Vegyna is a students club with option of vegan eating. An integral function of the club is also the possibility of informal meetings, hanging out, thinking, organizing workshopes, lectures, screenings, etc.

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This thesis analyzes contemporary participatory installation art, play theory, especially Johan Huizingas seminal Homo Ludens, and the aesthetic theories of Nicolas Bourriauds Relational Aesthetics and Jacques Rancires Politics of Aesthetics. Ping Pond Table 1998 by Gabriel Orozco and Test Site 2006 by Cartsen Hller are studied to illustrate how play and the aesthetic can become political by repositioning the contemporary viewer as an active and playing participant in the artwork, prompting an awareness of the matrix of power between audience, artwork and institution, and by creating the possibility for dynamic social roles. This thesis, like the artworks it examines, invokes a conception of play as a vital construct of culture rather than simply the domain of childhood imagination. Overturning the dominant concept of play and reinstating play in adult life becomes a political act because it engages adults in liberated, creative thinking that challenges traditional, consumer-driven, practical and thus constructive behaviours.

The book Postproduction: Culture as Screenplay, written by French aesthetician Nicolas Bourriaud is going to be initial text for my diploma thesis. Bourriaud claims, that contemporary art is mostly made by the principle of assemblage; art works are made by reinterpretation, reproducing or by new exhibiting of artefacts or forms of past. The assumption of the original concept in artworks of contemporary artists - semionauts (travelers in the worlds of signs) has been allready completely ineffective. Through the example of hyperrealistic paintings, which has lately reappeared in portfolios of international and czech artists, I will try to show whether its revilal is based on the emergence of new medias, that even more than in the seventies simulate reality or whether they deal with the concept of postpostprodution - the artists lend only formal, in this case, hyperrealistic, signs. This diploma thesis will be completed by the case study of paintings of czech hyperrealist painter Jan Mikulka.

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Ce travail aborde la question des lieux d'art non pas, comme c'est souvent le cas, pour leurs répercussions sur leur voisinage, mais pour leur apport à la création plastique elle-même. Dans sa première partie sont précisés les termes de la recherche : le mot "stratégie" à la fois dans le contexte artistique et dans d'autres contextes ; les "quartiers d'art" selon leur usage: création, exhibition et habitation ; les "gens de l'art", considérés comme le groupe qui crée, conceptuellement, l'œuvre d'art. La deuxième partie présente, en plus d'une synthèse historique, six territoires de l'art contemporain : le Fbg Saint-Denis (Paris), qui constitue la colonne vertébrale de ce travail, la Macarena (Bogota), San Telmo (Buenos Aires), Belleville (Paris), le Red Hook (New York) et la ville de Berlin. La troisième partie analyse le travail individuel de sept personnalité de l'art ayant habité le Fbg Saint-Denis depuis l'année 2000 : Nathalie Heinich, Nicolas Bourriaud, Jean-Philippe Antoine, Thomas Hirschhorn, Esther Shalev-Gerz, Pierre Huyghe et Olga Kisseleva. La dernière partie relie cette recherche avec l'œuvre de son auteur. La conclusion met en évidence une série d'hypothèses qui se dégagent de cette étude : les lieux d'art comme instrument d'identification des différents groupes œuvrant dans l'art ; la notion de débat comme forme de stratégie, avec un niveau interne (qui participe et à quel titre) et un niveau global (le rôle de l'art dans la société) ; les artistes considérés non pas comme une catégorie socio-professionnelle, mais comme "produits" de chaque groupe social ; l'art comme une forme de participation à un territoire commun plus que comme un espace en soi. / This work concerns the question of art territories, but not, as is often the case, for their repercussions on their neighbourhood, but for their contribution to the plastic creation itself. In the first part, the terms of the research are defined: the word "strategy" in the artistic context as well as in other contexts; the "art districts". according to their use: creation, exhibition and residence; the "people of art", considered as the group that creates, conceptually the artwork. The second part presents, in addition to a historical synthesis, six territories of contemporary art: Faubourg Saint-Denis (Paris). which is the backbone of this work, Macarena (Bogota), San Telmo (Buenos Aires), Belleville (Paris), the Red Hook (New York) and the city of Berlin. The third part analyses the individual work of seven contemporary art personalities who lived in Faubourg Saint­Denis since 2000: Nathalie Heinich, Nicolas Bourriaud, Jean-Philippe Antoine, Thomas Hirschhorn, Esther Shalev-Gerz, Pierre Huyghe and Olga Kisseleva. The last part links this research with the work of its author. The conclusion highlights a series of hypotheses emerging from this study: places of art as an instrument of identification of the different groups working in art; the notion of "debate" as a form of strategy, with an internal level (who participates and in what capacity) and a global level (the role of art in society); artists considered not as a socio-professional category, but as "products" of every social group; art as a form of participation in a common territory more than as a self-space.