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2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London
REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author 2 0 0 jT COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. -
Systems and Feedback: Cildo Meireles's Insertions Into Ideological Circuits, 1970—Ongoing
SYSTEMS AND FEEDBACK: CILDO MEIRELES’S INSERTIONS INTO IDEOLOGICAL CIRCUITS, 1970—ONGOING BY TERESA CRISTINA JARDIM DE SANTA CRUZ OLIVEIRA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana–Champaign, 2013 Urbana, Illinois Doctoral Committee: Assistant Professor Irene V. Small, Chair Associate Professor David O’Brien Associate Professor Oscar E. Vázquez Assistant Professor Suzanne P. Hudson, University of Southern California Assistant Professor Terri Weissman Abstract In 1970, Brazilian artist Cildo Meireles began a series of artworks, commonly grouped under the title Insertions into Ideological Circuits, which has since become emblematic of a Latin American art often termed “ideological conceptualism.” This dissertation problematizes the limits of this terminology in shaping the readings of the Insertions into Ideological Circuits by offering detailed analyses of what the Insertions series is, how it operates, where it was first publicly received and what the impact of its exhibition was for different audiences. The main argument of this dissertation is that the Insertions series uses the notion of a system as its medium, and in so doing, seeks to question two interconnected systems: the system of art and the capitalist system. To support this argument, this dissertation draws from preexisting scholarship to offer analysis of the reproducibility and circulation of the projects in the art world as well as to demonstrate how language plays a significant role in the operation of the series as a system in and of itself. To further provide bases for my argument, I have used an investigative methodology that includes interviews with Meireles, the art critic Frederico Morais, as well as other Brazilian art historians. -
The Hepworth Wakefield's First Sculpture Prize Opens
PRESS RELEASE Date of issue: 20 October 2016 THE HEPWORTH WAKEFIELD’S FIRST SCULPTURE PRIZE OPENS AS GALLERY PRESENTS ITS MOST AMBITIOUS SHOW EVER An exhibition by the four artists shortlisted for the inaugural Hepworth Prize for Sculpture - Phyllida Barlow, Steven Claydon, Helen Marten and David Medalla – opens at The Hepworth Wakefield on 21 October 2016. The show, which includes new and recent work, is the most ambitious ever mounted by the gallery. The winner of the £30,000 prize will be announced at an award dinner at The Hepworth Wakefield on 17 November 2016. Sculpture is the art form of the moment – and this new Prize aims to demystify contemporary sculpture. Visitors to the exhibition will be encouraged to experience, debate and judge the Prize for themselves. The shortlist is multi-generational and covers the widest range of work in the medium. The Hepworth Prize for Sculpture recognises a British or UK-based artist of any age, at any stage in their career, who has made a significant contribution to the development of contemporary sculpture. The shortlist reflects the wide range of sculptural practice taking place in the UK today. The Prize was created to celebrate the gallery's 5th anniversary during 2016. Significantly, it is named after Barbara Hepworth, one of Britain's greatest sculptors and arguably its most celebrated female artist, who was born and brought up in Wakefield. The Hepworth Wakefield has the largest number of works by the artist on permanent display anywhere in the UK. Sophie Bowness, art historian and granddaughter of Barbara Hepworth, said: "The Hepworth Prize for Sculpture is a fitting legacy to Barbara Hepworth, one of Britain's greatest sculptors, whose career was enhanced through a variety of awards from early in her professional life." The Hepworth Wakefield’s Director, Simon Wallis said: “Britain is home to a long line of great sculptors from Barbara Hepworth, Henry Moore and Anthony Caro and beyond. -
ALFREDO BOSI, Um Dos Maiores Gravadora E Artista Intermídia Com As Artes
mensal | julho de 2021 | nº 1 | ano 28 /sescrevistae sescsp.org.br/revistae [email protected] | Distribuição gratuita | Venda proibida FAROL CRIATIVO | SER HUMANO E ATLETA | ANNA BELLA GEIGER | ALFREDO BOSI | NOVOS RUMOS DO LAZER | ALBERTO MANGUEL | 30 ANOS DA LEI DE COTAS | TELMA SCHERER | MARÍLIA BONAS | RICARDO TACIOLI SERAFINI Ação urgente realização contra a fome. Faça sua doação. A fome é uma realidade que atinge milhões de brasileiros. Agora, você pode doar qualquer tipo de alimento não perecível diretamente nas unidades do Sesc e Senac no Estado de São Paulo Ajude a mudar essa situação! Acesse www.sescsp.org.br/doemesabrasil Ação urgente realização contra a fome. Faça sua doação. A fome é uma realidade que atinge milhões de brasileiros. Agora, você pode doar qualquer tipo de alimento não perecível diretamente nas unidades do Sesc e Senac no Estado de São Paulo Ajude a mudar essa situação! Acesse www.sescsp.org.br/doemesabrasil EDITORIAL julho de 2021 | nº 1 | ano 28 Somatória de esforços Com o objetivo de ampliar as ações de combate à fome, uma triste realidade que a pandemia agravou, o Sesc – Serviço Social do Comércio e o Senac – Serviço Nacional de Aprendizagem Comercial somaram seus esforços na arrecadação de alimentos não perecíveis para distribuição às famílias necessitadas. Juntos, disponibilizaram todas as suas | Marcelino Melo (Nenê) unidades operacionais no estado para receber doações de seu Casa 06 público frequentador e de toda a IMAGEM DA CAPA comunidade. Estes alimentos são A foto que ilustra a capa desta edição, do artista Marcelino Melo (Nenê), posteriormente encaminhados compõe o projeto Galeria Virtual, realizado pelo Sesc Campo Limpo, para inúmeras famílias por meio no qual artistas são convidados para expressar sua relação com a de instituições cadastradas no região em que vivem. -
Curatorial Statement Past/Future/Present: Contemporary
Curatorial Statement Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paulo presents a panorama of the most innovative art produced in Brazil from the 1990s to the 2010s. More than a cross-section of contemporary Brazilian art, however, it constitutes an exhibition of contemporary art made by Brazilian artists. This distinction highlights a fundamental question: In the era of globalization, in which the internationalization of art has increasingly eroded regional differences, what is “Brazilian” about contemporary Brazilian art? The answer is ultimately too slippery to grasp in a determined totality. It is impossible to pin down a homogeneous essence of contemporary Brazilian identity or a monolithic idea of Brazilian culture. In addition, the place of an artist’s birth is insufficient for establishing a sense of “brasilidade,” or “Brazilianness.” Were this the case, Lasar Segall (Lithuania, 1891 – Brazil, 1957), one of the great artists of Brazilian modernism, or Mira Schendel (Switzerland, 1919 – Brazil, 1988), an artist who quietly revolutionized abstraction in Brazil between the 1950s and the 1980s, would not be duly recognized as landmark references in the history of art in Brazil. Rather than their relation to physical geography, one central factor that ties contemporary artists to a Brazilian tradition is a shared symbolic repertoire drawn from images, experiences, and histories to which they often allude. Other common threads are references to social norms (and transgressions), internal art historical traditions (both in homage and subversion), and historical moments. In the globalized present, the accelerated pace of cultural exchange, as well as the dynamic displacement of artists from their home territories to other parts of the world, have engendered intense debates over the dissolution of national identities. -
Universidade Estadual De Campinas Mestrado Em Multimeios
UNIVERSIDADE ESTADUAL DE CAMPINAS MESTRADO EM MULTIMEIOS Autobiografia e auto-imagem na produção audiovisual brasileira LEANDRO GARCIA VIEIRA Campinas 2003 UNIVERSIDADE ESTADUAL DE CAMPINAS Mestrado em Multimeios Autobiografia e auto-imagem na produção audiovisual brasileira Dissertação apresentada ao Departamento de Multimeios do Instituto de Artes da Universidade Estadual de Campinas, como parte dos requisitos para a obtenção do título de Mestre em Multimeios, sob orientação do Prof. Dr. Fernão Vitor Pessoa Ramos. Campinas 2003 FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA CENTRAL DA UNICAMP Vieira, Leandro Garcia. V673v Vídeo em primeira pessoa : autobiografia e auto-imagem na produção audiovisual brasileira / Leandro Garcia Vieira. -- Campinas, SP : [s.n.], 2003. Orientador : Fernão Pessoa Ramos. Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes. 1.Vídeo-arte. 2. Autobiografia. 3. Comunicação audiovisual. I. Ramos, Fernão Vitor Pessoa. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. FOLHA DE APROVAÇÃO Este exemplar corresponde à redação final da dissertação defendida e aprovada pela Comissão Julgadora em 04 de dezembro de 2003. _______________________________________ Prof. Dr. Fernão Pessoa Ramos (UNICAMP-IA) _______________________________________ Profª. Drª. Ivana Nicola Lopes (FURG-DLA) _______________________________________ Prof. Dr. Fernando Passos (UNICAMP-IA) AGRADECIMENTOS Essa pesquisa só foi possível graças ao apoio de diversas pessoas. Gostaria de agradecer meus familiares -
Anna Bella Geiger Is One of the Most Important Brazilian Artists of the 20Th Century
Rua da Consolação, 3358 Jardins 01416-000 São Paulo Brazil T +55 11 3081 1735 Rua Marco Aurélio, 311 Vila Romana 05048-000 São Paulo Brazil www.mendeswooddm.com wwwwwwT +55 11 3081 1735 Anna Bella Geiger Circa MMXIV, Imagination is an Act of Freedom Curated by Bernardo Mosqueira (to my love) Anna Bella Geiger is one of the most important Brazilian artists of the 20th century. Her work features a rich diversity of media and procedures which never fails to surprise us, the deeper we delve into it. Anna Bella is one of the most experimental artists in the history of Brazilian engraving, one of the most relevant purveyors of the New Figuration, a recognized pioneer of video art in Brazil and part of the first generation of conceptual artists in Latin America. Her critical position has made her forever consider her very existence in the world and, as such, Place, Action, Identity and Subject – and her body of work has been largely characterized by constant, radical internal ruptures. This exhibition, which marks the beginning of Mendes Wood DM's representation of Anna Bella Geiger and the research for a large book on her over 60-year career, features work produced from 1954 to 2014. Born in 1933, the daughter of Jewish immigrants from Poland, Geiger began her study of the arts alongside a young Lygia Pape at Fayga Ostrower's studio. At that time, in the early 1950s, her work was very much linked to abstract informalism, but, in 1965, she abandoned it in favor of figuration with the series known as “Viscerals.” To create these pieces, Anna cut the engraving plates (traditionally rectangular) into the shapes of human organs and went on to explore the insides of metal as if examining the pieces of a body that feels pain. -
I CURATING PUBLICS in BRAZIL: EXPERIMENT, CONSTRUCT, CARE
CURATING PUBLICS IN BRAZIL: EXPERIMENT, CONSTRUCT, CARE by Jessica Gogan BA. in French and Philosophy, Trinity College Dublin, 1989 MPhil. in Textual and Visual Studies, Trinity College Dublin, 1991 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 i UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jessica Gogan It was defended on April 13th, 2016 and approved by John Beverley, Distinguished Professor, Hispanic Languages and Literatures Jennifer Josten, Assistant Professor, Art History Barbara McCloskey, Department Chair and Professor, Art History Kirk Savage, Professor, Art History Dissertation Advisor: Terence Smith, Andrew W.Mellon Professor, Art History ii Copyright © by Jessica Gogan 2016 iii CURATING PUBLICS IN BRAZIL: EXPERIMENT, CONSTRUCT, CARE Jessica Gogan, MPhil/PhD University of Pittsburgh, 2016 Grounded in case studies at the nexus of socially engaged art, curatorship and education, each anchored in a Brazilian art institution and framework/practice pairing – lab/experiment, school/construct, clinic/care – this dissertation explores the artist-work-public relation as a complex and generative site requiring multifaceted and complicit curatorial approaches. Lab/experiment explores the mythic participatory happenings Domingos da Criação (Creation Sundays) organized by Frederico Morais at the Museum of Modern Art, Rio de Janeiro in 1971 at the height of the military dictatorship and their legacy via the minor work of the Experimental Nucleus of Education and Art (2010 – 2013). School/construct examines modalities of social learning via the 8th Mercosul Biennial Ensaios de Geopoetica (Geopoetic Essays), 2011. -
Escola De Artes Visuais Do Parque Lage
ESCOLA DE ARTES VISUAIS DO PARQUE LAGE RELATÓRIO DE ATIVIDADES 2017 ACTIVITY REPORT 2018 Fotos/PHotos Pedro agilsoN E/AND Felipe AZevedo (capa/cover) livre no meio livre uma escola da floresta de floresta quadrados metros 174.000 forest the of middle the in a free school of forest meters square MINistÉrio DA CidadaNia, O presente material é resultado do biênio de 2017-2018 a arte brasileira. Trabalhamos todos por meio de uma PrefeitUra da Cidade do Rio de e das experiências acumuladas pela equipe da Escola de tecnologia de gestão que apostou na articulação co- JANeiro, Secretaria MUNicipal Artes Visuais do Parque Lage, sua comunidade de ar- letiva. Seja por meio de patrocinadores, seja pela con- de CUltUra, Lei MUNicipal de tistas-professores e artistas-alunos. Como diretor desta figuração de um novo conselho da AMEAV. Seja pela INceNtivo À CUltUra – Lei do ISS apreseNtam escola, não posso deixar de mencionar o trabalho árduo recomposição de um programa de formação gratuita, para repensar a sustentabilidade desta instituição, suas estagnado por falta de recursos, seja pelo financia- MINISTRY OF CITIZENSHIP, RIO DE possibilidades de manutenção e suas potências, que são mento coletivo da mostra Queermuseu, censurada JANEIRO CITY HALL, MUNICIPAL SECRETARIAT FOR CULTURE, inúmeras e acumuladas nessas mais de quatro décadas pela iniciativa privada e pública. Ainda pelo trabalho MUNICIPAL CULTURE INCENTIVE de história. Com uma imensa floresta no coração da realizado em 2018, fomos indicados ao Prêmio Faz LAW – ISS LAW preseNT Zona Sul, no Jardim Botânico, nossa localização singular Diferença, sintoma de um trabalho bem realizado, com traz oportunidades e desafios. -
Middle Gate II – the Story of Dymphna EN 15.09–04.11.2018
Middle Gate II – The Story of Dymphna EN 15.09–04.11.2018 1 Middle Gate II – The Story of Dymphna 15.09–04.11.2018 2 Glossary 7 Introduction 10 Little Dove (To Dymphna) Lenny Peeters 14 Pilgrimage Vincent Van Menen 20 Artists 22 The Crown & Migration 58 The Sword & Sexual Violence 118 The Devil & Madness 168 The Book & Spirituality 212 Colofon Dr. Frits Sano, photograph on glass, photograph supposedly taken by dr. Paul Sano (collection Guy Rombouts) 4 5 Introduction Middle Gate II 15.09–04.11.2018 With the exhibition Middle Gate (2013), Painting by Luc Tuymans and Narcisse Jan Hoet returned to his origins, Tordoir, and the first chapter of Anselm announcing he wanted to depart from Franke’s Animism project. Yet central the middle gate. As did the exhibition, to all this is the figure of Jan Hoet, who that activated art’s potentiality and with Chambres d’Amis changed the idea offered immediate added value to both of what an exhibition can be. Earlier, he people and society. had already curated ground-breaking overviews like Aktuele kunst in België: Middle Gate testified of a love of art – inzicht/overzicht, overzicht/inzicht by effectively departing from works of art [Contemporary Art in Belgium: Insight/ that had been chosen for their intensity Overview, Overview/Insight] or Art in – and a high degree of casualness. This Europe after 1968. After Chambres also translated itself organisationally, d ‘Amis he would also take on with a problem solving attitude as Documenta IX. permanent alternative to a monetised operation that is based on professional, Let us continue to include Middle market and marketing mechanisms. -
Artes Visuais
MINISTÉRIOMINISTÉRIO DADA CULCULTURATURA Presidente da República Luiz Inácio Lula da Silva Ministro da Cultura Gilberto Gil Presidente da Funarte Antonio Grassi Chefe de Gabinete Myriam Lewin CENTRO DE ARTES CÊNICAS CENTRO DE ARTES VISUAIS CENTRO DE MÚSICA CENTRO DE PROGRAMAS INTEGRADOS CENTRO DE FOLCLORE E CULTURA POPULAR DEPARTAMENTO DE CINEMA E VÍDEO ASSESSORIA DE PROJETOS ESPECIAIS PRONAC BALANÇO DO ANO DE 2003 O grande desafio enfrentado pela Funarte em 2003 foi o resgate dos seus valores através das diretrizes que sempre nortearam a rica histó- ria da Instituição. Redimensioná-la para o presente, inserindo novos debates em um grande programa de política cultural de alcance nacio- nal é uma das metas que esta gestão vem desenvolvendo. Para isso contamos com o apoio do corpo técnico. Mesmo em número reduzido, acreditou nas propostas do novo governo e trabalhou para que a Fundação recuperasse sua relevância como modelo que sempre esteve à frente de seu tempo no cenário artístico e cultural do país. A cultura retoma seu lugar no cenário político e começamos nossas atividades abrindo o debate, ouvindo os artistas, produtores cultu- rais, críticos, professores, a sociedade civil organizada e o público em geral. Foram realizados seminários nas áreas de música, artes cênicas, artes visuais. Os resultados desses encontros levaram ao redimensi- onamento das ações da Funarte para atender às demandas da classe. Novas ações que atendem de forma mais efetiva aos interesses da ca- tegoria foram criadas. O objetivo: a construção de políticas e projetos à altura da diversidade do povo e da cultura brasileira. Foi fundamental a mudança da estrutura organizacional do Ministério da Cultura, cumprindo compromisso de campanha do governo Luiz Inácio Lula da Silva. -
Peter Freeman, Inc. Lili Dujourie Biography 1941
PETER FREEMAN, INC. LILI DUJOURIE BIOGRAPHY 1941 Born in Roeselare, Belgium Lives and works in Lovendegem, Belgium SOLO EXHIBITIONS 2015 Stedelijk Museum voor Actuele Kunst, Ghent, Belgium; Mu.ZEE, Ostende, Belgium. Lili Dujourie. (6 June – 11 October) 2014 Galerie Micheline Szwajcer, Antwerp, Belgium. (15 November - 13 December) Leopold Hoesch Museum, Düren, Germany. (7 September – 23 November) Galerie Michael Janssen, Berlin, Germany. Lili Dujourie- Jeux de Dames. (3 May – 21 June) 2011 Palais d'Iéna, Paris, France. Pearls of the North. (14 – 23 October) Santo Domingo de Silos Abbey, Burgos, Spain. Nature’s Lore. (10 June – 25 September) Galerie Michael Janssen, Berlin, Germany. (April – July) 2010 La Conservera, Ceuti, Spain. 2008 Galerie Nelson-Freeman, Paris, France. (8 November – 19 December) Centre d'Art Contemporain du Creux de L'Enfer, Thiers, France. 2007 Erna Hecey Gallery, Brussels, Belgium. (21 September - 24 November) 2005 Palais des Beaux-Arts, Brussels, Belgium. Jeux de Dames, curated by Lynne Cooke. 2004 Centro Andaluz de Arte Contemporaneo, Sevilla, Spain. Videos 1972-1981. (24 February – 16 May) 2003 Badischer Kunstverein, Karlsruhe, Germany. Videos 1972-1981. (21 June – 31 August) 2002 Galerie Nelson, Paris, France. Xavier Hufkens, Brussels, Belgium. 2001 Galleria Tucci Russo, Turin, Italy. Lili Dujourie. (13 October 2001 – 10 February 2002) Internationales Kunstzentrum Ostbelgien, Eupen, Belgium. Lili Dujourie: Ausgewählte Werke. 1999 Galerie Xavier Hufkens, Brussels, Belgium. Photographs on Canvas (Untitled, 1979 and 1983). 1998 Kunstverein München, Munich, Germany. Frühe Werke 1969-83. 1997 Lisson Gallery, London, England. (4 May – 4 July) 1996 Galerie Xavier Hufkens, Brussels, Belgium. 1993 Galerie Nelson, Paris, France. 1992 Louver Gallery, New York, NY.