Les sources de plaisir issues d���oeuvres d���art contemporain dans un contexte mus��al

La mission ��ducative des mus��es aupr��s de la soci��t�� en g��n��rale aujourd���hui est incontestable et les mus��es d���art contemporain sont des endroits importants de formation et de d��lectation. Cette recherche de ma��trise qui s���inscrit dans le cadre de la recherche Le grand public et l���art contemporain : du rejet au plaisir men��e par A.M. ��mond et C. Dufresne-Tass�� de 2009 �� 2014 identifie les sources de plaisir qui peuvent ��merger chez les visiteurs de type grand public lors d���une visite �� un mus��e d���art contemporain. Pour ce faire, nous avons analys�� 30 discours de visiteurs de type grand public qui ont visit�� le Mus��e d���art contemporain de Montr��al dans le cadre de la recherche d�����mond et de Dufresne-Tass��. La pr��sente recherche de ma��trise privil��gie l���approche qualitative, ��tant �� la fois exploratoire, empirique et fondamentale. Nos r��sultats ont d��montr�� l���existence de plaisirs qui ��mergent en fonction de trois grandes cat��gories (objet mus��al, visiteur lui-m��me et impression g��n��rale) et qui se subdivisent en dix-huit sous-cat��gories. Nous avons d��crit chacune de ces cat��gories et sous-cat��gories de plaisir �� l���aide d���exemples extraits des discours des visiteurs. Cette recherche contribue �� l���avancement des connaissances en fournissant aux mus��es d���art contemporain des indications sur la pr��sence de diverses sources de plaisir dans l���appr��ciation des visiteurs lors de leur traitement de l���art contemporain. Ainsi, les secteurs ��ducatifs des mus��es pourront r��investir ces r��sultats de recherche dans l�����laboration de strat��gies ��ducatives mus��ales destin��es �� ce public non sp��cialiste.

We need to talk

<i>We need to talk</i> was a collaborative creative work by the feminist collective LEVEL - Rachael Haynes, Courtney Coombs, Caitlin Franzmann, Anita Holtsclaw and Courtney Pedersen. LEVEL was commissioned by the Museum of Contemporary Art (MCA) to stage this event as part of the Re-School Program. This work utilises reflexive and discursive strategies to move beyond the script of feminism as a historical moment and back to the lived experience of feminist art as political understanding and social engagement.<br />

Scanning Animafest: the 24th Animafest

Animafest&rsquo;s 24th iteration in Zagreb, Croatia brought two innovations. The Animafest Scanner Symposium and the third outdoor screening at the Zagreb Museum of Contemporary Art (MSU), both noted by Daniel &Scaron;ulji��, the Festival director, in his introduction to the festival&rsquo;s dense and detailed catalogue. The amount of quality animation and the array of technique on display in the specialist showcases, the student and competition programs overwhelmed. So many sweets, so many bitter pills, so much technical innovation in search and in service of the human condition.

Percep����o Ambiental em Museus Paisagens de Arte Contempor��nea: a legibilidade dos museus Inhotim/Brasil e em Serralves/Portugal avaliada pelo p��blico/visitante

This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment

La construcci��n de la transparencia : Museo de Arte Contempor��neo del siglo 21 de Kanazawa - SANAA

La tesis doctoral ���La construcci��n de la transparencia. Museo de Arte Contempor��neo del Siglo 21 de Kanazawa / SANAA��� estudia, desde diferentes perspectivas, esta obra de los arquitectos japoneses Kazuyo Sejima + Ryue Nishizawa / SANAA. El museo, proyectado y construido entre 1999 y 2004, supone un referente arquitect��nico de gran relevancia en el cambio de siglo, y est�� considerado un manifiesto construido en el que resuenan ecos culturales y sociales de su ��poca. La investigaci��n toma como constante el Museo del Siglo 21 de Kanazawa y a trav��s de ��l se realizan una serie de miradas transversales a modo de narrativas interconectadas. Estas visiones m��ltiples colaboran, a trav��s de las relaciones que se producen entre ellas, a generar un entendimiento global de esta obra y sus efectos sobre la cultura arquitect��nica contempor��nea. La tesis se estructura en dos partes: la primera estudia de manera anal��tica la obra en su contexto cultural, el proceso de proyecto y el edificio construido. La segunda parte propone una triple lectura interpretativa del edificio en relaci��n a temas de especial relevancia para el proyecto y al modelo de espacio que constituye, tomando de nuevo como constante la noci��n de transparencia. La tesis partir�� de la interpretaci��n que hace del museo su directora art��stica Yuko Hasegawa, cuya colaboraci��n activa durante el proceso de dise��o result�� de gran relevancia para el resultado final. Hasegawa define la obra como la materializaci��n de una situaci��n cultural caracter��stica del nuevo siglo basada en tres conceptos: La Coexistencia, la Consciencia y la Inteligencia Colectiva. A partir de dichas ideas entenderemos la transparencia no s��lo desde el punto de vista de las cualidades f��sicas y materiales del espacio sino tambi��n, desde una perspectiva m��s amplia: como estrategia utilizada para clarificar la organizaci��n funcional del edificio y las relaciones entre sus partes como posici��n pol��tica, catalizadora del espacio p��blico; la producci��n de consciencia a trav��s de la experiencia del arte y la arquitectura; y como medio de representaci��n y generaci��n de una identidad colectiva basada en la visibilidad medi��tica. Las conclusiones de esta investigaci��n, extra��das de las confluencias y puntos de intersecci��n de las diferentes miradas transversales proyectadas sobre la obra, determinan una clara voluntad por parte de los arquitectos de construir un espacio donde lo p��blico se entiende como el ensamblaje de diferentes individualidades. De manera similar al proceso de proyecto, la multiplicidad y las relaciones entre elementos aut��nomos generan un consciencia colectiva del espacio donde, a trav��s de la organizaci��n program��tica, la construcci��n y el uso de los materiales y la luz, la arquitectura tiene la voluntad de desvanecerse para ofrecer protagonismo a sus usuarios y a las relaciones y encuentros que se producen entre ellos y con el espacio que habitan. ABSTRACT The PhD thesis ���The construction of transparency. 21st Century Museum of Contemporary Art in Kanazawa / SANAA��� studies, from different perspectives, this work, realized by Japanese architects Kazuyo Sejima + Ryue Nishizawa / SANAA. The museum, designed and built between 1999 and 2004, had a huge relevance as an architectural referent in the swift of the century, being considered a built manifesto that echoes the culture and society of its time. The research takes as a constant the 21st Century Museum in Kanazawa and it is studied throughout a series of transversal readings as interconnected narratives. These multiple approaches and the relations among them, help to generate a global understanding of the building and its effects on contemporary architectural culture. The dissertation is structured in two parts: the first one studies from an analytical perspective the project in its cultural context, the process of design and the built work. The second part proposes a triple interpretative reading of the building in relation to topics that are especially relevant for the project and the spatial model that it constitutes, taking again the notion of transparency as a constant concept. The thesis departs from the interpretation expressed by the artistic director of the museum, Yuko Hasegawa, whose active collaboration during the design process had special relevance for the final result. She defines the work as the materialization of the cultural context of the new century based in three concepts: Co-existence, Consciousness and Collective Intelligence. From these concepts we will understand transparency, not only from the point of view of the physical and material qualities of the space, but also from a broader perspective: as an strategy used to clarify the functional organization of the building and the relation of its parts as political stand that catalyzes the public space; the production of consciousness based on the experience of art and architecture; and as a method of representation and construction of a collective identity based in the media visibility. The conclusions of this research -extracted from the confluences and intersections of the different transversal readings projected on the work- determine a clear intention by the architects to build a space where the public is understood as an assembly of different individualities. In a similar way as it happens in the design process, the multiplicity of relations between autonomous elements generate a collective consciousness of the space. Throughout the programmatic organization, the construction and the use of light and materials, the architecture has the will of disappearance to yield protagonist the users and the relations and encounters that happen among them and the space they inhabit.

Percep����o Ambiental em Museus Paisagens de Arte Contempor��nea: a legibilidade dos museus Inhotim/Brasil e em Serralves/Portugal avaliada pelo p��blico/visitante

This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment

Arte, museu, educa����o: uma integra����o necess��ria na supera����o das tecnologias de controle social

This research aims to reflect on the strategies and mediation used by Oscar Niemeyer and Museum of contemporary art, in Curitiba, and Pinacoteca and Museum of modern art of S��o Paulo, to approximate audience of art. Recognizes that the gap between the two and that is reflected in the low visitation to art museums is the result of social control technologies historically elaborate and maintained to keep track of who has economic power over others , are people , as in the case of artistic appreciation, or countries, such as what happens with technology.It also presents some possibilities of subversion of this control , which occur especially because the human being creative and interpretive. Finally, it notes that the work carried out by the educational sectors of museums to attract different audiences is very relevant institutions and committed. With regard to teaching materials prepared and distributed to visitors, however, the need for some adjustments so that they communicate better with visitors and contribute, in fact, to deconstruct the idea of the Museum as an elite space and available only to a few privileged.

Projecto Arte e Educa����o no Espa��o Museol��gico : estudo explorat��rio de uma investiga����o-ac����o no Museu Nacional de Arte Contempor��nea

O projecto Arte e Educa����o no Espa��o Museol��gico realizado no Museu Nacional de Arte Contempor��nea, no ��mbito do Mestrado em Arte e Educa����o da Universidade Aberta, pretende afirmar que todos os espa��os do museu interv��m junto dos diversos p��blicos e s��o importantes para que os museus sejam lugares de maravilhamento, de encontro, de reflex��o, de criatividade e de aprendizagem. Em parceria com o Servi��o Educativo do Museu, a Cafetaria desenvolveu, de forma articulada, actividades envolvendo grupos distintos de p��blicos e a exposi����o Pintura Portuguesa 1850-1975, com o objectivo de contribuir para a atractividade do museu e valorizar a experi��ncia dos visitantes. O projecto desenvolvido teve em conta a transmuta����o das paredes do museu em si mesmo para o espa��o da Cafetaria como lugar de tert��lia, onde foi poss��vel num ambiente n��o formal a consuma����o das diversas actividades realizadas no espa��o do MNAC como a sua abertura e complementaridade de uma outra forma de ser/estar no museu. A abrang��ncia de p��blicos que integraram este projeto proporcionam uma troca rica de saberes, de viv��ncias, de experi��ncias e de uma diversidade plural de ver /estar no mundo. Para al��m, do contacto com a arte pict��rica na sua maior ess��ncia e da frui����o est��tica, foi poss��vel proporcionar a estes p��blicos o contacto com uma outra forma de arte, a gastronomia, tantas vezes retratada por diversos artistas. Este projecto pretende ser uma lufada de ar fresco no espa��o museol��gico e uma outra forma de ver /estar no museu em que �� poss��vel a frui����o da arte num espa��o de lazer, de ��cio, de introspe����o e retrospe����o.

Percep����o Ambiental em Museus Paisagens de Arte Contempor��nea: a legibilidade dos museus Inhotim/Brasil e em Serralves/Portugal avaliada pelo p��blico/visitante

This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment

Museu de arte contempor��nea de Elvas: para o conhecimento do(s) seu(s) p��blico(s)

O presente Relat��rio decorre do est��gio efectuado no Museu de Arte Contempor��nea de Elvas que teve como objectivo geral o estudo de p��blicos daquela institui����o. Diagnostic��mos os instrumentos utilizados e reflectimos sobre o modo como s��o aplicados e potenciados, na perspectiva da defini����o de um perfil(s) de p��blico(s). Tomando em considera����o os resultados do diagn��stico, propusemo-nos apresentar a aplica����o de um instrumento de estudo de p��blicos (um inqu��rito por question��rio) de modo a tra��ar uma sociografia dos p��blicos do museu, conhecer os seus h��bitos de consumo cultural e avaliar o museu. O conhecimento dos p��blicos (reais e potenciais) �� uma premissa fundamental para a planifica����o dos programas de capta����o e fideliza����o de p��blicos, apesar de, no contexto da museologia nacional, constitu��rem ainda uma ��rea recente de reflex��o. Permitem avaliar a efici��ncia na gest��o dos recursos e o impacte social que tem a programa����o do museu e dos servi��os educativos. ABSTRACT: This report follows the traineeship at the Museum of Contemporary Art of Elvas which aimed to study the general public that institution. Diagnosed the instruments used and reflected on how they are applied and strengthened with a view to drawing up a profile (s) public (s). Taking into account the results of the analysis, we decided to present the application of a study of public (an inquiry) in order to set a public sociography of the museum, learn about their habits of cultural consumption and evaluate the museum. Knowledge of the public (actual and potential) is a fundamental precondition for the planning of programs for acquisition and retention of audiences, although in the context of national museology, still constitute an area of recent debate. To assess the efficiency in resource management and social impact that has the museum's program and educational services.

Printmaking as an expanding field in contemporary art practice : a case study of Japan, Australia and Thailand

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ���printmaking���.

Catherine or Kate : the tertiary spaces of collaboration, performance and humour in contemporary art

The traditional model of visual arts practice is one that privileges highly individuated and predominantly material investigations and outcomes. This approach overlooks and devalues the formal and informal dialogues and collaborations that take place in the process of making art. This Masters research project considers how the experience of working in collaboration can generate a new model for thinking about practice-led methodologies in visual arts. It aims to do this by mapping out and elaborating on the processes and approaches to making that fellow Masters student Catherine Sagin and I have come to use in our alliance as ���Fiona Mail���, ���Catherine Sagin��� and ���Catherine or Kate��� respectively. The fluidity of our collaborative moniker is one example of the way this project creatively explores and re-assesses the implications of collaboration. Drawing upon the contextual frames of conceptual art, performance art, and comedy this research looks at the significance of and possibilities for working as a collaborative duo.

"What is contemporary art? A review of two books by Terry Smith'

What is contemporary art and what are the key components of contemporary culture? This review demonstrates where Terry Smith provides important answers to this question. The books thus help to improve understanding of how art has changed in recent decades and how a global culture now shapes its parameters. This review does not however concur that Smith provides a convincing case for a complete cultural paradigm transformation.