Cette recherche repose sur l’étude comparative des trajectoires professionnelles de deux groupes de plasticiens français : Wonderful District, cellule artistique créée en 2000 à Bordeaux, aujourd’hui établie à Ho Chi Minh ville, Vietnam, et l’Espace 29, lieu de création, d’exposition et de résidence d’art contemporain, fondé en 2006 également à Bordeaux. Le cadre scientifique de cette étude est composé d’une approche théorique pluridisciplinaire, assortie d’une méthodologie qualitative d’orientation interactionniste. Les données recueillies sur les terrains français et vietnamien ont engagé une réflexion autour du concept de mouvement et sa pratique dans l’organisation d’un système d’actions à dessein professionnalisant (usage des territoires, sédentarité, mobilité, nomadisme). A échelle de cette étude de cas, le prisme du réseau met en lumière l’importance de la construction d’un tissu d’interactions comme paramètre favorisant la dynamique de développement, d’innovation et de réalisation dans la profession artistique. De même, la notion d’utopie constitue le fil rouge de ces itinéraires, au cœur desquels se confondent parfois l’art et la vie. L’objectif de cette thèse vise l’observation des représentations imaginaires à l’origine des motivations de ces artistes (utopèmes), comparées aux moyens concrets et stratégies mises en œuvre en faveur de l’élaboration et de l’établissement de leur carrière. L’analyse des modes de structuration de leurs activités, individuelles et collectives, a permis d’identifier le rayonnement local, comme l’amplitude plus globale du cheminement de ces artistes dans le monde de l’art. / This research is based on a comparative case study of the career paths of two groups of French artists: Wonderful District, artistic structure built in Bordeaux, in 2000, now based in Ho Chi Minh City, Vietnam, and Espace29, artistic space, founded in 2006, also in Bordeaux. The scientific framework of this study consists in a theoretical approach, multidisciplinary, together with a qualitative methodology referring to Interactionism. The prism of interaction highlights the importance of building a network as a development dynamic: it is a contributing factor that promotes innovation and goal achievement in artistic profession. Besides, field work in France and in Vietnam has launched reflections on concept and practise of movement: influence of movement in the management of the professionalization process (use of territories, mobility, nomadism, sedentary lifestyle). Moreover, the notion of utopia is the common thread of these courses, in which sometimes art and life are mixed. The objective of this dissertation is a comparison between artists’ representations and the practical tools and strategies implemented in the career management process. The way they organize individual and collective professional activities, in the art world, reaches, to some extent, a local and global radiation.

Cette thèse a pour objet un ensemble de réalisations artistiques qui jouent entre fiction et autofiction. Elle se construit à partir d’une enquête sur un « héros » entre remémoration et oubli. Elle développe une série d’expérimentations et de questions qui concernent les notions de héros individuel et de héros collectif, de mémoire, les limites entre l’autobiographie et l’autofiction. « L’Artiste », « l’Auteure », « le héros » forment trois entités singulières qui se croisent, s’imbriquent et ce faisant, interrogent leurs statuts respectifs. Ainsi, « l’Artiste », dans un jeu d’ubiquités et d’ambiguïtés, cède sa place, en tant que personnage, à « l’Auteure ». Le héros individuel ou « Z-héros » construit par « l’Auteure » cède sa place au héros collectif. La mémoire collective permet de construire cette identité partagée du héros collectif, mais sur quels faits, quels oublis ? « L’Artiste » ici fournit des documents, des images, mais vient brouiller les pistes. Il fait resurgir la mémoire individuelle au sein d’une histoire collective. Ces différentes questions, les oeuvres qui en ont fondé l’existence sont développées dans cette thèse en trois grands moments : l’apparition du héros, sa disparition puis réapparition et les artifices de l’auteur. / This thesis presents a collection of artistic works that exist between fiction and autofiction. It is based on a study of the "hero" between recollection and forgetting. It develops a series of experiments and questions concerning notions of the individual hero and the collective hero, of memory, and the borders between autobiography and autofiction. The artist, the author and the hero form three specific entities that intersect and overlap, and in doing so, question their respective statutes. Thus, the artist, in a game of ubiquities and ambiguities, yields his position as a figure to the author. The individual hero or Z-hero created by the author gives way to the collective hero. Collective memory can create this shared identity of the collective hero, but on what grounds, with wich omissions ? The Artist here provides the documents and the images, but confuses the issue. He brings back the individual memory within a collective history. These different questions and the works that have founded their existence are developed in this thesis in three major moments : the emergence of the hero, his disappearance followed by reappearance, and the artifices of the author.

This assignment connects itself to the line of research Education and Art and seeks to problematize with the deaf, specially the deaf artists understand themselves such as, for their relationship or contact with the art or for the production and expression or for the display of their work. In order to achieve this, the research relied on three interviews with three artists from different parts of Brazil, and the way each one of them sees himself and expresses his own way of being a subject in the contemporaneity. The art in this research is understood as a device that triggers technologies to create ways and behaviours of the deaf. Acting in the deaf subjects and in their constitution, the art produces meanings through images and knowledge teaching ways of being, behave and being a part of their culture. This way the research connects to the field of cultural studies problematizing the several possibilities of the subject understand himself inside his culture. The art showed itself in this research process as a producer of concepts, subjects, institutions, speeches, developing itself through the narratives of the deaf artists as a device that emerges in this historical time in order to answer the urgency of the practices about the constitution of the deaf subject, here, the deaf subject artist. The deaf artists in this research developed themselves different in their times, places, ways of acting and also in their family relationship. Also in their relationship with the art, these subjects were able to set some type of relationship with themselves and do something with themselves. This do something with themselves meant for some of them search art courses, information and one artistic identity, produce in yourself a way of being an artist among other possibilities of inner transformation of myself.During their lives, the relation between the art and its interior had been transformed by them and also transformed themselves. This way, it was clear that the constitution of the subject doesn t have a nonmoving place and time; it s a process in which it comprehend as a subject of a relationship with yourself. / Este trabalho filia-se a linha de pesquisa Educação e Arte e problematiza como os surdos, em especial os artistas surdos, têm se constituído por meio da arte, seja por sua relação ou contato com ela, seja por sua produção e expressão ou, ainda, pela circulação/exposição de suas obras de arte. Para tanto, a pesquisa contou com a participação de três artistas surdos de diferentes regiões brasileiras a fim de entender como eles foram e estão se constituindo sujeitos artistas e como cada um se subjetiva e expressa suas maneiras de ser sujeito na contemporaneidade. A arte, nesta pesquisa, desenrola-se como um dispositivo que coloca em funcionamento tecnologias que objetivam constituir modos e condutas dos sujeitos surdos. Operando nos sujeitos surdos e na sua constituição, a arte produz significados mediante suas imagens e saberes, ensinando-lhes modos de ser, de comportar-se e de estar na cultura à que pertencem. Esta pesquisa filia-se ao campo dos Estudos Culturais, problematizando as diversas possibilidades de o sujeito constituir-se em meio à(s) sua(s) cultura(s). A arte mostrou-se nesse processo de pesquisa, como produtora de conceitos, sujeitos, instituições, discursos, constituindo-se por meio de narrativas dos artistas surdos como um dispositivo que emerge neste tempo histórico a fim de responder à urgência das práticas sobre a constituição do sujeito surdo, aqui, o sujeito surdo artista. Os artistas surdos dessa pesquisa foram se constituindo diferentes em seus tempos, lugares, modos de agir e também na sua relação familiar. Também, na sua relação com a arte, esses sujeitos puderam estabelecer algum tipo de relação consigo mesmos e fazer algo consigo mesmo. Esse fazer algo consigo mesmo significou para alguns deles buscar cursos de arte, informações e uma identidade artística, produzir em si uma forma de ser artista, entre tantas outras possibilidades de transformação interior do eu. No decorrer de suas vidas, foram transformando a relação entre a arte e seu interior e transformando-se nessa relação. Desse modo, pode-se perceber que a constituição do sujeito não tem tempo nem lugar fixo, é um processo no qual ele se compreende como sujeito de uma relação consigo mesmo.

This research explores video tutorials for concept artists in the entertainment industry. Through websites such as Gumroad tutorials are today being sold and the problem is that there is no guarantee of the quality of the tutorials and people simply have to rely on the description of the product. The research question is: What is an effective video tutorial for concept artists in the entertainment and game industry and what elements contribute to what makes it effective? Five video tutorials were created based on a comparative study, and discussed during qualitative interviews with novice and proficient artists. The results say that parallels can be drawn between a person's proficiency, the content and the structure of the tutorial. If you understand these parallels you are able to create effective tutorials for specific audience groups.

Ces travaux entendent soumettre à l’épreuve des textes fin-de-siècle d’Arthur Machen (1863-1947) deux hypothèses : celle d’une appartenance au décadentisme et au symbolisme, d’une part, et celle d’un principe de consistance régulant les tensions qui sous-tendent son œuvre mineure, d’autre part, celle-ci mêlant les pratiques issues des corpus sapientiaux de la Bible et des récits intertestamentaires aux rites thérianthropiques du totémisme primitif. Le syncrétisme entre christianisme et paganisme ainsi que l’oscillation entre ascétisme apollonien et esthétisme dionysiaque reflètent aussi bien la résilience que les pathologies de l’artiste, qui façonne à la manière d’un homo faber des Künstlerromane et des autoportraits révélant sa nature protéenne. Inspirés des multiples courants artistiques jalonnant l’époque victorienne, les textes de Machen composés au tournant du siècle font de lui un auteur difficile à classer et trop souvent étiqueté parmi les écrivains gothiques et fantastiques – indétermination générique notamment due à l’anthologisation de son œuvre et nécessitant un travail de fouille dans des domaines variés tels que l’archéologie, l’anthropologie et l’ethnologie. La nouvelle, le roman par épisodes, le conte et le poème en prose en particulier deviennent des formes expérimentales où les diaristes établissent les prémices de l’écriture automatique des surréalistes. Perçu tantôt comme l’emblème de la contagion héréditaire, tantôt comme le héraut d’une civilisation décadente, l’artiste porte plusieurs masques que parasitent les fausses pistes laissées par l’auteur. Ayant exploré l’hypothèse d’un Machen poète, théologien, puis essayiste et théoricien du Beau, il sera possible, dès lors, de comprendre le décalage qui oppose la fiction et la vie de ce fervent anglican de la Haute Église, de cet époux fidèle qui cultive néanmoins, dans ses textes, des fantasmes paraphiliques, des rêves de l’Orient et de la Grèce ou, au contraire, des itinéraires pénitentiels douloureux régis par une tradition galloise médiévale supposant autoflagellation et jeûnes anorexiques. Loin de représenter un « calice vide », la liturgie devient chez Machen un pouvoir sacré, comme l’atteste la corrélation entre l’humiliation du corps et l’élévation de l’esprit dans The Hill of Dreams. En revendiquant également la richesse d’une culture galloise minoritaire, Machen participe au « Celtic Revival » et compose des chroniques du Gallois déraciné, exilé à Londres, tentant de survivre à un environnement urbain hostile en le reterritorialisant, spatialement et temporellement. / The present study sustains an analogy between the fin-de-siècle texts of Arthur Machen and the aesthetics of Decadence and Symbolism, first, and a principle of consistency regulating the tensions that underlie his minor works – id est, the customs originating from the sapiential corpus of the Bible and the intertestamental narratives being blended with the therianthropic rites of primitive totemism. The syncretism between Christian and Pagan rites and the oscillation between Apollonian ascesis and Dionysiac aestheticism mirror the resilience as well as the pathologies of the artist in his Protean Künstlerromane and self-portraits. Inspired by the numerous artistic currents of the Victorian age, Machen’s turn-of-the-century texts are quite complex to classify and account for the too frequent association made between his style and that of Gothic or Fantastic authors. This generic indetermination, notably triggered by the anthologization of Machen’s texts, requires a work of investigation in diverse domains such as archaeology, anthropology and ethnology. Episodic novels, short stories, tales, and prose poems, in particular, become experimental diaries foreshadowing the Surrealists’ automatic writing. Deemed to be either the emblem of hereditary contagion or the herald of a decadent civilization, the artist wears several masks which are further distorted by the author’s misleading autobiographical hints. After showing that Machen is not only a poet but also a theologian and an essayist and a theorician on aesthetics, it will be possible to understand the discrepancy between the fiction and the life of a fervent High-Branch Anglican, a faithful husband who nevertheless cultivated, in his texts, paraphilic fantasies, dreams of a new Orient and an Ancient Greece, or quite the contrary, extreme penitential itineraries grounded in a Medieval Welsh tradition requiring self-flagellation and anorexic fasting. Far from representing a “chalice empty of wine”, liturgy becomes a sacred power as the correlation between physical losses and spiritual gains in The Hill of Dreams shows. By championing the beauty of a minor Welsh culture, Machen partook in the “Celtic Revival” and wrote the chronicles of uprooted Welsh subjects exiled in the hostile environment of fin-de-siècle London and striving to reterritorialize its spatial and temporal constitution.

The goal of this thesis is to analyse trends of the contemporary Czech art on the domestic market and possibilities of the contemporary Czech artists to succeed on the international art market. The firts part of the thesis describes specific forms of contemporary art and their position on the art market. The main factors influencing contemporary art prices are mentioned. The next chapter is concentrated on trends of contemporary art in comparison with the other segments of the art market. The third chapter is focused on development of the contemporary art on the domestic market. It analyses the present situation on the Czech art market and explores the potential of the contemporary Czech art. The last part of the thesis evaluates a success rate of the contemporary Czech art on the global art market.

The final thesis deals with cultural mobility, which is becoming an integral part of professional and private lives of a growing number of artists. Specifically, it concentrates on artist residencies as one of modern forms of the mobility. It describes their state, support and obstacles in the Czech Republic and in Denmark. The practical part of the thesis presents a comparison of two residential centers: MeetFactory in Prague and The Factory of Art and Design in Copenhagen.

Cette thèse propose d’analyser une étude de terrain menée sur des élèves inscrits dans dix écoles d’art de pratiques amateurs et sept écoles supérieures d’art des régions Nord-Pas-de-Calais et Île-de-France. Des questionnaires et entretiens réalisés avec les élèves mais aussi avec les parents et les responsables des établissements ont permis de mettre au jour plusieurs thématiques comme la possible élaboration d’une typologie d’élève à travers l’analyse de la catégorie socioprofessionnelle des parents, ou encore via les notions de vocation ou de don. Cette étude présente également les différents aspects de l’influence familiale dans ce type de formation artistique via l’influence des prescripteurs ainsi que les motivations réelles des parents d’élèves de ces deux types d’écoles. Plus encore, cette thèse apporte un nouvel éclairage sur la notion de genre à travers le jeu des effectifs, mais également, via des entretiens réalisés auprès des étudiants. La place de l’Éducation Nationale dans l’étude de notre public fait l’objet d’une attention particulière, tout comme les nouveaux outils et moyens de communication qui façonnent de manière particulière la création mais aussi les relations artistiques. Un chapitre est également consacré au métier d’artiste. Enfin, l’étude a également permis de révéler des liens possibles entre écoles d’art de pratiques amateurs et écoles supérieures d’art, dont les missions, si différentes à l’origine, semblent se rejoindre sur plusieurs points comme la formation, l’évaluation mais aussi le profil de leurs publics. / This thesis consists in a field study realized by studying students in ten schools of art practices and seven upper level art schools in the Nord-Pas-de-Calais and Île-de-France regions. Questionnaires and interviews with students but also with parents and heads of institutions were used in order to analyze several themes such as the possible development of a typology of students through the analysis of the parents social belonging, or via the concepts of vocation or gift. This study also presents the various aspects of family influence in this type of art practice through the influence of “prescribers” and the real motivations of the parents of the students of these two types of art schools. Moreover, this thesis sheds new light on the concept of gender through the game of numbers but also through interviews with students. Moreover, instead of Education in the study of our public deserves special attention, as new tools and media that shape a particular type of creation as much as they create specific artistic relations. A chapter is also devoted to the representations of being an artist. Finally, the study also reveals possible links between art schools of amateur practices and upper education schools, including similar missions in the training, evaluation and attraction of an identical public in terms of social origin.

The theoretical part is explaining the concept of brand, defines the differences between the brands and "brand", as well as the differences between the brands and the products. Also points to the importance of brands in marketing, types of brands and their elements. The greatest attention is paid to branding, priority of today's marketing. It focuses on the description of the main steps of the strategic brand management. Followed by a theoretical insight into the topic of art, marketing specifications in showbusiness, and outline of the contemporary art market, including the legal binding. Following the theory and the facts established in it, the practical part is set on monitoring a particular artist in the terms of application of principles of brand building. Thesis does not aim to provide an exhausting list of information from different areas, but rather to point out the possibilities of linking brand strategies and the arts. The goal is to assess whether the success in the field of art is linked with the quality of brand management strategy.

Através de design, de tecnologia, de arte e de filosofia, esta pesquisa movimenta o modo de construção do livro sob uma força que tende, conceitualmente, a deformá-lo. Nesse contexto, sobre três faces de um mesmo enunciado, entre livro e palavra, são construídos seis livros dúcteis por duas efetuações paralelas: o modo de escrita quasefala e a tecnologia de corte e gravação a laser. O modo de escrita sendo o fora preso na linguagem, potência por vir a ser, devir; e a tecnologia a laser sendo o rúptil da matéria, corte da linguagem, construção dos livros. Uma vez que, por um triz, o rompimento da matéria não fala, expondo-se por esta diferença que há entre não falar e falar, cedendo seu lugar à fala da matéria. Por quasefala, portanto, tem-se essa demonstração do que poderia ter sido a fala, impossível de não ser efetuada ao mesmo tempo em que é crucial não ser efetuada - a que depende sua morte, impossível de se cuspir ao mesmo tempo em que é vital não a engolir - a que depende sua vida. Por rúptil, matéria-pensamento; e por dúctil, pensamento-matéria. Sendo que nessa transição rúptil-dúctil prevalece o livro dúctil por um pensamento que deforma também o rúptil, ou seja, traz-se o corte para dentro da dobra conceitual do estudo. Dualidades que culminam na expressão latente do processo: quasefalas enquanto corte e falas enquanto matéria. Desdobradas, por fim, entre papéis, tecidos, polímeros e velcro, nos protótipos adotando abandono, ataques melindrosos, inventania, maracujamelão, tipos de chuva e quebra-cabecedário. / Through design, technology, art and philosophy, this research moves the mode of construction of the book under a force that tends, conceptually, to deform it. In this context, on three faces of the same utterance, between book and word, are made six livros dúcteis (“ductile books”) by combining two parallel made: quasefala (“almost speaks”) writing mode and laser technology for cutting and engraving. The writing mode while the off imprisoned in language, potency for coming into being, devir; and laser technology as ruptile of material, cutting of language, construction of the books. Since, by a whisker, the disruption of material not speak, exposing itself for this difference there is between not talking and talking, ceding its place to speech of the material. For quasefala, therefore, has this demonstration of what could have been speaking, impossible not to be made at the same time as it is crucial not to be made - that depends their death, impossible to spit out at the same time that it is vital not swallow - that depends on their life. For ruptile, material-thought; and ductile, thought-material. Being that, in this ruptile-ductile transition prevails the ductile book because of the thought that deforms also the ruptile, ie, bringing the cutting into of the conceptual fold of study. Dualities that culminate on the latent expression of the process: quasefalas while cutting and speaks as a material. Developed, finally, among papers, fabrics, polymers and velcro, in the prototype adotando abandono, ataques melindrosos, inventania, maracujamelão, tipos de chuva e quebra-cabecedário.