The diploma thesis consists of a series of events by the art duo NEWkus. The NEWkus art duo deals with the transformation of relationships and the overall definition of the NEWkus body concept. It copes with the isolation caused by the coronavirus pandemic as well as with the apathy caused by the monotonous lifestyle in an enclosed space with the same person and the impossibility of meeting within the NEWkus duo. Thanks to a series of events in the home environment, the group is aware of its own existence on a much wider scale, it finds that it is not only two-member, that its structure is more extensive. The series of realized events is built on the borders of social, artistic experiment and intimate realism. The whole experience is screened in a single space, as part of the NEWkus Days festival. The space is defined by an object inspired by a screen, the internal environment of which is adapted to the image and the needs of both authors. The spectator is thus allowed to meet the story, which will be presented from many angles during the festival and will provide the opportunity to blend with the body of NEWkus in real time and space.

Le présent mémoire propose de croiser les démarches de deux auteures et artistes contemporaines, Sophie Calle et Miranda July, dont les quatre œuvres à l’étude – Douleur exquise (2003), Aveugles (2011), Rachel, Monique (2012) de Calle et Il vous choisit (2013) de July – se fondent sur des expériences en amont de l’écriture qui mobilisent le corps même des auteures, les engagent dans une action concrète et, bien souvent, dans des interactions avec autrui. Cet art de la contrainte, cet art action qui devient le sédiment de leurs écrits s’inscrit dans la filiation hypothétique des théories du philosophe pragmatique John Dewey et de celles de l’artiste Allan Kaprow – l’un des premiers à réfléchir l’art de la performance. L’écriture intermédiale qu’elles pratiquent – ce jeu de relations entre différents médias au sein même de l’œuvre – permet à la fois de réactiver la valeur performative de l’expérience qui a impulsé la création littéraire et d’embrayer une expérience de lecture qui devient elle-même performative. Exemplaires d’une esthétique relationnelle, polyphoniques dans les voix qui s’expriment, les quatre ouvrages du corpus donnent à sentir le bruissement d’une communauté. Il s’agit d’une littérature interdisciplinaire et intersubjective, mais surtout performative dans son questionnement incessant sur le pouvoir de l’art pour transformer la vie. / This master’s thesis proposes to establish a dialogue between the practices of two contemporary writers and artists, Sophie Calle and Miranda July. The four studied pieces of work – Calle’s Douleur exquise (2003), Aveugles (2011) and Rachel, Monique (2012) and July’s Il vous choisit (2013) – are based on concrete experiences occurring beforehand, prior to the act of writing itself. Those experiences mobilize the body of the writers engaging them in a real action and often in interactions with other people. This form of action art becomes the foundations of their writing and could be linked to the theories of pragmatic philosopher John Dewey and artist Allan Kaprow – one of the first to develop a reflexion on performance art. The intermedial writing that Calle and July practice as a game of relations between different medias in the same work allows both artists to revive the performative value of the experience. It impulses the writing and initiates a reading experience which itself becomes performative. Exemplary of a relational aesthetic, polyphonic in the voices that are expressed, the studied body of work reveals glimpses of community to feel and experiment. It is a literature that is interdisciplinary and intersubjective but primarily performative in its constant questioning of art’s capacity to transform life.

[pt] Esta tese elabora as visões teológico-sacramentais desses autores, colocando em relevo elementos centrais da sacramentalidade da Revelação e da Fé. Em tais visões, colocamos em realce que a sacramentalidade da história salvífica alcança a sua plena expressão na pessoa de Jesus Cristo, porque por meio dEle nos é manifestada a totalidade do Ser de Deus. Com a Revelação Deus entra em diálogo pessoal com o ser humano na história. Esse diálogo conhece seu cume e expressão definitiva em Cristo, graças à sua humanidade. No centro da história da revelaçãosalvação está o homem Jesus, que atua de forma verdadeiramente humana e histórica. O modo de revelar introduzido por Jesus é insuperável e, por conseguinte, normativo. Mas com a Sua morte, ressurreição e ascensão aos céus, não é mais possível encontrá-lo de forma física, corporal, ou seja, sacramental. Por isso ele fundou sua Igreja, sacramento da sua presença: de fato, a sacramentalidade da Igreja lança uma ponte sobre o afastamento ou desproporção que existe entre o Cristo celeste e a humanidade não glorificada, e torna possível o encontro humano recíproco entre Cristo e a humanidade, após a Sua ascensão. Isto porque a Igreja, plasmada no mistério pascal, recebe o sopro do Espírito no Pentecostes e, com isso, adquire estatura para a qual foi criada, podendo, assim, assumir a missão a ela destinada: tornar presente o mistério do Filho de Deus feito homem e convocar todos os homens para entrar na forma última e definitiva de communio-comunidade com Deus e entre si. / [en] The theme develops the theological-sacramental views of both authors putting the accent on central elements of the sacramentality of Revelation and Faith. It emphasizes that the sacramentality of Savific History reaches it’s plenty expression in the person of Jesus Christ, for trough Him the totality of God’s being is us revealed. In the Revelation God enters in a personal dialog with the human being, in the history. This dialog finds it’s higher point and it’s definitive expression in Christ, due to His humanity. In the center of the history of salvation- Revelation in the man Jesus, who acts in a truly human and historic way. The way of acting Revelation introduced by Jesus is insuperable, and therefore, normative. But, with His death, resurrection and ascension in Heaven, it’s no longer possible to find him in a physical, corporal, in other words sacramental form. Therefore he had grounded His church, sacrament of His presence: in fact, the sacramenatlity of the church builds a bridge over the separation or disproportion that exists between the heavenly Christ and the not glorified Humanity, and makes it possible the reciprocal human encounter between Christ and the humanity after. The Church is shaped in the Paschal Mystery, it receives the blow of the Spirit in Pentecost and so it obtains the stature for which it was created and can finally assume the mission it was destined for: making present the mystery of the Son of God made man and inviting every man to enter in the last and definitive form of communiocommunity with God and one another.

[pt] O objetivo principal da dissertação é o exame da potencialidade criativa do design de espaços de curtos períodos de fruição do público na elaboração e implantação de soluções rumo a redução do seu impacto ambiental. A atividade foco da pesquisa será designada como design de espaços do acontecimento, uma atividade comumente chamada cenografia, mas que transborda os palcos. Intensificada no final do séc. XX, tal atividade se torna cada vez mais potente no ambiente contemporâneo da cidade do Rio de Janeiro. Identifica-se, contudo, um paradoxo no que tange a dinâmica de criação e construção desses espaços e o ciclo de vida dos materiais utilizados. A extensa gama de materiais geralmente especificados nessas construções apresenta inúmeras propriedades favoráveis, como facilidade de manuseio e transporte, resistência estrutural, flexibilidade e leveza, além de diversificadas qualidades estéticas. Por outro lado, tais materiais apresentam também uma durabilidade infinitamente maior do que os curtos períodos de uso aos quais são submetidos. Observa-se necessário evidenciar o eufemismo que mascara a realidade não efêmera, mas essencialmente descartável dessas construções, através da análise de suas durações e de sua cadeia criativa-produtiva. Serão apresentados e analisados casos referência que se constituem como protótipos de soluções para a aproximação da criação e construção dos espaços do acontecimento aos valores inerentes aos ciclos efêmeros biológicos da natureza. Conclui-se que é necessário e possível encontrar novas soluções menos agressivas com o meio ambiente a partir da problematização de cada etapa da cadeia criativa-produtiva da atividade, assim como também que a inserção dos projetos em sistemas pré e ou pós existentes a ele, resultam em possibilidades de caminhos rumo a uma descontinuidade sistêmica da atividade e a redução do seu impacto ambiental. / [en] The main objective of this dissertation is the examination of the creative potentiality at the elaboration and implantation of solutions within set design for public enjoyment through short periods, in towards the reduction of their environmental impact. The focus activity of this research will be designated as happening s set design. This area of activity is commonly called in Brazil scenography, but it doesn t specific apply to spaces out of the stage. Intensified at the end of the 20th century, this activity becomes increasingly powerful in the contemporary environment of the city of Rio de Janeiro. However, there is a paradox regarding the creation and construction dynamics of these spaces and the life cycle of the materials. The extensive range of materials generally specified in these constructions has numerous favorable properties, that includes friendly handling and transportation, structural resistance, flexibility and light weight, in addition to a diversity of aesthetical qualities. On the other hand, such materials also have infinitely longer durability than the short periods of use to which they are subjected. It is necessary to point out the euphemism that masks the nonephemeral but essentially disposable reality of these constructions, through the analysis of their durations and their creative-productive chain. We will present and analyze reference cases that constitute as prototypes of solutions for the approximation of the creation and construction of the spaces of the event to inherent values of nature biological ephemeral cycles. The conclusion is that it is necessary and possible to find new solutions less aggressive to the environment through each stage problematization of the creative-productive chain, as well the insertion of the projects in pre and post existing systems to it, result in possibilities of new paths towards a systemic discontinuity of the happening s set design and the reduction of its environmental impact.

This thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …

The main aim of the diploma thesis was to design a building that meets the requirements provided by the announcer and at the same time has a positive impact on the area in both closer and larger context. This may include increasing the number of ecclesiastical buildings, improving the quality of local architecture, expanding the range of social and leisure activities, and cultivating terrain and greenery. All of above on the basis of the analysis of the locality in its context and further coherences (cultural, historical). The object is not only to provide background to enlisted activities, but also to serve as a representative building attracting new visitors. It is an active space connecting the urban population with culture, nature and above all God - with the help of its location on a visible, attractive place with good access. It will be a dominant building expressing its purpose, related to its surroundings and functionally cooperating with the cultural and social happening in Líšeň with a transition to a city-scale dimension.

Im interested in the topic of praying machine, because I want to analyze aspects of photography and its functions. It's known, that the reality is manipulated by photography. Bud we can also say, that the relationship between reality and photography is neutral in fact, that the manipulation is made by our interpretation of photography. The change of the reality can be realized just in the dialog between photography and reality. Can it be, that the mechanization change into the will? Does it prays praying mill or the buddhistic monk, who rotates the mill? When he believes into it, is it enough? Or is it enough if believes who watch the monk with his mill? ... The computers from he place A are "praying" the prayers from the place B. With Tomáš Javůrek we collaborated with Vladimír Veselý and Radek Lát to create the Game for re-articulation our reality on the base of the revision of our faith.