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This article reviews the three uses of “expanded field” by Rosalind Krauss, related respectively to the modern sculpture, the modernist painting and the medium. To do so, it interweaves some of Krauss’ texts, observing her shift of focus from the expanded field to the white cube. This reading exercise responds directly to the phenomenon of increasing appropriation of the “expanded field” in Brazilian recent artistic debates, seeking an adequate understanding of the uses of the structuralist square made by Rosalind Krauss. El presente artículo propone una lectura de los tres usos del cuadrado estructuralista realizados por Rosalind Krauss, respectivos a la escultura moderna, a la pintura modernista y al medium. Para ello, entrelaza algunas obras de la autora, observando en este proceso su desplazamiento de foco del campo expandido de la escultura al cubo blanco. Este ejercicio de lectura responde directamente al fenómeno de creciente apropiación del "campo expandido" en los debates artísticos brasileños recientes, buscando una comprensión más adecuada a los usos del cuadrado estructuralista realizado por Rosalind Krauss. x x O presente artigo propõe uma leitura dos três usos do quadrado estruturalista realizados por Rosalind Krauss, respectivos à escultura moderna, à pintura modernista e ao medium. Para isso, entrelaça algumas obras da autora, observando neste processo seu deslocamento de foco do campo expandido da escultura ao cubo branco. Este exercício de leitura responde diretamente ao fenômeno de crescente apropriação do “campo expandido” nos debates artísticos brasileiros recentes, buscando uma compreensão mais adequada aos usos do quadrado estruturalista realizado por Rosalind Krauss.

Analysis of an experimental educational methodology aimed at professional development in the field of visual arts. For this, it is based on the experimental and expository proposal consisting of the use of site-specific sculpture as a creative and methodological strategy for the exploration of the line of own research of students of plastic arts degree and pre-doctoral postgraduates. The selection of the students/artists was made based on the creative research lines they develop, examples of works that start from considering the sculptural as intrinsically related to the environment, and more specifically with the natural environment from a phenomenological and structural point of view in terms of artistic experience; and also, from a point of view of sculptural linguistic research based on the Kraussian foundations of the expanded sculptural field that formally arise from a Piaget´s group. On the other hand, the exhibition proposal is intended as a framework for deepening production and artistic diffusion oriented to immersion in a professional experience in which all aspects of the creative process can be addressed, from the mere idea to dissemination through from different means of artistic work, so that the training obtained by the artists/students is holistic in terms of the professional field of visual arts.

Neste artigo, são apresentados obras e processos artísticos que possuem, como ponto de partida, a manipulação de procedimentos comuns ao ofício do figurinista. Sendo assim, procura-se observar aqui as diversas maneiras encontradas por alguns artistas-figurinistas para transformar a costura, o bordado, a tecelagem, dentre outros fazeres, em proposições estéticas. Antes de reforçar a separação entre as artes cênicas e as visuais, propõe-se então a consideração destas como um campo híbrido e ampliado no qual situam-se as obras de Bob Wilson, Cindy Sherman, Leonilson, Bispo do Rosário, Letícia Parente e Sheila Hicks. This article presents works and artistic processes that have, as a starting point, the manipulation of the common procedures of the costume designer. So, the intent here is to observe the various ways found by some artists-costume-designers to transform sewing, embroidery, weaving, among other practices, in aesthetic propositions. Instead of reinforcing the separation between the visual and performing arts, so it is proposed to consider these as a hybrid and expanded field in which lie the works of Bob Wilson, Cindy Sherman, Leonilson, Bispo do Rosário, Letícia Parente and Sheila Hicks.

Orientador: Holly Elizabeth Cavrell Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: O trabalho que aqui se apresenta propõe trabalhar o conceito de Campo Expandido relacionando-o à História da Dança Cênica. Problematiza-se o uso das palavras espaços alternativos e não convencionais como terminologia utilizada para referir-se às danças feitas fora dos teatros, pensando que seu uso pode indicar uma confusa relação da saída dos palcos, ligando este fato exclusivamente ao uso do espaço e minimizando outros aspectos composicionais da obras. É trazido o cenário no qual se instalou a dança pós-moderna, especificamente nos anos de 1960 e 1970 no Estados Unidos da América por acreditar que os processos que estes artistas atravessaram, possibilitaram a ampliação de práticas expandidas na dança contemporânea. Acompanhamos este período, ilustrando o contexto por meio das práticas de artistas como Merce Cunningham, Anna Halprin e Trisha Brown. Partindo deste olhar, investe-se na busca de traçar como estas mudanças ainda ressoam no presente e caminham influenciando as convenções nas artes, possibilitando uma contínua ampliação da produção em áreas que se dedicam a implementação outras possibilidade de criação em dança, que àquela estabelecida nos palcos, trazendo exemplo destes comportamento por meio da observação da ação em dança de outros artistas e de práticas da própria autora Abstract: The work in question proposes working with the concept of Expanded Field by relating it to Dance History. It discusses the use of the words alternative and unconventional spaces as terminology used to refer to dances made out of theaters, thinking that their use may indicate a confusing relationship. To this end, it deals within the scenario of the post-modern dance generation, in the 1960s and 1970s in the United States. We follow this period, presenting the context and illustrating it through the practices of artists such as Merce Cunningham, Anna Halprin and Trisha Brown. It is believed that the processes that these artists developed, allowed for the expansion of practices in contemporary dance. From this point of view , we seek to trace how these changes still resonate in the present and continue influencing art's fronteirs, enabling an expansion of production in areas that are dedicated to implementing other possibilities for creating dance, other than traditional venues, bringing example of these behaviors by observing the action in other artists and self-authoring practices Mestrado Teatro, Dança e Performance Mestra em Artes da Cena

Esta tese de doutoramento tem como interesse investigativo duas obras da ficção brasileira contemporânea – Os famosos e os duendes da morte, de Ismael Caneppele (2010), e Terminal, de Flávio Komatsu (2018). O objetivo principal desta análise é observar o modo como cada romance responde, nos âmbitos de sua produção, circulação, formalização material, bem como no que diz respeito às suas opções temáticas/formais e nas práticas de leitura que possibilita e/ou requisita, a um contexto de cultura e textualidades digitais. Assim, tendo em vista admitir que um conceito de literatura, ancorado em um paradigma disciplinar autônomo/fechado, já não consegue abranger o cenário literário na contemporaneidade digital, é que esta pesquisa lança mão de uma perspectiva expandida para pensar os “desenquadramentos” de categorias consolidadas ou as “inespecificidades” (a expessão é de Florencia Garramuño, 2014) das/nas textualidades que se lançam aos desafios – potencialidades/contingências – das mídias digitais. A metodologia desta pesquisa, que é de cunho bibliográfico, contempla os estudos teórico-críticos formulados por Canclini (2016), Garramuño (2014), Laddaga (2012), Ludmer (2010), Kluscinskas e Moser (2007), Jenkins (2009), Bolter e Grusin (2000), Resende (2008), Rocha (2014; 2016; 2018; 2019; 2020), dentre outros. Esperamos que os resultados contribuam com o debate acerca de como se configura o literário na contemporaneidade digital, e endossem as reflexões/problematizações sobre a expansão dos campos, tão urgentes e necessárias para que muitas textualidades da cena contemporânea não sejam excluídas ou invisibilizadas. This doctorate thesis has as investigative interest two works of the contemporary Brazilian fiction – Os famosos e os duendes da morte (The famous ones and the dwarfs of death), by Ismael Caneppele (2010), and Terminal (Terminal), by Flávio Komatsu (2018). The main goal of this analysis is to observe the way how each romance answers to, in the ambits of their production, circulation, material formalization, as well as about its formal/thematic options and in the reading practices that make it possible and/or request, to a culture context and digital textualities. So, in order to admit that a concept of literature, anchored in an autonomous/a closed disciplinary paradigm, is no longer able to cover the literary scenario in digital contemporaneity, it is that this research makes use of an expanded perspective to think about the “mismatches” of consolidated categories or the “non-specificities” (the expression is by Florencia Garramuño, 2014) of/in the textualities that face the challenges - potentialities/contingencies - of digital media. The methodology of this research, which is of bibliographic nature, contemplates the theoretical-critical studies formulated by Canclini (2016), Garramuño (2014), Laddaga (2012), Ludmer (2010), Kluscinskas and Moser (2007), Jenkins (2009) , Bolter and Grusin (2000), Resende (2008), Rocha (014; 2016; 2018; 2019; 2020), among others. We hope that the results contribute to the debate about how literary is configured in digital contemporaneity, and endorse the reflections/problematizations about the expansion of fields, so urgent and necessary so that many textualities of the contemporary scene are not excluded or made invisible. Outro

Resumo Neste artigo, analisamos a exposição fotográfica Corpo-poema, a partir das noções de campo expandido, pós-autonomia e inespecificidade, visando a compreender os processos criativos e vivenciais da arte, no projeto em questão, e os modos pelos quais o trabalho potencializa a liberação dos corpos femininos, assim como a restituição da literatura e do corpo aos espaços públicos. Num processo em que corpo e palavra são refuncionalizados, ambos desestabilizam a instituição literária e colaboram para um sentido de ampliação do campo da literatura contemporânea brasileira. Abstract This article discusses the photographic exposition titled Corpo-poema [Body-poem], drawing on concepts such as expanded field, post autonomy and unspecificity, seeking to understand both the creative and experiential artistic processes involved in this project, and the ways in which this work promotes the liberation of women’s bodies, as well as the restitution of literature and the body in public spaces. In a process in which body and word are repurposed, they both unsettle the literary institution and contribute to expanding the field of Brazilian contemporary literature. Resumen En este artículo analizamos la exposición fotográfica Corpo-poema [Cuerpo-poema] desde las nociones de campo expansivo, posautonomía e inespecificidad, intentando comprender los procesos creativos y de vida en el arte en dicho proyecto, además de los modos por los que este trabajo potencia la liberación de los cuerpos femeninos, así como la restitución de la literatura y del cuerpo a los espacios públicos. En este proceso, en el que el cuerpo y la palabra se refuncionalizan, ambos desestabilizan la institución literaria y colaboran para una reestructuración y ampliación del campo de la literatura brasileña contemporánea.

Resumen Este artículo investiga la noción de Pintura no albergada, planteada por el pintor, arquitecto y profesor Francisco Méndez Labbé en la Escuela de Arquitectura y el Instituto de Arte de la Universidad Católica de Valparaíso. El concepto surgió desde un cuestionamiento de los medios tradicionales de la pintura a través de un abandono paulatino de la superficie, idea que se inserta dentro de una trayectoria mayor en donde el artista buscó tanto un desprendimiento del soporte como una relación con el entorno. Si bien fue formulado en 1979, cuando Méndez impartió un taller con ese nombre, las experiencias que cuestionaron el medio comenzaron con los “signos” realizados en los actos poéticos en la década de los sesenta y prosiguieron con murales abstractos hechos entre 1969 y 1973 en Valparaíso y los ejercicios de Pintura no albergada, llevados a cabo en Ciudad Abierta (Ritoque) y en viajes por Chile. Durante los noventa, se desarrollaron también en el Museo a Cielo Abierto y en las acciones de pintura digital. Pese a su diversidad, estas propuestas están aunadas por la supresión de los límites y el cuestionamiento del medio, lo que lleva a sugerir un vínculo con la noción de campo expandido definida por Rosalind Krauss. Las ideas de Krauss fueron introducidas a la Escuela de Arquitectura por Claudio Girola, quien las vinculó con su trabajo. Méndez, por su parte, no citó el texto, pero -como se demostrará a través de sus escritos y ejercicios- hay en su obra una reflexión sobre la teoría del campo expandido. Se propone que este arquitecto logró adaptar el planteo de la historiadora norteamericana a su obra, sugiriendo un análisis de la pintura que superara la especificidad medial para relacionarse con el entorno gracias a un soporte ya no bidimensional y rígido, sino abierto y ambiguo. Abstract This article investigates the notion of non-sheltered painting, proposed by the painter, architect and professor Francisco Méndez Labbé in the School of Architecture and the Art Institute of the Catholic University of Valparaíso. The concept arose from a questioning of the traditional means of painting through a gradual abandonment of the surface, an idea that is inserted within a larger trajectory in which the artist sought both a detachment from the support and a relationship with the environment. Although it was formulated in 1979, when Méndez gave a workshop with that name, the experiences that questioned the medium began with the "signs" made in the poetic acts in the decade of the '60s and continued with abstract murals made between 1969 and 1973 in Valparaíso and the exercises of non-sheltered Painting, carried out in Ciudad Abierta (Ritoque) and in trips through Chile. During the '90s, and also developed at the Open Air Museum and in digital painting actions. In spite of their diversity, these proposals are united by the suppression of the limits and the questioning of the medium, which leads us to suggest a link with the notion of an expanded field defined by Rosalind Krauss. Krauss's ideas were introduced to the School by Claudio Girola, who linked him to his work; Méndez, for his part, did not quote the text, but -as we will demonstrate through his writings and exercises-in his work there is a reflection on the theory of the expanded field. We propose that this architect managed to adapt the approach of the North American historian to his work, suggesting an analysis of painting that surpassed the medial specificity to relate to the environment, thanks to a no longer two-dimensional and rigid support, but open and ambiguous.

O objetivo deste trabalho é discutir a noção de poética da extração como um operar que decanta efeitos de criação do trabalho de subtração/perda. Para tanto, parte da articulação entre os estudos de Rosalind Krauss (1979), em que a autora deriva a proposição de campo expandido do delineamento de uma noção de escultura que se ergue a partir da composição de negativos, e o trabalho do escritor norte-americano Jonathan Safran Foer, que escreve o livro Tree of codes operando uma verdadeira exumação da obra de Bruno Schulz, A Rua dos Crocodilos. A articulação desses trabalhos permite delinear condições de localização de um impossível que resta indicado, sem ser apreendido, e que acaba por fazer incidir efeitos de expansão sobre campos, como os da literatura, da arte e os estudos da memória, bem como por ver surgir o que nos permitimos chamar de um livro-objeto-escultura-obra-de-arte. The present study aims to discuss the poetics of extraction notion as an operation that decants effects of creation due to the work of subtraction/loss. Therefore, part of the interrelation between the studies of Rosalind Krauss (1979), in which the author elaborates from the expanded field proposition the delineation of a sculpture notion that rises from the composition of negatives, and the work of American writer Jonathan Safran Foer, who has written the book Tree of codes while performing a true exhumation of Bruno Schulz´s The Street of Crocodiles. The articulation of these works makes it possible to outline conditions of location of an impossible that remains indicated , without being apprehended, and that ends up focusing on effects of expansion on fields such as literature, art and memory studies, as well as seeing the emergence of what we allow ourselves to call a book-object-sculpture-work-of-art.

RESUMEN La ciudad es el espacio neurálgico del sujeto contemporáneo, sin embargo la forma en que las ciudades se planifican, crecen, o se destruyen parecen estar al margen de las manifestaciones o sensibilidades del individuo; muchos de los lugares por los que transitamos se han convertido en lugares inhóspitos, habiendo perdido la ciudad su carácter simbólico y como consecuencia de la globalización también ha perdido su identidad. Nos preguntamos si puede el arte constituir una sustancia que amalgame estas patologías de nuestras ciudades modernas y abra puertas a expectativas que se acerquen a un entendimiento de la ciudad como escenario humano, donde el espacio público, el espacio natural o el paisaje serán lugares desde los que hacer ciudad. Proponemos la arquitectura, el arte y la vida, como formas de conocimiento que se esconden entre las ideas y el modo en que éstas se expresan y donde encontrar nuevos argumentos para un proyecto de ciudad. Este texto hace un recorrido por los límites difusos entre estos campos desde los años 60 hasta la actualidad, centrándonos en algunos ejemplos que nos sirven para establecer una conversación entre ellos con objeto de su traslación a la ciudad, y así recuperar su uso por los habitantes y, especialmente, el espacio público como lugar donde sus habitantes puedan expresar su creatividad. SUMMARY The city is the vital space for the contemporary individual, however the way in which cities are planned, grow and are destroyed seems to be outside of of the manifestations and sensibilities of the citizens: many of the places that we pass through have become inhospitable, as the city has lost its symbolic character and, as a consequence of globalisation, has also lost its identity. We wonder if art can be the thing that amalgamates these diseases of our modern cities and opens doors to expectations that approach an understanding of the city as human stage, where public spaces, natural spaces and the landscape will be places from which to make a city. We propose architecture, art and life as forms of awareness that are hidden between ideas and the way that they are expressed, and where we can find new arguments for a city project. This text explores the diffuse limits of these fields, from the sixties until the present day, focussing on some examples that will help us establish a conversation between them with the aim of translating them to the city, and thus recovering their use for its inhabitants and, especially, of public space as a place where the inhabitants can express their creativity.

Fora dos museus e em interação com o espaço público, as artes se tornam objeto privilegiado de mediação da experiência urbana. Tendo essa experiência em mente, este artigo apresenta uma reflexão sobre duas intervenções realizadas por Gordon Matta-Clark nos píeres de Nova Iorque durante a década de 1970.Considerando as categorias de espaço e paisagem como ferramentas teóricas, a mobilização do espaço urbano pelas artes será considerada a partir da ideia de “campo expandido”, tal como proposto por Rosalind Krauss referindo-se a um momento histórico no qual as fronteiras entre as práticas artísticas foram flexibilizadas em uma série de práticas espaciais híbridas.

CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Esta tese é desenvolvida a partir de diversas leituras analíticas de escritos produzidos por diferentes autores nos últimos três séculos. Textos que no interior dos quais discutiram-se propostas para o ofício da crítica da literatura e das artes que se faz e se experimenta no bojo da inventividade. Em primeiro lugar nutre-se uma concepção, já compartilhada com autores de referência, de que é mais fecunda a crítica que se apropria de seu objeto referencial e a ele se funde, criando uma estrutura nova, dotada do mesmo status da obra abordada e, assim, sendo compreendida no limiar da literatura. A proposta que se torna o problema do trabalho de pesquisa, contudo, é um exercício crítico-performático com um poema sobre o surfe, escrito pelo poeta brasileiro Alberto Pucheu, a partir do qual se busca uma ideia de paradigma para a relação entre a produção crítica e a produção literária hoje. Para tanto, o parâmetro estético da tese mira no tom livre e rigoroso do ensaio, bem como no apelo às experiências corporais de modalidades esportivas acessadas numa correspondência com a experiência artístico-literária. Isso pode ser compreendido na medida do pareamento dessa experiência com os múltiplos movimentos do corpo, na manutenção de uma saúde, assim como preconizam pensadores como Gilles Deleuze. Em seguida, ensaios de envergadura experimental e heterodoxa são produzidos à luz dos parâmetros estabelecidos a priori, na medida em que tecem uma linha de leitura aproximativa entre os fragmentos de Friedrich Schlegel, parte da obra autobiográfica de Henry Miller e os escritos e performances de Roberto Corrêa dos Santos, cada qual ilustrando uma atitude do corpo como sendo correspondente ao ofício de escritores, críticos e artistas que eles são. Cria-se, ao fim, um elo entre os recortes analisados de cada autor, que se solda numa parábola nietzschiana pensada junto com a imagem dos levantadores de peso olímpico. A tese pode, de alguma forma, contribuir para o debate inserido no campo expandido dos estudos literários contemporâneos. The present thesis is developed from several analytical readings of writings from different authors in the last three centuries, inside which are discussed proposals for the metier of literary and arts review, made and experienced through inventiveness. Firstly, there is a fostered conception, already shared with authors of reference, which sees the criticism which appropriates its referential object and merges with it as more fruitful, creating a new structure endowed with the same status of the work approached and thus being understood at the threshold of the literature. The proposal that becomes the core of this research, however, is a critical and performative exercise with a poem about surfing, written by Brazilian poet Alberto Pucheu, from which a paradigm idea is sought for the connection between the critical and literary production today. Therefore, the aesthetic parameter of this thesis looks at the free and rigorous tone of the essay, as well as the appeal to the corporal experiences of sports modalities approached in correspondence with the artistic and literary experiences. This can be understood through the pairing of this experience with the multiple movements of the body, in the maintenance of health, as advocated by thinkers such as Gilles Deleuze. Subsequently, experimental and heterodox essays are produced in the light of the parameters established earlier, as they weave an approximate reading thread between the fragments of Friedrich Schlegel, part of Henry Miller's autobiographical work and the writings and performances of Roberto Corrêa dos Santos, each illustrating an attitude of the body as corresponding to the craft of writers, critics and artists they are. At the end, a link is created between the analyzed excerpts of each author, welded in a Nietzschean parable thought through the image of the Olympic weight lifters. This thesis may in some way contribute to the debate within the expanded field of contemporary literary studies.

El presente artículo propone dos perspectivas complementarias sobre la instalación sonora, ambas animadas por un esfuerzo semejante: incardinarla en un sistema de referencia de mayor amplitud para identificar desde ahí ciertas pulsiones estéticas recurrentes que, con independencia del ámbito de procedencia, la determinan. En la primera parte, abordamos los principales debates estéticos que las artes plásticas anudan en la práctica instalativa. Veremos cómo frente a la autosuficiencia, la autonomía y la especificidad medial del formalismo moderno, la instalación se presenta como manifestación emblemática de un proceso de mundanización del arte que afirma la relación de codependencia entre la obra, sus relaciones externas y el sujeto. Inmerso en ese mismo proceso, el sonido encuentra en las propuestas espaciales de la instalación un terreno excepcional para emanciparse de las estructuras autorreferenciales de la música y explorar su potencial expresivo desde el entramado relacional que conforma su campo expandido. A partir de estas ideas, analizaremos algunas estrategias recurrentes en la instalación sonora proponiendo dos grandes tendencias: la primera, heredera de posiciones fenomenológicas, se apoya en la literalidad del espacio y la inmediatez de las presencias, mientras que la segunda, más próxima al pensamiento de la diferencia, entronca con el arte conceptual para explorar, a través del discurso, vías de dilatación y diversificación de lo presente. En la segunda parte del artículo partimos de tres tecnologías fundamentales: el sonido grabado, el sonido electrónico y el sonido transmitido a distancia, como formas específicas de interferir y diferir lo real, cuya influencia en la instalación sonora es necesario artísticas New Media. Pivotando alrededor de tres obras paradigmáticas, una que devalúa el presente a través de su grabación, otra que desestabiliza el espacio mediante el sonido electrónico y una última que encarna la pugna entre un paradigma visual y otro aural, el artículo trata de identificar cómo la instalación sonora refleja y responde a las tensiones de un presente sometido a presión técnica y cómo esos modos de constitución se encuentran con la tradición crítica del Media Art., The present article suggests two complementary perspectives on sound installation, both encouraged by a similar intention: to incorporate sound installation into a broader reference system in order to thence identify certain recurring aesthetic drives that determine them, regardless of their origin. Firstly, the main aesthetic debates that fine arts have tied to installation practice will be presented. We will see how unlike the self-sufficiency, autonomy, and media specificity posed by modern formalism, sound installation appears as an emblematic manifestation of a process of mudanization of the arts that asserts the codependent relationship between the art work, the context, and the subject. Sound, involved in this same process, finds in the spatial proposals of installation an exceptional field to become independent of the self-referential music structures and explore its expressive potential in the relational framework that forms its expanded field. On the basis of that ideas we will analyse some frequent strategies in sound installation, posing two extended tendencies: the first, heir to phenomenological perspectives, has its foundations in the literalness of space and the immediacy of presence, whilst the second, closer to the thinking of difference, connects with conceptual art to explore ways of expansion and diversification of the present. On the second part of the article three basic technologies are put forth as specific tools to interfere with and differ from reality: recorded sound, electronic sound, and broadcast sound –the influence of which on sound installation must be understood to map the open field that separates sound art from New Media practices. This article aims to identify how sound installations reflect and respond to the strains of a time currently under technical scrutiny and how those modes of production are met by Media Art’s questioning tradition. Three paradigmatic works serve as centre for the discussion: one that devalues the present through the use of recorded sound, other which unsettles its space through electronic sound and last, one which embodies the dispute between a visual and an aural paradigm.

O projeto desta dissertação propõe um percurso pelo conjunto da obra do artista norte-americano Tony Smith produzidas entre a década de 1960 à 1970. Este recorte é desenvolvido mediante uma abordagem bibliográfica das obras e vida do artista inter-relacionado ao contexto estético e histórico norte-americano do período. No entanto o projeto é também uma inter-relação entre análise e ensaio, pois aqui desenvolvemos não apenas um levantamento objetivo como tambémuma reflexão a respeito da poética a qual percebemos nas obras analisadas. Tal reflexão é construída segundo o paradoxo presença e/ou ausência das obras no espaço que as contêm, considerando também que o negrume de suas volumetrias possivelmente confrontariam sua própria existência. A pesquisa se estende ainda na análise da expansão das obras e sua relação com o espaço arquitetônico e urbano, implicando suas possíveis dialéticas e/ou confrontos. The present thesis proposes a trajectory through the work collection created by the North- American author Tony Smith from 1960 to 1970. The examination of this interval of his artwork is developed based on a bibliographical approach of the life and work of the same era in terms of the aesthetic and historical time in North-America. In addition, this thesis also investigates the interrelation of the analytical aspects of the theme and attempts make a critical review or essay on the topic, as it proposes not only an objective analysis of the subject but also a consideration on the poetic observed in the in the studied artworks. This reflection is built according to the paradox presence/absence of the artworks in the space they occupy. Such cogitation also takes into consideration the fact that the blackness of these artwork volumes could possibly confront their own existences. Finally, this research concentrates on the analysis of the expansion of Tony Smith's artwork in relation to both architectonic and urban spaces, with implications on their possible dialects and/or confrontations.

CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Inventários pictórico-carnavalescos: memória e visualidade das escolas de samba no processo de criação em pintura é uma pesquisa de caráter teórico-prático, a partir da qual busca-se compreender a participação da memória individual relacionada à visualidade dos desfiles das escolas de samba do Rio de Janeiro e de Uberlândia no processo de criação em Pintura. Através da autoetnografia, realiza-se um levantamento memorial que evidencia níveis distintos de interação pessoal com as escolas de samba, que se relacionam às produções artísticas desenvolvidas a partir dessa temática. A pesquisa dedica-se também a aprofundar o entendimento sobre a visualidade das escolas de samba, considerando seu processo histórico de espetacularização, seus artífices, e por meio de uma análise de seus elementos principais: a fantasia e a alegoria carnavalesca. Por fim, a investigação plástica da pesquisa é apresentada, e os estudos decorrentes dos trabalhos artísticos realizados são fundamentados nos dados memoriais e carnavalescos levantados, e também se aprofundam nas linguagens envolvidas na sua confecção, destacando-se a pintura em campo expandido, resultante da presença do objeto e da materialidade como interfaces pictóricas. Pictorial-carnival inventories: memory and visuality of the samba schools in the process of creation in painting is a research of a theoretical-practical nature, from which it is sought to understand the participation of individual memory related to the visuality of the parades of the samba schools of the Rio de Janeiro and Uberlândia in the process of creation in Painting. Through the autoethnography, a memorial survey is carried out that shows different levels of personal interaction with the samba schools, which are related to the artistic productions developed from this theme. The research is also dedicated to deepening the understanding about the visuality of schools of samba, considering its historical process of spectacularization, its artificers, and by means of an analysis of its main elements: the fantasy and the carnival allegory. Finally, the investigation of the research is presented, and the studies derived from the artistic works are based on the memorable and carnivalesque data collected, as well as on the languages involved in its preparation, especially the expanded field painting resulting from presence of the object and materiality as pictorial interfaces. Dissertação (Mestrado)

Orientador: Maria de Fátima Morethy Couto Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Esta dissertação se propõe a investigar as ações/instalações realizadas por Tunga entre os anos de 1997 e 2014, que possuem como foco a questão do corpo em transformação. Na obra de Tunga entende-se por "corpo" o conjunto de objetos, ações, instalações, publicações literárias e instaurações que se encontram conectados por uma trama de relações vinculadas à temática "corpo", próprias ao processo criativo do artista. Em constante "mutação", "metamorfose" e "transmutação", esses trabalhos estão no limiar entre as artes cênicas e as artes visuais, dialogando, portanto, com a noção de "campo expandido" na arte contemporânea. O primeiro capítulo analisa os mecanismos criados por Tunga para o desenvolvimento de sua poética, por meio da interpretação de algumas de suas obras, de revisão bibliográfica e de pesquisa conceitual. Em seguida, a partir do mesmo viés investigativo, a dissertação apresenta/discute o Pavilhão Psicoativo ¿ Tunga, em Inhotim. Por fim, a pesquisa se dedica à série de exposições intituladas "From La Voie Humide" e à performance "Sem Título", realizada na mostra Made By: Feito por brasileiros, na cidade de São Paulo, em 2014 Abstract: This dissertation investigates the actions/instaurations made by Tunga between 1997 and 2014, which are thematically focused on the body in transformation. On Tunga's work "body" is defined as a set compounded by objects, actions, installations, literary publications and instaurations constituting a thread of ties that are related to the theme of body within Tunga's creative process. In constant "mutation", "metamorphosis" and "transmutation", these works are situated in the threshold concerning scenic and visual arts, and refer to the idea of "expanded field" in the contemporary art. Through the interpretation of some of his artworks, reviewing main bibliographical references and doing conceptual research, the first chapter analyses the mechanisms through which Tunga develops his poetic. Then, carrying on the same frame of investigation, this dissertation presents/discusses Pavilhão Psicoativo - Tunga, located in Inhotim. The ultimate chapter is dedicated to analyze "From La Voie Humide" and the performance "Untitled", displayed in Made by: Feito por brasileiros, in São Paulo, 2014 Mestrado Artes Visuais Mestra em Artes Visuais

Orientador: Grácia Maria Navarro Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Esta dissertação apresenta três exercícios poéticos que têm um fim em si mesmos. São três filmes com atuações que reúnem os conceitos de teatralidade (Caballero, 2011, 2013, 2014; Féral, 2008, 2015), auto-mise-en-scéne (Comolli, 2008) e corpo abjeto (Butler, 2003) como premissas de uma identidade artística travesti e que são autônomos e suficientes para testemunhar sobre si próprios. Os filmes são: Os sapatos de Aristeu, Quem tem medo de Cris Negão? e Vaca profana, todos dirigidos pelo autor desta dissertação, Luiz René Batista Guerra Mota. Eles são aqui trabalhados a partir de materiais descontínuos: set de filmagem e reflexão acadêmica, fazendo dessa descontinuidade estado fértil para a criação da sua poética. A trilogia é produção de uma identidade artística dinâmica que adota a imaginação como procedimento metodológico fundador, destituindo limites de linguagem ao criar lugares específicos e possibilidades críveis das quais os filmes são indício e fato. Aliando o teatro ao cinema, o diretor trabalha entre o overaction da interpretação teatral e o naturalismo da interpretação cinematográfica, entre a rua e o set de filmagem, "campos expandidos" (Caballero, 2011, 2014) de experimentação para acolher um cinema que é documentário e ficção, ou uma teatralidade travesti que na vida chama a atenção da câmera. As atrizes travestis aqui apresentadas têm consciência de serem uma construção, na sua fisicalidade e na recriação estética do feminino na qual uma presença artística se instala em meio à violência do seu cotidiano, aliando aspectos que nesta dissertação são reconhecidos como equivalentes a recursos artísticos de atuação teatral e cinematográfica. Abstract: This dissertation gathers three poetic exercises that have an end in themselves. Three films in which the actresses have the concepts of theatricality (Caballero, 2011, 2013, 2014; Féral, 2008, 2015), auto-mise-en-scéne (Comolli, 2008) and abject body (Butler, 2003) as a premise for an artistic transvestite identity, being autonomous and sufficient to testify for themselves. The films are: The shoes of Aristeu, Who is afraid of Cris Negão? and Profane cow, all directed by Luiz René Batista Guerra Mota, also the author of this dissertation. The author works from discontinuous material: film sets and academic reflections, turning this discontinuity into a fertile state for his poetic creation. The trilogy is the production of a dynamic artistic identity that embraces imagination as a founding methodological procedure, disrupting language limits by creating specific places and conceivable possibilities of which the films are evidence and fact. Combining theater and film, the director works between the theatrical overacting and the naturalism in film acting, between the streets and the film set, "expanded fields" (Caballero, 2011, 2014) of experimentation to embrace a filmmaking that is both documentary and fiction, or a transvestite theatricality that, in life, gets the camera¿s attention. The transvestite actresses presented here are aware of being a construction, in their physicality and in the aesthetic recreation of the feminine in which an artistic presence is installed amid the violence of their daily lives, combining aspects that, in this dissertation, are recognized as equivalent to artistic resources of theatrical and filmic acting Mestrado Teatro, Dança e Performance Mestre em Artes da Cena

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. 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. Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG

Este artículo presenta una serie de instalaciones y metodología de creación llevada a cabo por el joven artista español Marcos Covelo. En concreto, su interés por la pintura en el campo expandido nace fundamentalmente al desarrollar su Trabajo Fin de Máster (TFM) de la mano de los artistas Nono Bandera y Almudena Fernández Fariña. Esta última es autora de la tesis doctoral 'Lo que la pintura no es. La lógica de la negación como afirmación del campo expandido de la pintura'. De modo que, es un buen ejemplo de cómo una tesis doctoral puede ser una fuente de motivación aplicable en la práctica artística. This article presents a series of installations and creation methodology carried out by the young Spanish artist Marcos Covelo. In particular, his interest in Painting in the expanded field arises primarily in developing its Master's Thesis from the hand of the artist Nono Bandera and Almudena Fernández Fariña. The latter is the author of the doctoral thesis' What the painting is not. The logic of denial like affirmation of the expanded field of Painting'. So, it is a good example of how a doctoral thesis can be a source of motivation applicable in artistic practice.

RESUMEN La ciudad es el espacio neuralgico del sujeto contemporaneo, sin embargo la forma en que las ciudades se planifican, crecen, o se destruyen parecen estar al margen de las manifestaciones o sensibilidades del individuo; muchos de los lugares por los que transitamos se han convertido en lugares inhospitos, habiendo perdido la ciudad su caracter simbolico y como consecuencia de la globalizacion tambien ha perdido su identidad. Nos preguntamos si puede el arte constituir una sustancia que amalgame estas patologias de nuestras ciudades modernas y abra puertas a expectativas que se acerquen a un entendimiento de la ciudad como escenario humano, donde el espacio publico, el espacio natural o el paisaje seran lugares desde los que hacer ciudad. Proponemos la arquitectura, el arte y la vida, como formas de conocimiento que se esconden entre las ideas y el modo en que estas se expresan y donde encontrar nuevos argumentos para un proyecto de ciudad. Este texto hace un recorrido por los limites difusos entre estos campos desde los anos 60 hasta la actualidad, centrandonos en algunos ejemplos que nos sirven para establecer una conversacion entre ellos con objeto de su traslacion a la ciudad, y asi recuperar su uso por los habitantes y, especialmente, el espacio publico como lugar donde sus habitantes puedan expresar su creatividad. SUMMARY The city is the vital space for the contemporary individual, however the way in which cities are planned, grow and are destroyed seems to be outside of of the manifestations and sensibilities of the citizens: many of the places that we pass through have become inhospitable, as the city has lost its symbolic character and, as a consequence of globalisation, has also lost its identity. We wonder if art can be the thing that amalgamates these diseases of our modern cities and opens doors to expectations that approach an understanding of the city as human stage, where public spaces, natural spaces and the landscape will be places from which to make a city. We propose architecture, art and life as forms of awareness that are hidden between ideas and the way that they are expressed, and where we can find new arguments for a city project. This text explores the diffuse limits of these fields, from the sixties until the present day, focussing on some examples that will help us establish a conversation between them with the aim of translating them to the city, and thus recovering their use for its inhabitants and, especially, of public space as a place where the inhabitants can express their creativity.

La ciudad es el espacio neurálgico del sujeto contemporáneo, sin embargo la forma en que las ciudades se planifican, crecen, o se destruyen parecen estar al margen de las manifestaciones o sensibilidades del individuo; muchos de los lugares por los que transitamos se han convertido en lugares inhóspitos, habiendo perdido la ciudad su carácter simbólico y como consecuencia de la globalización también ha perdido su identidad. Nos preguntamos si puede el arte constituir una sustancia que amalgame estas patologías de nuestras ciudades modernas y abra puertas a expectativas que se acerquen a un entendimiento de la ciudad como escenario humano, donde el espacio público, el espacio natural o el paisaje serán lugares desde los que hacer ciudad. Proponemos la arquitectura, el arte y la vida, como formas de conocimiento que se esconden entre las ideas y el modo en que éstas se expresan y donde encontrar nuevos argumentos para un proyecto de ciudad. Este texto hace un recorrido por los límites difusos entre estos campos desde los años 60 hasta la actualidad, centrándonos en algunos ejemplos que nos sirven para establecer una conversación entre ellos con objeto de su traslación a la ciudad, y así recuperar su uso por los habitantes y, especialmente, el espacio público como lugar donde sus habitantes puedan expresar su creatividad. The city is the vital space for the contemporary individual, however the way in which cities are planned, grow and are destroyed seems to be outside of of the manifestations and sensibilities of the citizens: many of the places that we pass through have become inhospitable, as the city has lost its symbolic character and, as a consequence of globalisation, has also lost its identity. We wonder if art can be the thing that amalgamates these diseases of our modern cities and opens doors to expectations that approach an understanding of the city as human stage, where public spaces, natural spaces and the landscape will be places from which to make a city. We propose architecture, art and life as forms of awareness that are hidden between ideas and the way that they are expressed, and where we can find new arguments for a city project. This text explores the diffuse limits of these fields, from the sixties until the present day, focussing on some examples that will help us establish a conversation between them with the aim of translating them to the city, and thus recovering their use for its inhabitants and, especially, of public space as a place where the inhabitants can express their creativity.

Commodity geographies are politically weak. Geographical pedagogy isn't particularly engaging. Radical geography should make connections. But it rarely leaves room for interpretation. Too much seems to be too didactic. And to preach to the converted. That's a problem that needs attention. So, is it possible to develop a radical, less didactic, geography? With research funding, publication and teaching the way they are? To engage more students, more heartily, in the issues studied? To promote social justice, critical citizenship, and participatory democracy? But not by setting out the right ways to think, be, or act. Some film-makers, artists and writers have been able to do this. It seems. Subtly and cleverly. Through projects attempting to de-fetishise commodities. But their politics have been placed largely in the background, between the lines of, or separated out from, the presentation of scenes, things, relations, bodies, lives and voices. Seen and unseen elements of their audiences' lives. Re-connected. Perhaps. Through communication strategies giving audiences something to think about and to think with, to argue about and to argue with. Putting themselves in the picture, in the process. These less didactic materials may be difficult to master for an exam or an essay. They may not make it clear who or what's right or wrong or what audiences are supposed to do. But they could engage them in less direct ways. When they're shopping for petrol or fish, or when they're doing or thinking about completely different things. Things that may not even come under the heading of 'production' or 'consumption'. This approach might be labelled as 'weak', 'relativist', a bit too 'cultural' 'post-modern', or 'defunct'. But it's an approach that may be radical in effect because its 'politics' aren't so straightforward or 'up front'. This paper is about changing relationships between research, writing, teaching, learning and assessment; expanding fields of commodity geographies to include classrooms as sites not only of 'instruction', but also of learning, for researchers and their students1This paper is written to illustrate, as well as to advocate, a 'co-learning' process (Le Heron, R., Baker, R., McEwan, L. 2006. Co-learning: re-linking research and teaching in geography. Journal of Geography in Higher Education 30 (1), 77-87) taking place across a number of sites in the authors' expanded fields (Clifford, J., 1997, Spatial practices: fieldwork, travel, and the disciplining of anthropology. In: Clifford, J. (Ed.), Routes: travel and translation in the late twentieth century. Harvard University Press, London, pp. 52-91; Katz, C., 1992. All the world is staged: intellectuals and the projects of ethnography. Environment and Planning D: Society and Space 10, 495-510; Katz, C., 1994. Playing the field: questions of fieldwork in geography. Professional Geographer 46(1), 67-72). In 2001-2003, we were involved in a final year undergraduate module on the Geographies of material culture as lecturer (Cook), postgraduate teaching assistant (Evans) and undergraduate students (Griffiths, Morris, Wrathmell).1; showing how such learning might usefully shape research and writing elsewhere in these fields for those engaged in this defetishising project.

The metacriation modified the process of artistic creation through the interaction between human thought, artificial intelligence and algorithms of composition and construction of automated speech. This essay investigates some issues that arise from this. A metacriação modificou o processo de criação artística através da interatividade entre o pensamento humano, inteligência artificial e algoritmos de composição e construção de discursos automáticos. Este ensaio investiga algumas questões que surgem a partir disso.

This thesis, which combines theoretical analysis with artistic creation, attempts to understand the reason why, when contemplating works of art, we rarely look beyond their aesthetic, formal or conceptual qualities. Unlike many other objects that we encounter in our lives, works of art are recognizable by the fact that they serve no practical purpose. Their idle existence in galleries and museums confirms this and ensures that works of art fulfill no other function than that of drawing our attention to their inherent qualities. That being the case, this thesis proposes a way of appreciating art that relies on the articulation between an artefact and a social setting. This assumes a way of creating art and expressing ourselves that is grounded on the fabrication of instruments or devices predisposed to engage the beholder.; Cette thèse, qui met en relation réflexion théorique et création artistique, entend comprendre pourquoi au cours de la contemplation d’une oeuvre d’art notre attention dépasse rarement ses qualités formelles, esthétiques ou conceptuelles.Contrairement à d’autres artefacts que nous rencontrons au quotidien, nous identifions les œuvres d’art au fait qu’elles ne satisfont pas des fins utilitaires. Leur place dans le musée ou la galerie en atteste et conduit à faire en sorte qu'elles n’ont pas d'autre rôle que d’attirer notre attention sur leurs caractéristiques propres. Cette thèse oppose à ce constat un mode de réception qui repose sur l’articulation de l’artefact à un environnement social. Cela suppose un mode de création et d’expression basé sur la fabrication d’instruments ou dispositifs susceptibles d'interpeller le spectateur.

This thesis, which combines theoretical analysis with artistic creation, attempts to understand the reason why, when contemplating works of art, we rarely look beyond their aesthetic, formal or conceptual qualities. Unlike many other objects that we encounter in our lives, works of art are recognizable by the fact that they serve no practical purpose. Their idle existence in galleries and museums confirms this and ensures that works of art fulfill no other function than that of drawing our attention to their inherent qualities. That being the case, this thesis proposes a way of appreciating art that relies on the articulation between an artefact and a social setting. This assumes a way of creating art and expressing ourselves that is grounded on the fabrication of instruments or devices predisposed to engage the beholder.; Cette thèse, qui met en relation réflexion théorique et création artistique, entend comprendre pourquoi au cours de la contemplation d’une oeuvre d’art notre attention dépasse rarement ses qualités formelles, esthétiques ou conceptuelles.Contrairement à d’autres artefacts que nous rencontrons au quotidien, nous identifions les œuvres d’art au fait qu’elles ne satisfont pas des fins utilitaires. Leur place dans le musée ou la galerie en atteste et conduit à faire en sorte qu'elles n’ont pas d'autre rôle que d’attirer notre attention sur leurs caractéristiques propres. Cette thèse oppose à ce constat un mode de réception qui repose sur l’articulation de l’artefact à un environnement social. Cela suppose un mode de création et d’expression basé sur la fabrication d’instruments ou dispositifs susceptibles d'interpeller le spectateur.

Since the 1960s the field of ceramic practice that developed in the wake of studio pottery has expanded to incorporate diverse uses of clay. In the same period public museums and galleries in Britain have begun to engage with contemporary ceramic works on a more sustained basis. This paper examines how they have attempted to reconcile art-oriented practice, in particular, with existing modes of categorisation through temporary exhibitions. It argues that these ventures also reconstituted the ceramic field, which, like the field of art, became increasingly dependent on context as a means of delineation. It focuses on the period from 1970, when Ceramic Review was founded, to the 2009 exhibition Possibilities and Losses, which craft theorist Glenn Adamson suggested, marks a paradigm shift in ceramics. Extrapolating from Miwon Kwon’s writing on site-specificity it contends that although museums and galleries acted as the functional sites for these exhibitions the discourse around ceramics was a key site of effect.

What are the current boundaries of the photographic and how can an ontology of photography take form as a material and conceptual program of research? Responding to the difficulty inherent in any definitive attempt to grasp photography, this dissertation places emphasis on the less determined act of evoking as a model of dialogue, and engagement, with the photographic. This dissertation is composed of two parts that engage both the question “What is photography?” and the ontological anxiety that shadows it. These lines of questioning are pursued in two ways: directly through considering the qualities of the photographic as elucidated by the subjects of the blue hour and the expanding field, and indirectly through the author’s own artistic practice. Part One of this dissertation is a written thesis; Part Two presents a selection of work from the author’s material practice developed during his doctoral program: two solo exhibitions, two group exhibitions, an artist publication, and an artist project. Since photography, as the imagistic and material, produces meaning through conjunction and paradox, the author identifies it as a compelling field in which to situate his own artistic practice.

The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one another and in particular focuses on installations in extreme acoustic spaces, such as anechoic and reverberation chambers. It investigates how introducing sound to the painting arena can affect the reading and also transform the parameters of the painting. The research is practice-based and takes the form of a series of exhibitions, latterly in the form of site-specific installations, which have been evaluated, interpreted and responded to. This has led to a fundamental investigation, both practical and theoretical, into the way that sound and vision work together and how they relate within the context of art. Through the research the format of the painting developed in tandem with the temporal and audio considerations, resulting in all-encompassing installations bringing together panoramic paintings and 3D soundscapes.

I have paid attention to artworks of Ivan Kafka especially to the problem of multiplicity. On the background of the reseach of Kafka's work I have described some aspects of his art work in more common way: dealing with time, with space and with multiplicity. I have shortly analyzed first two aspects. On the other hand is multiplicity much wider phenomena, I have defined with categories which were created specially for this work. The category of mass is defined by non-living unifique parts of one coplex without any autonomy. The second type labeled as crowd type, typically contains some level of individuality. On such background I tried to create a diagramatic structure, which was postulated according to Rolasind Krauss'es "expanded fields". This should better show the relations between terms like mass, crowd, seriality and serial type of multiplicity. I have also applied these categories on particular Ivan Kafka's artworks, but in the end I suggest to asser this system of multiplicity categories on other artists artworks as well.

Painting and space are two terms often spoken of concurrently in the critique of painting. Some of the ways that painting has investigated space on and off the picture plane is by developing a pictorial language that manipulates surface, form and matter. Over time investigations into what painting can be has developed a visual language that is able to dip in and out of paintings tradition while persistent investigations into space within painting has allowed individual practice to branch into three-dimensions and perhaps further. This enquiry begins with the Pre-Renaissance. This is an era within painting’s history that is heavily laden with Religious iconography and the beginnings of Western Perspectival painting. Yet some of the paintings of this era are still able to engage a viewer physically, mentally and emotionally even now, centuries later. Lucio Fontana’s claim that a spatial artwork is not reliant on form uncovers the notion that a spatial artwork should move freely through time and space. A focus on painting in its expanded field reveals how the manipulation of painting’s spatial constructs is instrumental in the pursuit of a “truly spatial” artwork. Painting’s expansion may have broadened its material and aesthetic possibilities, but at its core, painting has worked within its foundation as a practice that works with the tension between spatial reality and spatial illusion. Exploring this tension reveals how working within a system of contradictions can open a dialogue with the body that elicits affect and an artwork’s spatial possibilities. The accompanying creative work to this enquiry engages with the notion that painting inherently engages with space. By working within a dialogue of pictorial and material tensions.

O objetivo dessa pesquisa é investigar as possíveis relações entre artes visuais e literatura a partir do estudo de obras produzidas pelos artistas brasileiros José Roberto Aguilar (1941-) e Lenir de Miranda (1945-). Ambos se apropriaram do personagem Ulisses, da Odisseia de Homero, e produziram séries de pinturas. Com base em uma revisão bibliográfica centrada na história da arte, na teoria da arte contemporânea e nos estudos de tradução intersemiótica, centramos nosso estudo em torno dos conceitos de apropriação e de campo ampliado. Concluímos que os signos literários são apropriados pelas artes visuais dentro do campo ampliado como uma possibilidade poética. The aim of this research is to investigate the possible relationships between visual arts and literature from the study of works produced by the Brazilian artists José Roberto Aguilar (1941-) and Lenir de Miranda (1945-). Both have appropriated the character Ulysses from Homer's Odyssey and produced works using painting. Based on a literature review focused on the history of art, contemporary art theory and intersemiotic translation studies, we focus our study around the concepts of appropriation and expanded field. We conclude that the literary signs are appropriated for the artists in the field expanded of contemporary art as a poetic possibility.

Search for new meanings in the expanded field of contemporary architecture and art The paper deals with contemporary practice that crosses the boundaries of art and architecture, connects aesthetic and social issues, theoretical discourse and interdisciplinary practice. It also stresses the importance of integration of a new language of arts into the architectural study process. Investigation is aimed not just towards changes of definitions of separate fields of art and architecture but also towards analysis of peculiarities of developments in the expanded field of contemporary practice. Seeing the developments in arts through the focus on expanded field implies acceptance of non-hierarchical and open mode of their interrelations and shift of the aim of interaction from search of new order to search of new meanings. The differences of arts are approached as sources of tension necessary to create new meanings and the idea of conflicting coexistence is used in collaborative and crossover art projects to negotiate the borderlines of practice zones, and to transform them into intermediate zones of hybrid identities. The principle of conflicting coexistence and interaction of arts is also explored to rethink the nature of underlying oppositions between social and abstract, imaginative and real, ideal and surviving. The experience of interdisciplinary art practice by the architecture students is shared via example of installation course at VGTU, Faculty of Architecture. It is revealed that the course is aimed at the critical spatial practice. It starts with discourse that leads to means and methods not necessarily traditionally associated with art. These means and methods are used to create complex site-specific interventions to scale 1:1. The installations not only allow the rethinking of spatial, temporal and social aspects of place but also changing actual experience of space. The results of the installation course are summed-up by the insight that artistic language of students’ works is not self referential but also intended to plenty the functions of space, to free its perception from practical and symbolic conventions, to connect local cultural, politic contexts with wider or global issues, to multiply meanings of art. Article in Lithuanian. Santrauka.Nagrinėjami šiuolaikiniai menų reiškiniai, peržengiantys dailės ir architektūros sričių ribas, sujungiantys estetinius ir socialinius kūrybos aspektus, teorinį diskursą ir tarpdisciplinines praktikas; taip pat aptariama menų sąveikos naujausių tendencijų puoselėjimo architektūros studijose svarba ir patirtis. Siekiama interpretuoti ne tiek naujausius atskirų meno sričių tapatumo poslinkius, kiek išplėstiniame kūrybos lauke, apimančiame ir architektūrą, ir dailę, vykstančius dinaminius procesus. Išryškinama, kad išplėstiniame lauke skleidžiasi nehierarchiškas ir atviras menų tarpusavio santykis, o sąveika kreipiama ne tiek tvarkos, kiek koncepcijų, arba kitaip tariant, naujų prasmių kūrimo link. Architektūros ir dailės sričių skirtumai tokių meno reiškinių atveju akcentuojami permąstant ir perkuriant pamatines kūrybines įtampas tarp dominavimo ir bendradarbiavimo, socialumo ir abstraktumo, tarp vaizduotės ir tikrovės, tarp idealumo ir orientacijos į išgyvenimą. Šiuolaikinių menų sąveikos tendencijų puoselėjimo studijų procese patirtis pristatoma nagrinėjant instaliacijų kurso VGTU Architektūros fakulteto studijų programoje rezultatus. Išryškinama, kad šio kurso tikslas yra kritiniu mąstymu ir intervencinėmis strategijomis pagrįstos erdvinės kūrybos idėjų ir praktinės patirties įsisavinimas. Atskleidžiama, kad instaliacijos skatina kontekstualizuoti ir konceptualizuoti meninės kūrybos procesą ir jo rezultatą, teikia galimybes realiai keisti erdvę ir dauginti jos paskirtis. Reikšminiai žodžiai: architektūra, dailė, instaliacija, ribos, išplėstinis laukas, simbiozė, erdvinis, kritinis, socialinis, intervencija, utopija, mikrotopija, realizuojamumas. First Publish Online: 22 May 2013

Este estudo aborda aspectos do campo da pintura, analisados através dos diferenciados procedimentos realizados por Karin Lambrecht nos trabalhos da série Registros de sangue. This study approaches the field of painting, as analyzed through the different procedures performed by Karin Lambrecht in the Registros de sangue (Records of blood) series.