This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence. / Space, Power, Ideology

Cette thèse examine l’influence de la nuit sur la réception d’une visite de musée. Elle propose d’envisager le paramètre horaire comme participant de la construction de l’expérience et plus largement du sens donné à sa visite. Or, ce rapport de la nuit à l’expérience de visite est encore peu interrogé malgré les nombreuses occasions qui permettent de visiter de nuit des institutions culturelles telles que les musées ou les monuments historiques. L’analyse phénoménologique et sémiotique de cette situation de réception permet de comprendre ce que les visiteurs vivent et ressentent au cours d’une visite nocturne. Elle révèle une variation du sens qui se construit autour de l’émergence de la nuit à la fois comme donnée physique, naturelle, dans l’exposition et comme donnée mentale dans l’état d’esprit des visiteurs. À travers l’étude comparative de la réception de la cour Marly au musée du Louvre, de jour et de nuit, c’est l’univers du discours des visiteurs qui est mis en question. Les interactions entre la nuit, les visiteurs et l’exposition marquent, par rapport à la journée, un processus de transformation du sens donné par le message de l’exposition et du sens reçu par les visiteurs. Autrement dit, le changement lumineux intervenant entre jour et nuit influence la recomposition du discours de l’exposition par les visiteurs de nocturnes. La dimension émotionnelle ainsi que la fantasmatique de la nuit interviennent dans l’interprétation du discours de l’exposition et le transforment. / The aim of this work is to analyse the impact of the night on the visitors’experience. Here, the time of the day is considered as a parameter of the processof meaning building within the visitor’s experience.The link between visitors’ experience and night has not yet been thouroughlyresearched although a lot of cultural events take place at night time and provideand occasion for visiting museums.The phenomenological and semiotic analysis of the night impact, and perception,lead to the understanding of the emotional experience of the visitors during anight time visit. It reveals a variation of the meaning created by the apparition ofthe actual night in the museum and of the idea of night in the visitors’ mind.A night and day comparison of the reception of the cour Marly, in the musée duLouvre, questions the visitors’ speeches. It shows a network of interactionsbetween the night, the visitors and the exhibition which initiates a transformationof the meaning given by the exhibition and received by the visitors.In other words, the lighting modification between night and day affects thereconstruction of the exhibition’s message operated by the visitors at night. Theemotional aspect as well as the night phantasmagoria partake in the interpretationof the exhibition’s message and change it.Key words: night - reception - visitors’ experience - interpretation - - - - - phantasmagoria - night visit

Cette recherche étudie la mise en exposition de la thématique du déclin des abeilles sauvages au sein du volet médiation du projet de recherche UrbanBees. Ce projet étudie l'hypothèse de l'espace urbain comme zone refuge pour les abeilles sauvages. Il a la particularité d'être adossé à une vaste opération de médiation qui associe des acteurs d'horizons variés (chercheurs, militants associatifs, médiateurs culturels) positionnés différemment sur la thématique concernée. Le déclin des abeilles sauvages constitue à l'heure actuelle ce qu'il est convenu d'appeler une question scientifique socialement vive (QSSV). Elle repose sur quatre dimensions étroitement liées : l'existence même du déclin, ses conséquences et causes potentielles, ainsi que les solutions pour y remédier. Notre étude vise à caractériser la nature de la prise en charge de cette QSSV dans l'exposition et les formes de médiation auxquelles ont recours les acteurs engagés dans sa conception. Les résultats obtenus montrent que la vivacité de la QSSV n'apparait que très ponctuellement et d'une façon relativement consensuelle, orientée par les finalités du projet. En revanche, l'étude de la conception de cette exposition révèle des oppositions marquées, en particulier entre les deux acteurs scientifiques. Les différends sont cependant résolus par les médiateurs qui recentrent le propos sur les points d'accord (les solutions portées par le projet) et le concept fédérateur de Nature en ville. Cela nous conduit à définir les spécificités du média exposition dans le traitement des QSSV par rapport à des dispositifs de médiation visant la participation des publics et à interroger les modes de production qui leurs sont associés / This research studies an exhibition and its conception about the decline of wild bees in the mediation component of the research project UrbanBees. This project explores the hypothesis of urban space as a refuge area for wild bees. It has the particularity of being support on a large operation of mediation that combines actors from diverse backgrounds (researchers, activists, cultural mediators) positioned differently on the subject concerned. The decline of wild bees is currently called a socioscientific controversy (SSC). It is based on 4 interrelated dimensions : the actual existence of decline, its potential causes and consequences, and solutions to overcome the decline. Our study aims to characterize how the SSC is supported in the exhibition and what forms of mediation are used by actors during its conception. The results show that the uncertain character of SSC appears only very occasionally and relatively consensual manner, guided by the goals of the project. Contrariwise, the study of its conception reveals disagreements, especially between two scientists. However, they are resolved by mediators : they refocus on the points of agreement (solutions brought by the project) and the unifying concepts of Nature in the City. This leads us to define the specificities of media exhibition in the treatment of SSC compared to communication actions aimed at the participation of public and examine in parallel conception processes

Notre recherche en didactique des sciences, explore la potentialité des objets scientifiques contemporains à devenir des objets de patrimoine à travers un cas d'étude : l'accélérateur de particules Cockcroft-Walton (CW). Nous faisons l'hypothèse que la valorisation des objets scientifiques contemporains, étape importante du processus de patrimonialisation, est spécifique et nécessite une expertise particulière. Notre travail a été réalisé grâce au dispositif CIFRE, nous permettant de travailler aux côtés du musée des Confluences à Lyon, qui expose un accélérateur de particules CW dans Sociétés : le théâtre des hommes. L'Institut de Physique Nucléaire de Lyon (IPNL) possède également un appareil de ce type, qui est aujourd'hui au cœur d'un projet de valorisation. Notre analyse s'appuie sur une étude du contexte, historique, épistémologique et social, de « naissance » du premier accélérateur CW et d'une étude scientifique de l'objet. Nous avons également mené deux enquêtes, la première visant à retracer la trajectoire de l'accélérateur CW à Lyon, la seconde à retrouver l'ensemble des accélérateurs CW dans le monde. En nous appuyant sur différents travaux qui ont souligné les étapes du processus de patrimonialisation, nous avons caractérisé les spécificités du patrimoine scientifique contemporain, et recherché les traces laissées par ces caractéristiques dans la mise en exposition de l'objet. Nos résultats mettent en évidence le manque d'informations permettant l'interprétation et l'appropriation de l'accélérateur CW par un public, et nous invitent à interroger le contenu représentationnel de l'objet, véhiculé à travers d'autres contextes d'utilisation, formel ou fictionnel / Our thesis in science education explore the potentiality of contemporary scientific objects to become objects of heritage through a study case: the Cockcroft-Walton particle accelerator (CW). We call it “patrimonialisation” (the making of heritage) according to Information and Communication Sciences. We assume that the value of contemporary scientific objects, an important stage of the patrimonialisation, is specific and requires a particular expertise. Our work was realized thanks to a french financing facility, allowing us to work with Le musée des Confluences in Lyon (France), which exposes a particle accelerator CW in Societies: the human theater. The Institute of Lyon Nuclear physics (IPNL) also possesses a device of this type, who is the focus of a recognition project. sing a multidisciplinary approach, our analysis begin with a study of historical, epistemological, social and scientific context, of the first one CW. We also led two inquiries, the first one to redraw the accelerator CW trajectory in Lyon, the second to find all the accelerators CW in the world. Several studies have indeed highlighted the stages of the patrimonialisation. Relying on these studies we characterized the specificities of the contemporary scientific heritage, and looked for tracks left by these characteristics in the exhibition text (museography). Our results demonstrate the lack of information allowing the interpretation (lecture) and the appropriation of the accelerator CW by a public, and invite us to question the representational contents of the object, conveyed through other contexts of use, formal or fictional

O ambiente marinho muitas vezes é negligenciado nas discussões ambientais devido ao aparente distanciamento entre esse e nosso cotidiano, tendo sofrido um acentuado processo de transformação e degradação. Assim, fica evidente a necessidade de atividades de Educação Ambiental que abordem tal ambiente. A Exposição interativa Mergulho Fora d\'Água (MFA) insere-se nesse contexto. O presente trabalho visa contribuir para a ampliação do conhecimento sobre concepções de estudantes do Ensino Fundamental acerca do ambiente marinho, bem como para a avaliação e aprimoramento da exposição interativa MFA. A pesquisa apresenta como objetivos específicos investigar concepções iniciais e verificar se e como a atividade MFA influência tais concepções dos alunos do Ensino Fundamental de uma escola da cidade de São Paulo sobre: (1) meio ambiente; (2) ambiente marinho, sua conservação e relação com o cotidiano desses alunos. Para isso, foram aplicados questionários estruturados compostos por questões fechadas e abertas, antes e após os estudantes participarem da exposição MFA. Para a análise dos dados, as respostas de questões abertas foram submetidas a um processo de categorização aberta e as categorias foram comparadas por meio de quantificações simples (cálculo de médias de ocorrência). Respostas provenientes de questões fechadas foram diretamente quantificadas e comparadas. Os dados foram coletados em turmas de sétimo, oitavo e nono ano do Ensino Fundamental de uma Escola Estadual da Cidade de São Paulo, localizada nas proximidades da USP. Um total de 476 estudantes participou da pesquisa. Nossos resultados evidenciaram que os estudantes sujeitos da pesquisa podem apresentar diversas concepções de meio ambiente, aplicando-as dependendo das várias situações as quais são expostos. Por exemplo, como concepções iniciais, ao pensarem no meio ambiente em geral, foram predominantemente Naturalistas e excluíram o homem do meio ambiente. Já quando pensam no ambiente marinho propriamente dito, justificam a necessidade de sua conservação também com base em concepções Naturalistas, mas estabelecem relação entre tal ambiente e seu cotidiano com base em uma concepção Antropocêntrica, justificada principalmente por uso de substâncias e alimentos derivados do mar. Vale ainda ressaltar que uma porcentagem bastante reduzida dos estudantes (20%) conseguiu estabelecer tal relação ambiente marinho-cotidiano. A principal palavra associada a esse ambiente foi “curiosidade” e, ao serem questionados sobre organismos marinhos, os cordados foram os mais citados (baleias, peixes e tubarões). Apesar da persistência de muitas dessas concepções iniciais, pudemos verificar algumas mudanças após a realização da exposição MFA, como uma maior inclusão do homem como elemento do meio ambiente. Além disso, concepções Antropocêntricas e Problema de meio ambiente sofreram redução. Quanto às concepções sobre ambiente marinho, a porcentagem absoluta de estudantes que conseguiu estabelecer a relação desse ambiente com seu cotidiano aumentando discretamente (para 30%). Quanto às palavras associadas ao ambiente marinho, “curiosidade” aumentou para estudantes de todos os anos. Já para os mais jovens alguns aspectos negativos também sofreram aumento (como poluição, doença e medo). No caso do nono ano, a situação foi diferente, ocorrendo maior citação de aspectos positivos, como beleza e diversão. Para todos os anos escolares, as citações de animais não cordados (ex. estrelas e ouriços), vegetais (algas) e plâncton foram maiores e organismos não marinhos (ex. girinos) foram menos citados. Nossa percepção geral é que a exposição MFA alcançou objetivos mais efetivos para os alunos de nono ano. Pautamos essa percepção em dados como o aumento de interesse após a exposição por parte dos alunos e do aumento da associação do ambiente marinho à beleza e diversão, além de curiosidade. Assim, o presente trabalho representou um esforço inicial para a melhor compreensão sobre as concepções de meio ambiente e, especialmente sobre o ambiente marinho. Esperamos que os dados obtidos possam ser subsídios para a avaliação à atividade MFA por parte de seus idealizadores em um processo continua de aprimoramento / The marine environment is often neglected in environmental discussions due to the apparent detachment between this and our daily lives, having undergone a marked transformation and degradation processes. Based on this, it is evident the need for environmental education activities about this environment. The interactive exhibition Out of Water Diving (OWD) is inserted in this context. The present work aims to contribute to the expansion of knowledge about the concepts of elementary school students about the marine environment, as well as for the evaluation and improvement of the interactive exhibition OWD. The specific objectives are to investigate the initial conceptions and check whether and how the OWD activity influence conceptions of students from a São Paulo school about: (1) the environment, (2) marine environment, its conservation and relation with the daily lives of students. We used structured questionnaires consisting of open and closed questions, before and after OWD exhibition. For data analysis, responses to open questions were subjected to a process of open categorization and categories were compared. Answers from closed questions were directly quantified and compared. Data were collected in classes of seventh, eighth and ninth year of elementary school in a public School of São Paulo city, located near at USP. A total of 476 students participated in the survey. Our results showed that students may have different environment conceptions, applying them depending on various situations which are exposed. For example, as initial conceptions about the environment, the students showed predominantly Naturalist concepts and excluded the man of environment. However, when they think about marine environment, they justify the need for its conservation also based on conceptions Naturalists, but establish relationship between such an environment and their daily based on an anthropocentric concepts, mainly explained by substance use and food derived from the sea. In addition, a small percentage of students (20 %) was able to establish a relation between marine environment and everyday life. The key word associated with this environment was “curiosity”, and when questioned about marine organisms, the chordates were the most frequent cited (whales , fishes and sharks ). Despite the persistence of many of these initial conceptions, we could detect some changes after the exposure OWD, as an increase on inclusion of man as an element of the environment. In addition, Anthropocentric and Problem concepts of environmental were reduced. Regarding conceptions of the marine environment, the absolute percentage of students who were able to establish the relationship of this environment with their everyday life slightly increasing (to 30 %). About the words associated with the marine environment, “ curiosity” increased for students of all years. However, for the youngest students, some negative aspects also increase (pollution, disease and fear). For the ninth year, the situation was different, occurring most citations of positive aspects, such as beauty and fun. For all school years, the citations of animals not chordates (eg. stars and sea urchins), vegetables (seaweed) and plankton were higher and non-marine organisms (eg, tadpoles) were lower cited. Our general perception is that OWD exposure achieved goals more effective for students of ninth year. We base this perception on data such as the increase after exposure of interest by students and increased of the association among marine environment and beauty and fun, as well as curiosity. Thus, this study represented an initial effort to better understanding of environment concepts as well as marine environment concepts. We hope that the data can be subsidy for the evaluation OWD exposition by its creators in a continuous improvement process

O foco dessa dissertação é a Exposição Histórica do Brasil organizada no interior da Exposição do Mundo Português, em Lisboa, no ano de 1940, quando Oliveira Salazar decidiu comemorar os centenários da fundação de Portugal (1139) e o da Restauração (1640). A Exposição brasileira foi orientada e executada sob a direção de Gustavo Barroso, enviado a Portugal como um dos delegados do Brasil à Exposição do Mundo Português e como Diretor do Museu Histórico Nacional. Ao propor a Exposição Histórica do Brasil como tema, pretendeu-se compreendê-la como expressão de uma forma específica de reconstituir o passado do Brasil, tentando inseri-la no contexto cultural e político do período, contribuindo para o entendimento do modo pelo qual se configurou, na época, uma escrita da História do Brasil, simultaneamente, incrustada no Museu Histórico Nacional e no espaço dos eventos ocorridos em Portugal. / The focus of this essay is the Historical Exposition of Brazil organized inside the Exhibition of the Portuguese World, in Lisbon, in 1940, when Oliveira Salazar decided to celebrate the centenary of Portugal foundation (1139) and of the Restoration (1640). The Brazilian Exposition was guided and carried out by the lead of Gustavo Barroso, who was sent to Portugal as one of the Brazilian representatives in the Exhibition of the Portuguese World and as the Curator of the National Historical Museum. In proposing the Historical Exposition of Brazil as a theme, the intention was to understand it as an expression of a specific way of reconstituting the past of Brazil, trying to insert it in the political and cultural context of the time, contributing to the understanding of how it configured, at the time, a writing of the History of Brazil, simultaneously, incrusted in the National Historical Museum and in the area where the events took place in Portugal.

Esta dissertação tem como foco central o estudo de edifícios pavilhões e sua relação com a produção tridimensional - entendida como instalação e escultura. Para tanto, articula-se o conceito de \"campo ampliado\", elaborado por Rosalind Krauss em texto de 1979 para abarcar as transformações da escultura a partir dos anos 60, com seu recente deslocamento, para o âmbito da arquitetura por parte de alguns autores, nomeadamente Antony Vidler. A pesquisa não se resume apenas a uma investigação da contribuição do espaço arquitetônico para a escultura ou da escultura para a arquitetura, mas foca especialmente a linha que as separa, visto que a tendência de convergência das duas disciplinas faz com que seu elo de reciprocidade se dissolva numa produção intersticial, realizada por artistas, arquitetos ou mesmo por ambos em colaboração. O pavilhão sempre foi entendido como um campo experimental para os arquitetos, especialmente ao longo do século XX quando ajudou a consolidar as premissas da arquitetura moderna. Hoje, apresenta grande visibilidade através de diversos programas que oferecem condições únicas de encomenda e concepção pressupondo uma arquitetura singular, que configura uma produção desvinculada do binômio forma-função e cujo assunto autorreferente é a própria arquitetura. Do ponto de vista das artes o pavilhão representa uma expansão da instalação para um todo espacial que passa a envolver também o edifício e, quando tomado como meta arquitetura, opera também como plataforma de afrontamento crítico. O embate teórico acerca dos desdobramentos do \"campo ampliado\", bem como a investigação sobre aspectos essenciais do termo \"pavilhão\", de natureza maleável, são confrontados com uma análise crítica de casos selecionados em três instituições com características bem distintas- Bienal de Veneza, Instituto de Arte Contemporânea do Inhotim e Serpentine Gallery -, e possibilitam alinhavar conclusões sobre esta produção contemporânea no limiar dessas duas disciplinas. / This dissertation is focused on the study of pavilions and their relationship with the three-dimensional production - understood as installation and sculpture. Therefore, the concept of \"expanded field\", elaborated by Rosalind Krauss in the 1979 essay to encompass the transformation of sculpture from the 60\'s, is articulated with the recent shift of this same concept into the realm of architecture by some authors, namely Antony Vidler. The research is not just an investigation on the contribution of the architectural space for sculpture or, on the other hand, from sculpture to architecture, but focuses especially the line that separates them, understood as a disposition of convergence by the two disciplines which dissolves the reciprocal bonds in a interstitial production, performed by artists, architects or even both together. The pavilion has always been understood as an experimental field for architects, especially during the twentieth century when it helped consolidate the assumptions of modern architecture. Today it has gained great visibility through several programs that offer specific conditions by commissioning and assuming a unique architecture design that sets up a production untied from the binomial form-function, resulting in a self referent building whose subject is the architecture itself. From the point of view of the arts, it represents an expansion of the installation configuring a spatial whole that also implicate the building and, when taken as meta architecture, also operates as a platform for critical confrontation. The opposition on theory about the ramifications of the expanded field, as well as a research on the essential characteristics to a malleable term, are faced with a critical analysis of selected cases in three institutions gathering rather distinct characteristics - the Venice Biennale, the Institute of Contemporary Art Inhotim and the Serpentine Gallery -, and allow conclusions on this contemporary production in a disciplinary threshold.

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.

O Antarctica artes com a Folha foi uma exposição de arte contemporânea realizada no Pavilhão Manoel da Nóbrega, em São Paulo, em 1996. Ao reunir 62 artistas naturais de onze estados brasileiros e com até 32 anos de idade, a coletiva construiu um enunciado forte e bastante disseminado do que seria, dentro da perspectiva de sua equipe, a \"geração 90\" do país. O objetivo desta tese é realizar um estudo de caso da mostra, atentando para o seu vínculo com práticas sociais de valoração do \"capital juventude\" (DEBORD, 1997, p.108) e, por conseguinte, para o seu papel na definição de critérios e discursos, sempre relativos, de uma arte \"jovem\" e \"brasileira\" em 1996. Isso envolve, em primeira instância, organizar uma narrativa histórica que articule as perspectivas dos diferentes agentes que fizeram o projeto, a partir de documentos de época, uma vasta cobertura jornalística e entrevistas concedidas por artistas, curadores, organizadores, jornalistas, críticos, arquitetos e galeristas. Em segunda instância, mas de forma intercalada ao exercício narrativo, coube examinar as categorias dos discursos do Antarctica para entender por que e como priorizaram a temporalidade do evento, com edição única, e nele produziram ideias de geração e região. / Antarctica artes com a Folha (Antarctica arts with Folha [de São Paulo newspaper]) was a contemporary art exhibition held at the Pavilhão Manoel da Nóbrega (Manoel da Nóbrega Pavillion) in São Paulo in 1996. By bringing together 62 artists up to 32 years of age from 11 Brazilian states, the exhibition team formulated a powerful and widely disseminated exhibition statement of what, from their specific standpoint, would become the country\'s \'90s Generation. The aim of this thesis is to carry out a case study of the group show, emphasizing its link to social practices of valorisation of the \"capital of youth\" (Debord, 1997: 108), thus noting its role in establishing the always relative criteria and discourses of a \"young\" and \"Brazilian\" art in 1996. This involves firstly organizing a historical narrative that articulates the perspectives of the different agents who organized and produced the project, based on documents from that time, on wide media coverage and interviews granted by artists, curators, organizers, journalists, art critics, architects, and gallerists. And secondly, proceeding to examine the categories of discourses of the Antarctica, though in a way that is interspersed with the narrative exercise, in order to understand why and how the event\'s temporality was prioritized, namely as a one-time event, wherein ideas about generation and region were produced.