Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formal / Angles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.

Esta dissertação tem por objetivo analisar artística e historicamente as exposições dos artistas Tunga e Regina Silveira concebidas especialmente para o Centro Cultural Banco do Brasil (CCBB) de São Paulo. Buscamos confrontar/comparar duas obras de Tunga e de Regina Silveira analisando-as criticamente a partir de documentos e projetos pertencentes aos arquivos do CCBB, que permitiram uma avaliação dos resultados pretendidos e alcançados pelos artistas. De maneira mais ampla, buscamos contribuir para o debate e a reflexão acerca da produção artística atual nas artes visuais brasileiras, especialmente no caso do Centro Cultural Banco do Brasil de São Paulo com as exposições de Tunga e Regina Silveira, de forma a provocar a discussão do papel do artista e da atuação das instituições culturais na sociedade contemporânea. / This dissertation aims to examine artistically and historically the exhibitions of artists Tunga and Regina Silveira designed specifically for the Centro Cultural Banco do Brasil (CCBB) in São Paulo. We seek to confront/compare two art works of Tunga and Regina Silveira critically analyzing them from project documents and files belonging to the CCBB, which allowed an evaluation of the results intended and achieved by the artists. More broadly, we seek to contribute to the debate and reflection on the current artistic production in the visual arts in Brazil, especially in the case of Centro Cultural Banco do Brasil in Sao Paulo with the exhibitions of Tunga and Regina Silveira, in order to provoke discussions about the artists role and the activities of cultural institutions in contemporary society.

Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formal / Angles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.

Made available in DSpace on 2016-04-29T14:23:27Z (GMT). No. of bitstreams: 1 Carlos Eduardo Tsuda.pdf: 20138115 bytes, checksum: 226dd399b6e3802c0d3749b3b6ccc005 (MD5) Previous issue date: 2014-03-13 / Sound Art and Space: Aesthetics and New Poetic Possibilities (Goals) discusses the processes of hybridization between sound and space from a historical overview through areas such as music, architecture, visual arts, sound engineering and performance. Given the diversity of approaches to the topic, this dissertation intends to present alternative perspectives, focusing on the emergence of Sound Art. (Theoretical and Methodological Aspects) By dealing with changes in the ways of understanding sound, both in the world of contemporary music and in visual arts, the research describes different formats of the relationship between sound and space, which acquired new meanings in art installation after more recent experiments with sound. Moreover, it examines the forms of perception of sound and how they differ from other languages, since they imply specificities in their ways of spatialization. The concepts discussed here are applied in the analysis of relevant examples for the historical understanding of sound art and the relation between space and sound. (Results) These analysis serve as a theoretical basis for more in-­‐ depth case studies, in which the author reflects about his creativive process in different works, such as the sound creation and composition for the contemporary dance spetacle Branco and the sound installation Promenade / Arte Sonora e Espaço: Estética e Novas Possibilidades Poéticas (Objetivos) discute os processos de hibridização entre som e espaço, a partir de um percurso histórico por áreas como a música, a arquitetura, as artes visuais, a engenharia acústica e a performance. Diante da diversidade de abordagens sobre o tema, a dissertação busca relacionar as diferentes perspectivas a partir de um recorte baseado no surgimento da Arte Sonora. (Aspectos Teórico-­‐Metodológicos) Tratando das mudanças referentes às diferentes maneiras como o som passa a ser entendido, tanto no universo da música contemporânea como no das artes, a pesquisa intenta demonstrar como a relação entre som e espaço ganha novos sentidos diante das formas instalativas típicas nas experiências mais recentes com som. Além disso, examina diferentes modalidades de percepção do som, e de que modo estes diferem das demais linguagens, implicando em especificidades no que tocante às formas de espacialização. Os conceitos discutidos são aplicados na análise de exemplos pertinentes para o entendimento histórico da arte sonora e das relações entre som e espaço. (Resultados) Estas análises servem como ponto de partida para estudos de caso mais aprofundados em que o autor reflete sobre seu processo no desenvolvimento de obras, tais como a composição sonora para o espetáculo de dança contemporânea Branco e a instalação sonora Promenade

This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.

Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.

Janine Antoni's object- and performance-based works draw from multiple influences including feminism and conceptualism, and in these works the artist has fashioned an investigation of the self through the examination of the mother/child dyad, creating a more than fourteen-year body of work about these relationships that explore the implications of feminine imagery. Antoni’s works are an effort to distinguish her body as a feminine subject-object, but also to identify with as well as separate herself from the mother. While she is a conceptual artist, Antoni puts great emphasis on materiality. For her, the concept defines itself within the materials, and it is the process of the making that interests her most, empowering what is traditionally overlooked, forgotten, or disempowered. As she alternately separates from and connects with the mother and the foremothers of the artistic heritage that have surely contributed to establishing this identity, Antoni allows new images of the female to be made visible in a culture where they have traditionally been lacking.

This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

This essay attempts to propose an art practice based on an ethical and aesthetic relation of author, subject, and viewer. This relationship is productive of results that are seen as critical to a precise, useful, and ethical representation of social problems. / text