretation - affect how medieval objects are made legible within the museum. It investigates how different collectors and curators have deployed medieval objects over a period of two hundred and fifty years of museological practice. Throughout this history, medieval objects have been appropriated within a range of museological narratives that have positioned them variously as objects of curiosity, utility, scientific analysis, nationalistic interest and as sites of scholarly and popular attention. My purpose is to inquire how the epistemological re-positioning of objects is articulated through their presentation within the framework of the collection, museum or temporary exhibition and to question how the mechanics of display facilitate particular readings of medieval objects. I then consider how certain curatorial approaches may produce unintended effects that render the medieval object illegible or problematic in unexpected ways. I also acknowledge that unforeseen exhibitionary outcomes may not be solely due to the effects of curatorial intervention but may be wrought by the agency of objects themselves. This thesis therefore examines medieval objects as active participants that play a crucial role in influencing the communication of curatorial objectives and in affecting how they may be apprehended through exhibitionary practice. The thesis examines sixteen chronologically presented case studies, beginning in the mid eighteenth century and concluding in the early twenty-first century, that represent important or influential episodes in the history of the display of medieval art. It traces a selective history of the various ways medieval objects have been culturally positioned at particular points in time to reveal how curatorial techniques have worked to reinforce or undermine the perception of medieval objects as carriers of specific meanings. Through the examination of historical approaches to the display of medieval objects I reveal how familiar tropes of display, such as the use of specific lighting techniques and stained glass have characterized the museological staging of medieval objects and how these have endured into the twenty-first century. Drawing on performance theory, material culture theory and sensory theory I identify how the biographical histories, material characteristics and sensory properties of medieval objects have been re-activated or suppressed by curators to encourage audiences to engage with them in specific ways. This theoretical approach reveals a previously unacknowledged sensory cultural history of engagement with the medieval object and highlights how historical approaches that have privileged embodied engagement with objects continue to inform contemporary museological practice. I also draw on Actor-Network theory to illuminate how medieval objects may be understood as active agents within the chain of correspondences that links people, objects and exhibitions at particular points throughout this history. In this way I delineate an exhibitionary landscape through which we can understand medieval objects as multi-authored and polysemic entities but principally as the products of exhibitionary practice.