Esta pesquisa, na área de poéticas visuais, desenvolve reflexões que surgiram pela prática do ateliê e pelos meus trabalhos produzidos no período de 2011 a 2014. A pintura, perfomance, instalação e o impresso foram meios que utilizei para estes trabalhos e que estão presentes nesta dissertação. Uma pequena experiência, ao qual chamei de Laboratório de brotos e podres, feita em 2012, iniciou um aprofundamento no estudo sobre os elementos domésticos, os perecíveis e a prática da observação das coisas do ateliê. Tal investigação foi desenvolvida percorrendo artistas que trabalham o broto, os elementos domésticos e a materialidade do barro, bem como autores que discutem a coisa, o objeto, a natureza-morta e a efemeridade e permanência das coisas. / This research, within the visual poetics field, develops reflections arosen from the studio practice and from my works in the period 2011-2014. Painting, performance, installation and print were procedures I used for these works and which are present in this master thesis. A small experiment, which I call Laboratório de brotos e podres, conduced in 2012, began a deepening in the study of domestic elements, perishables and the observation practice of studio things. Such investigation was developed covering artists that work with the sprout, the domestic elements, and the materiality of clay, as well as authors that discuss the thing, the object, still life and the ephemerality and permanence of things.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research on Visual Poetics was developed between 2011 and 2013 as an investigation that was established by the combination of artistic practices and theoretical reflections, whose results reflect upon poetic strategies adopted by the conception and realization of those works. The proposal is based on contemporary issues that deal with the representation of objects in painting (still life) through the use of technical image, pictorial process that relates the concept of miscegenation. It was identified in those poetic strategies that the questions moved from the objects to the noise through mediated technique (optic) of the model. The confrontation between practice of studio and the data collected, visual and conceptual, intend to revitalize painting, permeating manual work with the perception from the mediated technique in order to demonstrate a view that makes connection with the issues from contemporaneity. Keywords: Painting, Mediation Technique, Still life, Optics, Noise / A presente pesquisa em Poéticas Visuais foi desenvolvida entre 2011 e 2013, como uma investigação que se estabeleceu na conjugação da prática artística a uma reflexão teórica, cujo resultado aborda as estratégias poéticas adotadas na concepção e realização desses trabalhos. A proposta instaura-se nas problemáticas contemporâneas da representação de objetos na pintura (natureza-morta) através do emprego da imagem técnica, processo pictórico relacionado ao conceito de mestiçagem. Identificadas nas estratégias poéticas as questões deslocaram-se dos objetos para o ruído gerado pela mediação técnica (óptica) do modelo. O confronto entre a prática de ateliê e os dados coletados, visuais e conceituais, pretende revitalizar a pintura, permeando este fazer manual com a percepção adquirida da mediação técnica, a fim de gerar uma visualidade que dialogue com as questões eminentes da contemporaneidade.

Esta pesquisa, na área de poéticas visuais, desenvolve reflexões que surgiram pela prática do ateliê e pelos meus trabalhos produzidos no período de 2011 a 2014. A pintura, perfomance, instalação e o impresso foram meios que utilizei para estes trabalhos e que estão presentes nesta dissertação. Uma pequena experiência, ao qual chamei de Laboratório de brotos e podres, feita em 2012, iniciou um aprofundamento no estudo sobre os elementos domésticos, os perecíveis e a prática da observação das coisas do ateliê. Tal investigação foi desenvolvida percorrendo artistas que trabalham o broto, os elementos domésticos e a materialidade do barro, bem como autores que discutem a coisa, o objeto, a natureza-morta e a efemeridade e permanência das coisas. / This research, within the visual poetics field, develops reflections arosen from the studio practice and from my works in the period 2011-2014. Painting, performance, installation and print were procedures I used for these works and which are present in this master thesis. A small experiment, which I call Laboratório de brotos e podres, conduced in 2012, began a deepening in the study of domestic elements, perishables and the observation practice of studio things. Such investigation was developed covering artists that work with the sprout, the domestic elements, and the materiality of clay, as well as authors that discuss the thing, the object, still life and the ephemerality and permanence of things.

Esta pesquisa, na área de poéticas visuais, desenvolve reflexões que surgiram pela prática do ateliê e pelos meus trabalhos produzidos no período de 2011 a 2014. A pintura, perfomance, instalação e o impresso foram meios que utilizei para estes trabalhos e que estão presentes nesta dissertação. Uma pequena experiência, ao qual chamei de Laboratório de brotos e podres, feita em 2012, iniciou um aprofundamento no estudo sobre os elementos domésticos, os perecíveis e a prática da observação das coisas do ateliê. Tal investigação foi desenvolvida percorrendo artistas que trabalham o broto, os elementos domésticos e a materialidade do barro, bem como autores que discutem a coisa, o objeto, a natureza-morta e a efemeridade e permanência das coisas. / This research, within the visual poetics field, develops reflections arosen from the studio practice and from my works in the period 2011-2014. Painting, performance, installation and print were procedures I used for these works and which are present in this master thesis. A small experiment, which I call Laboratório de brotos e podres, conduced in 2012, began a deepening in the study of domestic elements, perishables and the observation practice of studio things. Such investigation was developed covering artists that work with the sprout, the domestic elements, and the materiality of clay, as well as authors that discuss the thing, the object, still life and the ephemerality and permanence of things.

Hamlet's tragedy is constructed as a perspective of matter that is destined for decay, and this "objective," or "object-focused," mode of viewing the material world enhances theatrical and theological understandings of the play's props, figurative language, and characters. Hamlet's "objective mode" evokes early modern materialist philosophies of vanitas and memento mori, and it is communicated in theatre through semiotic means, whereby material items stand for moral ideas according to an established sign-signified relation. Extending an objective reading to Hamlet's characters reveals their function as images, or two-dimensional emblems, in moments of slowing narrative time. In the graveyard scene (5.1), characters and theatrical props cooperate to materialize the objective perspective. As a prop, Ophelia's corpse complicates the objective mode through its semantic complexity. Thus, she stands apart from other characters as one that both serves to construct and to deconstruct the objective mode. Hamlet's tragic outlook, which depends upon an understanding of matter as destined for decay, and of material items as ends in themselves rather than vehicles for spiritual transformation, is an early modern notion concurrent with theological debates surrounding the Eucharist. Drawing upon art-historical, linguistic, feminist, theological, and theatrical approaches, this thesis contributes to concurrent discourse on Hamlet's tragic genre.

Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal / Que peuvent être des images pour la paix? Nous supposons que les agencements fictionnels des matières de l’expression capables d’entrouvrir la perception habituelle des choses et d’impulser de nouvelles visions du monde, en direction d’un vivre ensemble plus pacifique, sont ceux qui reposent sur trois modalités de respect. Premièrement, respect de l’intelligence des subjectivités spectatorielles, de leur capacité à lire et traduire par elles-mêmes ce qui leur est présenté. Deuxièmement, respect des êtres dans leur multiplicité, du caractère fondamentalement entre-formes de l’existence. Enfin, respect des potentialités expressives portées par les corps anonymes, humains autant que matériels, des virtualités créatrices que recèlent leurs impressions muettes. Nous retrouvons ces trois postures, à la fois esthétiques et politiques, dans le cinéma de Jia Zhang-ke. En effet, le travail fictionnel de ce véritable conteur consiste à débusquer la richesse sensible de l’expérience commune et à en opérer une réimagination fertile, notamment par le métissage fabulatoire de diverses paroles historiques ou encore par la revitalisation de décors ruiniformes au sein de natures mortes animées. Les gestes malicieux de cet artiste inquiètent et multiplient la figure donnée au réel et, par le fait même, suscitent de nouvelles manières de percevoir, de (re)connaître, de penser, voire de se constituer. À travers ses images, le commun s’exprime, se crée une mémoire et obtient la possibilité de devenir autre. / What can be images for peace? We suppose that the fictional arrangements of the expressive materials able to expand the usual perception of things and provoke new visions of the world, in direction of a better living together, are the ones which are based on three modalities of respect. Firstly, respect of the spectatorial subjectivities’ intelligence, of their capacity to read and translate by themselves what they are seeing. Secondly, respect of the beings in their multiplicity, of the fundamental in-between-forms attribute of the existence. Finally, respect of the expressive potentials carry by the anonymous bodies, human as well as material, of the virtualities of creation contain in their mute impressions. We find those three aesthetical and political postures in the cinema of Jia Zhang-ke. In effect, the fictional work of this true teller consists in finding the “sensible richness” of the common experience and in operating a fertile reimagination of this one, for instance by interbreeding, with a fabulating manner, various historic speeches or by revitalizing sceneries of ruins in animated still lifes. The mischievous gestures of this artist trouble and multiply the figure given to the real and, consequently, develop new ways of perceiving, knowing, thinking, and even of emerging. Through his images, the common express himself, creates himself a memory and has the opportunity to become something else.

L’école romaine et l’école napolitaine de nature morte comptent au XVIIe siècle parmi les plus importantes dans la peinture européenne. Pendant tout le Seicento, elles sont restées étroitement liées, en multipliant les tableaux de fleurs, fruits, légumes, poissons, gibiers, sous-bois.... La thèse étudie l’évolution de ce genre à Rome et à Naples et les resitue dans le vaste tissu des échanges culturels et stylistiques entre ces deux capitales. Elle analyse la place de la nature morte dans le marché de l’art (circulation, marchands, prix, estimations) et dans les collections. Le goût de mécènes variés pour ces tableaux est étudié. Des comparaisons formelles entre les œuvres de différents peintres, comme Mario dei Fiori et Paolo Porpora, Michelangelo Cerquozzi et Giovanni Battista Ruoppolo ou Giovanni Battista Recco et Gian Domenico Valentino sont effectuées. On explique également le rôle d’Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci, et Andrea Belvedere. / The Roman and the Neapolitan school of still-life painting are in 17th Century among the most important in Europe. During the whole Seicento, these two schools are closely tied and produced a large amount of paintings of flowers, fruits, vegetables, fishes, game, woodland Scenes (sottoboschi)… This PhD analyses the evolution of still-life painting in Rome and in Naples and places it in the numerous stylistic and cultural exchanges between these two capitals. The place of still-life painting in the art market (circulation of works, merchants, prices, appraisals) and in the collections is studied. The Patrons’ taste for these pictures is examined. We carry out stylistics comparisons between works by Mario dei Fiori and Paolo Porpora, Michelangelo Cerquozzi and Giovanni Battista Ruoppolo or Giovanni Battista Recco and Gian Domenico Valentino. We also investigate the role of Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci and Andrea Belvedere.

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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.