Esta pesquisa procura abordar as práticas artísticas no espaço público brasileiro, no campo das artes visuais, na intenção de se compreender como elas se relacionam com as cidades e seus imaginários urbanos, além de entender os desdobramentos dessas obras no campo simbólico no qual elas estão inseridas. Para tanto, a pesquisa concentra-se em uma compilação de ações artísticas realizadas no espaço público brasileiro desde os anos 2000, uma análise teórica sobre tais práticas e uma reflexão sobre minha própria produção artística. Como metodologia para examinar tais questões foram abordados temas como a relação entre o público e o privado, a arte ativista, a imagem e a palavra na cidade, a performatividade urbana e o tempo e a temporalidade na cidade. A pesquisa traz também diálogos com pesquisadores do campo da arte, da geografia e do urbanismo. A proposta é oferecer referências para novos processos de pesquisa, ampliando a compreensão sobre o papel da arte no imaginário da cidade e na formação da sensibilidade urbana. / This research deals with visual artistic practices in the Brazilian public space to understand how art relates to cities and the urban imaginary. For this, the research focuses on a compilation of artistic actions carried out in the Brazilian public space since the year 2000, a theoretical analysis on these practices and a reflection on my own artistic production. The research also brings dialogues with researchers from art, geography and urbanism. The proposal is to offer references to new research processes, broadening the understanding of the role of art in the city\'s imaginary and the formation of urban sensibility.

This multiple-case study examined the factors that influence activist artists in the production of their work. Four artists who were well established in their careers took part. The research was designed to gain insight into what motivates artists to become activists. The research methodology was rooted in qualitative hermeneutic phenomenological traditions with a descriptive, interpretative and exploratory approach, using data collected from in-depth interviews. This study sought to explore and synthesize common patterns and similarities of activist artists. Seven themes emerged: identity, place, and personality as style, life experience, world issues, community and change. Regarding activist artists using a variety of what is typically considered “style” to present their work, this study concluded that there are similarities that support the notion that activist artists can be seen as a group. / Thesis (Master, Education) -- Queen's University, 2010-01-27 15:59:37.792

abstract: This thesis, Impressive Mastermind, examines notions of privacy and the law, particularly with regard to the USA Patriot Act implemented following the events of 9/11. The author/artist believes that numerous freedoms related to personal privacy, especially those rights protected by the Fourth Amendment, were diminished in order to ostensibly seek out potential terrorists. Through the vehicle of a theatrical dance performance, Impressive Mastermind investigates these privacy issues on a public and personal level and also asks the audience to question their own views on government policies regarding personal privacy, including illegal search and seizure. Drawing on the previous work of other intervention artists, this thesis explores the realm of public intervention. Moving away from the usual spectacle of traditional theater, this multi-dimensional piece explores an experiential examination of how the public relates to what is real and what is considered performative. / Dissertation/Thesis / M.F.A. Dance 2011

Assentada numa abordagem pós-estruturalista de Estudos Culturais, de inspiração foucaultiana, esta dissertação buscou tensionar a intersecção entre o campo das ciências e o das artes. Para tanto, tomou os discursos contemporâneos sobre o corpo, especialmente sobre a doação de órgãos e tecidos, como seu mote organizador. A ação artística Doações do Corpo, constituída por objetos artísticos para serem doados durante esta pesquisa, mimetizou os processos seletivos adotados pelo sistema de transplantes, na escolha dos receptores para os órgãos, e pelo sistema das artes, na escolha dos artistas para as exposições. Isso fez com que o público ocupasse o lugar de paciente que necessita de um transplante de órgão e, ao mesmo tempo, o lugar de artista, que busca espaço para expor suas obras no circuito das artes. A análise foi realizada sobre os textos dos participantes, produzidos com o intuito de receberem o órgão/obra. A partir dos textos produzidos desde a perspectiva dos receptores para os órgãos/obras, poder-se-ia apontar, além dos aspectos simbólicos sobre a temática dos transplantes que circulam em nossa cultura, a recorrência de discursos sobre a optimização do corpo, visando maximizar suas capacidades produtivas. Além disso, a necessidade da transformação dos indivíduos em empreendedores de si, através do investimento constante sobre o corpo e a saúde, o aperfeiçoamento associado à retórica do risco, considerando que os indivíduos são livres para escolherem as ações a serem empreendidas durante esses processos, ao mesmo tempo em que são os responsáveis por suas consequências. / This work is based in a post-structuralist approach in Cultural Studies, inspired by Michel Foucault. It aimed to provoke a tension at the intersection between the field of sciences and of the arts. For that, the contemporary discourses on the body, especially those about the organs and tissues donation, were its main subject. The artistic action entitled Donation of the Body was constituted of artworks to be donated during this research. The action followed the similar processes adopted by the system of transplants, to choose recipients for the organs, and by the system of arts, to choose the artists for exhibitions. This process made the public to take place of a patient who needs an organ transplant and at the same time, the place of artist, seeking space to exhibit his (her) works in the circuit of art. The analysis was done on the texts of the participants, produced in order to receive the organ/artwork. Among these texts – produced from the perspective of the recipients for the organs/artworks –, one could point out the recurrence of the discourses regarding the symbolic aspects of the transplants, that circulate in our culture, as well of discourses about the optimization of the body in order to maximize its productive capacities. In addition, the need of transforming individuals into entrepreneurs of themselves, through the constant investment on the body and the health, the improvement associated to the rhetoric of risk, taking into account that the individuals are free to choose the actions to be developed during these processes, at the same time that they are the responsible for their consequences.

Assentada numa abordagem pós-estruturalista de Estudos Culturais, de inspiração foucaultiana, esta dissertação buscou tensionar a intersecção entre o campo das ciências e o das artes. Para tanto, tomou os discursos contemporâneos sobre o corpo, especialmente sobre a doação de órgãos e tecidos, como seu mote organizador. A ação artística Doações do Corpo, constituída por objetos artísticos para serem doados durante esta pesquisa, mimetizou os processos seletivos adotados pelo sistema de transplantes, na escolha dos receptores para os órgãos, e pelo sistema das artes, na escolha dos artistas para as exposições. Isso fez com que o público ocupasse o lugar de paciente que necessita de um transplante de órgão e, ao mesmo tempo, o lugar de artista, que busca espaço para expor suas obras no circuito das artes. A análise foi realizada sobre os textos dos participantes, produzidos com o intuito de receberem o órgão/obra. A partir dos textos produzidos desde a perspectiva dos receptores para os órgãos/obras, poder-se-ia apontar, além dos aspectos simbólicos sobre a temática dos transplantes que circulam em nossa cultura, a recorrência de discursos sobre a optimização do corpo, visando maximizar suas capacidades produtivas. Além disso, a necessidade da transformação dos indivíduos em empreendedores de si, através do investimento constante sobre o corpo e a saúde, o aperfeiçoamento associado à retórica do risco, considerando que os indivíduos são livres para escolherem as ações a serem empreendidas durante esses processos, ao mesmo tempo em que são os responsáveis por suas consequências. / This work is based in a post-structuralist approach in Cultural Studies, inspired by Michel Foucault. It aimed to provoke a tension at the intersection between the field of sciences and of the arts. For that, the contemporary discourses on the body, especially those about the organs and tissues donation, were its main subject. The artistic action entitled Donation of the Body was constituted of artworks to be donated during this research. The action followed the similar processes adopted by the system of transplants, to choose recipients for the organs, and by the system of arts, to choose the artists for exhibitions. This process made the public to take place of a patient who needs an organ transplant and at the same time, the place of artist, seeking space to exhibit his (her) works in the circuit of art. The analysis was done on the texts of the participants, produced in order to receive the organ/artwork. Among these texts – produced from the perspective of the recipients for the organs/artworks –, one could point out the recurrence of the discourses regarding the symbolic aspects of the transplants, that circulate in our culture, as well of discourses about the optimization of the body in order to maximize its productive capacities. In addition, the need of transforming individuals into entrepreneurs of themselves, through the constant investment on the body and the health, the improvement associated to the rhetoric of risk, taking into account that the individuals are free to choose the actions to be developed during these processes, at the same time that they are the responsible for their consequences.

Submitted by Jaqueline Silva (jtas29@gmail.com) on 2016-11-10T17:06:12Z No. of bitstreams: 2 Tese - Rubens Pilegi da Silva Sá - 2016.pdf: 5415096 bytes, checksum: 3503bbb506cedfe91509306e9eff3a04 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-10T17:06:27Z (GMT) No. of bitstreams: 2 Tese - Rubens Pilegi da Silva Sá - 2016.pdf: 5415096 bytes, checksum: 3503bbb506cedfe91509306e9eff3a04 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-10T17:06:27Z (GMT). No. of bitstreams: 2 Tese - Rubens Pilegi da Silva Sá - 2016.pdf: 5415096 bytes, checksum: 3503bbb506cedfe91509306e9eff3a04 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-10-21 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / From a historical problem that dates back, in Brazilian art, the Concretism and the Neoconcretismo, I develop, since 1998, an artistic trajectory that uses the street like one laboratory of actions, manifestations and artistic interventions. My work is embodied in the relationship between the "expanded field of art" with the body, object and space. It turns out that during of the development of the thesis, I notice an obvious limits of this type of production to of the dissolution of the artistic field, increasingly subsumed by the sociological discourse, making it a sort of commodity to be traded as resistance art. The problem moves then to an investigation of appropriations that can be made that field - place without place - to incorporate them and transform them, at its base, so that art can still be produced once. And if, at first, the statement of a relationship between art and life becomes a militant way, programmatic and pragmatic, in a next moment requires a reflexive deepening method and language. The solution I found, caused by the tension of the current political moment, was to turn my attention to work betting on negativity, in exploring the dimension of emptiness and silence, thinking the lack as a possibility to add an idea, through the viewer's imagination. The practical result is the creation of a glass box, designed to fill the space of a door by means of resonance sound effect and vibration speakers, revealing a small continuous motion. My intention with this is to suggest a situation of instability and the imminence of a possible tragedy, condensing the premises of the field expanded into the critique of institutional debate. / A partir de uma problemática histórica que remonta, na arte brasileira, ao Concretismo e ao Neoconcretismo, desenvolvo, desde 1998, uma trajetória artística que utiliza a rua como laboratório de ações, de manifestações e de intervenções artísticas. Meu trabalho materializa-se na relação entre o “campo ampliado da arte” com o corpo do artista e do espectador, o objeto e o espaço. Acontece que, no desenvolvimento da tese, percebo um limite evidente desse tipo de produção à medida em que se dá a dissolução do campo artístico, cada vez mais subsumido pelo discurso sociológico, tornando-o uma espécie de commodity a ser negociada como arte de resistência. O problema desloca-se, então, para uma investigação das apropriações que podem ser feitas desse campo – lugar sem lugar – no sentido de incorporá-las e transformá-las, em sua base, para que a arte possa ser produzida ainda uma vez. E se, em um primeiro momento, a afirmação de uma relação entre arte e vida se faz de modo militante, programático e pragmático, em um momento seguinte exige-se um aprofundamento reflexivo de método e de linguagem. A solução por mim encontrada, motivada pela tensão do atual momento político, foi a de voltar a atenção para trabalhos que apostam na negatividade, na exploração da dimensão do vazio e do silêncio, pensando a falta como possibilidade de complemento de uma ideia, na imaginação do espectador. O resultado prático foi a criação de uma caixa de vidro, projetada para preencher o espaço de uma porta que, por meio do efeito de ressonância sonora e vibração de alto falantes, deixando transparecer um pequeno e continuado movimento. Minha intenção, com isto, é a de sugerir uma situação de instabilidade e iminência de uma possível tragédia, condensando as premissas do campo ampliado ao debate da crítica institucional.

This work focuses on the research of contemporary Czech and Slovak visual art which critically reflects problems in the society. Due to the totalitarian past in former Czechoslovakia, this orientation of art made a specific genesis. It was established as a acknowledged part of art only in the last decade. The aim of my thesis was to analyze when and by which means the Czech and Slovak sphere of visual art became repoliticized. I research and analyze selected works of artists who are critically reacting to the problems of politics and society. I keep the chronological order of the artworks and exhibitions. Afterwards I focus on the two important topics in this field: feminism and queer issues. The engagement of the artworks was forced in the past and this fact has its result in the devaluation of the term. Part of my thesis examines the terms political art and activist art in the international and domestic context and proposes its definitions.

They have lost all hope and behind hope they found new spaces is an essay and a collection of short related texts, written in connection with a similarly named dance piece. It is about dancing joyfully in the age of the climate crisis and trusting that by moving one's own body something else can be moved too.

« Les philosophes analytiques de l'art et les artistes conceptuels ont en commun de refuser la théorisation et la recherche du beau comme idée ou norme, pour poser à la place une définition de l'art comme fonction symbolique toujours à décrypter à partir d'elle-même et de son langage propre, sans lui appliquer une essence a priori » explique Dominique Chateau (esthéticien français, né en 1948). En d’autres termes, il s’agit de l'esthétique issue de l'empirisme logique et du pragmatisme. La référence à une partie de l'introduction du premier numéro de la Revue francophone d'esthétique, sous la direction de Frédéric Wecker, écrite par Jean-Pierre Cometti, Jacques Morizot, Roger Pouivet, permet de clarifier l'objectif de cette théorie esthétique ; « […] Les problèmes esthétiques se seraient-ils dissous dans la médiatisation généralisée ? Sont-ils condamnés à nourrir un essayisme brillant mais sans portée théorique ? Doit-on laisser la parole aux historiens, aux spécialistes des sciences humaines ou aux professionnels du monde de l'art ? Telle n'est pas notre conviction. Nous voulons faire le pari d'une approche esthétique ouverte sur toutes les manifestations de l'art et qui revendique un parti pris d'analyse conceptuelle et d'argumentation critique. Il ne suffit en effet ni d'en appeler à une dimension anthropologique fondamentale, ni de s'en tenir à la menue monnaie de l'actualité et des événements. Comme toute discipline de quelque ambition, l'esthétique doit être en mesure de construire ses propres objets et de réviser ses résultats et ses procédures : là est sa seule garantie d'échapper au délire d'interprétation » En ce qui concerne cette réflexion, l'esthétique analytique est un dialogue constant avec les œuvres d'art d'avant-garde de l'art moderne et contemporain, notamment celles de Duchamp et de Warhol, mettant l’accent sur un ensemble de théories esthétiques quelquefois hétérogènes ; loin des théories traditionnelles, toutes ces théories refusent le beau en tant que principe essentiel de ce qui est devenu connu de l'art, c'est-à-dire l'œuvre d'art. [...] / "The analytical philosophers of art and the conceptual artists have in common to refuse the theorization and the search for the beautiful as idea or norm, to pose instead a definition of art as a symbolic function always to decrypt from itself and its own language, without applying to it an essence a priori "explains Dominique Chateau (French esthetician, born in 1948). In other words, it is the aesthetics of logical empiricism and pragmatism. The reference to a part of the introduction to the first issue of the Revue francophone d'esthétique, under the direction of Frédéric Wecker, written by Jean-Pierre Cometti, Jacques Morizot and Roger Pouivet, clarifies the objective of this aesthetic theory. ; "[...] Would aesthetic problems have dissolved in the generalized media? Are they doomed to nourish a brilliant essayism but without theoretical significance? Should we give the floor to historians, social scientists or professionals in the art world? That is not our conviction. We want to bet on an aesthetic approach open to all the manifestations of art and that claims a bias of conceptual analysis and critical argumentation. In fact, it is not enough to appeal to a fundamental anthropological dimension, nor to stick to the petty currency of events and events. Like any discipline of any ambition, aesthetics must be able to construct its own objects and revise its results and procedures: this is its only guarantee of escaping the frenzy of interpretation. "Regarding this reflection the analytical aesthetic is a constant dialogue with the avant-garde works of art of modern and contemporary art, notably those of Duchamp and Warhol, emphasizing a set of sometimes heterogeneous aesthetic theories; far from traditional theories, all these theories reject the beautiful as an essential principle of what has become known to art, that is to say the work of art. [...]

O livro Canto general, de Pablo Neruda, é uma das mais importantes obras poéticas do século XX. Escrito em plena Guerra Fria, almeja abordar a totalidade do continente americano sob a égide do engajamento político de seu autor, importante militante do Partido Comunista à época da composição da obra. Este trabalho pretende discutir as escolhas feitas pelo autor quanto à politização de sua poesia e suas consequências estéticas e políticas, com particular interesse no processo de mitificação da História e das lutas sociais operado por Neruda em seu livro. Para tanto, a análise dos poemas busca integrar em uma só leitura a ponderação dos elementos míticos mobilizados pelo autor e sua interação com a mensagem ideológica e política explícita na obra, caracterizando o conjunto de Canto general como um exemplo de arte de intervenção. A análise se completa na leitura de Alturas de Macchu Picchu, principal conjunto de poemas do livro e considerado a melhor chave para entender a particular conjunção entre mito e política na obra do poeta chileno. / Pablo Nerudas Canto General is one of the most important poetic works of the twentieth century. Written during the Cold War, aims to cover the entirety of the American Continent under the influence of the political engagement of its author, who was an important member of the Communist Party at the time of the works composition. This dissertation discusses the choices made by the author regarding the politicization of his poetry and its aesthetic and political consequences, with particular interest in the mythologizing of history and of social struggles operated by Neruda in his book. For this purpose, the analysis of poems seeks to integrate into the reading the reflection about mythical elements mobilized by the author and his interaction with the ideological and political message explicit in the work, characterizing Canto General as an example of interventionist art. The analysis is completed with the reading of The Heights of Macchu Picchu, the main section of poems in the book, considered by many the best key to understand the particular conjunction between myth and politics in the work of the Chilean poet.