Institutional Critique to Hospitality: Bio Art Practice Now; Ciencia Abierta: Singularidad e Irrupción en Las Fronteras de la Práctica Artística/Open Science: Singularity and Emergence on the Boundary of Artistic Practice

Leonardo ◽  
2018 ◽  
Vol 51 (2) ◽  
pp. 209-211
Author(s):  
Charissa N. Terranova
Keyword(s):  
Open Science ◽  
Institutional Critique ◽  
Art Practice ◽  
Artistic Practice

Gestures of institutional critique

2018 ◽  
pp. 26-50
Author(s):  
Sruti Bala
Keyword(s):  
Institutional Critique ◽  
Artistic Practice ◽  
Participatory Art ◽  
Institutional Conditions ◽  
Tel Aviv ◽  
Activist Group ◽  
Visual Artist ◽  
Participatory Performance ◽  
Opera Production

Chapter I deals with the question of institutional critique in relation to participatory art. What is the place of institutional critique in relation to participatory performance? The chapter reflects on the conundrums of institutional critique, exploring the formation of participatory art forms as emergent from the critique of mainstream art institutions. It compares a number of approaches to institutional critique: the institutional affiliations of a community-based theatre project from Darfur, Sudan, a flash mob performance by an Israeli activist group protesting a Cape Town Opera production in Tel Aviv Opera House, a breaching experiment by visual artist Pilvi Takala, of trying to enter Disneyland dressed as Snow White, amongst others. Sometimes the gesture of critique consists in building counter-institutions, and sometimes in fleeing them. Institutional critique, understood as the explicit use of an artistic practice to interrogate, oppose or break out of art institutional frameworks has very asymmetrical trajectories across the world and across domains. The chapter argues that the changing institutional conditions of participation expose not just the norms of a certain institution, but also its specific traditions of institutional critique.

scholarly journals drawing perform’s: An Artistic research

2018 ◽  
Vol 5 (1) ◽  
pp. 55-66
Author(s):  
Karna Mustaqim
Keyword(s):  
Lived Experience ◽  
Arts Education ◽  
Academic Research ◽  
Human Knowledge ◽  
Art Practice ◽  
Artistic Practice ◽  
The Arts ◽  
The World ◽  
Artistic Research

The determination of academic research on the field of the arts education troubling its own artistic practices. It was assumed by clarifying the objective and method of doing the research, art was believed would be contributing to a greater intellectualisation, otherwise it is just an art practice without justification from science, and therefore no contribution worth to human knowledge. Since it contrastive to the nature of artistic practice embodied in the arts itself, which unfortunately not even realize by the artist his/herself. Whilst it is well said by Joseph Kosuth (1971) that: “the artist, not unlike a scientist for whom there is no distinction between working in the laboratory and writing a thesis, has now “to cultivate the conceptual implications of his art propositions, and argue their explication.” This paper is about explicating the writer as the artist himself who done the livedexperience of drawing performs as the research processed. Artists use drawings an activity or a way of understanding the meaning of who we are and how we lived in the world. However, the objective of this research is an exceptional one, it searches for the dual experiences of the researcher as the artist as the instrument who producing the drawing and as the spectators himself welcoming and appreciating as he/she reveals him/ herself capable of wondering. In a particular way, this research is to show that through the making of drawings, the drawing performs lived-experience, that it can be another paradigm so called art-based or artistic research.

Renderings of Digital Art

Leonardo ◽  
2002 ◽  
Vol 35 (5) ◽  
pp. 471-484 ◽  
Author(s):  
Christiane Paul
Keyword(s):  
New Media ◽  
New Technology ◽  
Historical Context ◽  
Digital Art ◽  
Art Practice ◽  
Artistic Practice ◽  
Interactive Installation ◽  
Hybrid Nature ◽  
Net Art ◽  
Selection Of

This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.

scholarly journals Breaking the Circuit: Encountering Media’s Entanglements with Environment and Behavior through an Energy Art Practice

Leonardo ◽  
2020 ◽  
pp. 1-10
Author(s):  
Samir Bhowmik
Keyword(s):  
Energy Consumption ◽  
Community Participation ◽  
Lithium Battery ◽  
Network Connectivity ◽  
Art Practice ◽  
Artistic Practice ◽  
Battery Recycling ◽  
Energy Behavior ◽  
Environment And Behavior ◽  
And Behavior

Uncovering and exhibiting digital media’s entanglements with energy, behavior and environment through artistic practice has been a decade-long quest for the author. Through three art projects the author describes his experiments with the energy consumption of media, lithium battery recycling, the Cloud and network connectivity. Arguing for critical artistic approaches, the author examines concerns of ecology and behavior as investigated by installation, by workshop, and by community participation, together forming an energy art practice.

scholarly journals SPATIAL, TEMPORAL AND SOCIAL DIMENSIONS OF THE LANDSCAPE INFLUENCED BY CONTEMPORARY ART / ŠIUOLAIKINIO MENO ĮTAKA KRAŠTOVAIZDŽIO ERDVINIAMS, LAIKO IR SOCIALINIAMS ASPEKTAMS

2012 ◽  
Vol 4 (2) ◽  
pp. 176-187 ◽  
Author(s):  
Evita Alle
Keyword(s):  
Spatial Analysis ◽  
Contemporary Art ◽  
Landscape Change ◽  
Cultural Landscape ◽  
Art Practice ◽  
Social Dimensions ◽  
Artistic Practice ◽  
Spatial Practice ◽  
Dynamic Landscape

The framework of this paper identifies various areas affected by the contemporary art practice in cultural landscape. Artistic practice in the landscape introduces new experiences to spectators. The author of this research explores what kinds of places are created by the contemporary art and whether it contributes to making new places. The research examines the identifying process of some features in creating the approach of dynamic landscape, and is carried out in accordance with the methodology of analysis. An approach of critical spatial practice proposed by Jane Rendell is explored through understanding the trialectical thinking. The research incorporates three parts: the spatial, temporal and social being for understanding nexus between an artwork and its settings. Expression means of artworks are analyzed in making the spatial analysis and clarifying the main features of connection. Among other indicators, cognition, place conception, context, refuge, connections, experience and temporality have been studied profoundly to understand the factors possibly influencing the landscape change. Santrauka Staipsnyje pateikiamos įvairios kultūrinį kraštovaizdį palietusios šiuolaikinio meno sritys. Stebint su kraštovaizdžiu susijusią meno praktiką, įgyjama naujos patirties. Darbo autorė tyrinėja šiuolaikinio meno įtaką erdvėms kurti. Tyrimo metu taikant analizės metodą nustatytos tam tikros kuriamo požiūrio į dinamišką kraštovaizdį ypatybės. Jane Rendell pasiūlyta kritinė erdvinė praktika nagrinėjama per trialektinio mąstymo suvokimą. Siekiant suprasti meno kūrinių ir aplinkos santykį, tyrimas buvo atliekamas susiejant erdvės, laiko ir socialinį aspektus. Meno kūrinių raiškos priemonės analizuotos erdvinės analizės būdu, nustatytos pagrindinės kūrinio ir jį supančios aplinkos ryšio savybės. Be kitų rodiklių – gebėjimo pažinti, vietos sampratos, situacijos, prieglobsčio, ryšių, patirties, laikinumo – buvo išsamiai nagrinėjami galimi kraštovaizdžio kaitos veiksniai.

Feminist Art of Failure, Ewa Partum and the Avant-garde of the Weak

2016 ◽  
Author(s):  
Ewa Majewska
Keyword(s):  
Walter Benjamin ◽  
Feminist Art ◽  
Art Practice ◽  
Artistic Practice ◽  
Vaclav Havel ◽  
Avant Garde ◽  
Feminist Strategy

In her article, the author argues that based on Ewa Partum's artistic practice it is possible to speak about a specifically feminist strategy of the avant-garde. In the theory of the avant-garde, a move has been made from the heroic, masculine conceptualizations of art practice and resistance within it toward the non-heroic, weak, and contingent. A theory of weak avant-garde is a summary of these evolutions, inspired by the writings of, amongst others, Walter Benjamin, Jack Halberstam, Vaclav Havel.

scholarly journals Quando a escultura transborda – entrevista com Carlos Valverde

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 306
Author(s):  
Carolina Felice Bonfim
Keyword(s):  
Contemporary Art ◽  
First Person ◽  
Art Practice ◽  
Artistic Practice ◽  
The Public ◽  
The Spectator

Tempo, metodologia, técnica, referentes, pesquisa, reflexão, diário de bordo, tentativas, anotações, making of, entre outros, são elementos próprios da prática artística que, na maioria das vezes, não estão explicitados ao público. O que há por trás de uma obra de arte? Interessada pelos processos artísticos e no relato em primeira pessoa, convido o artista espanhol Carlos Valverde para compartilhar os procedimentos utilizados no seu trabalho, bem como as motivações/inquietações de uma obra que gira em torno de uma reflexão sobre corpo, objeto e espaço. ABSTRACT Time, methodology, skill, models, research, reflection, logbook, attempts, notes, making of, and so forth, are elements related to the art practice that are mostly unknown to the public. What is behind an artwork? Interested on artistic processes and first-person accounts, I am inviting the Spanish artist Carlos Valverde to share the procedures used in his work as well as the motivations/concerns of a work that moves around a reflection on body, object and space. KEYWORDS Contemporary art, Sculpture, empowerment of the spectator, artistic practice.

scholarly journals Stitching Language: Sounding Voice in the Art Practice of Vanessa Dion Fletcher

2021 ◽  
Vol 15 (2) ◽  
pp. 265-281
Author(s):  
Stephanie Springgay
Keyword(s):  
Language Revitalization ◽  
Settler Colonialism ◽  
Menstrual Blood ◽  
Indigenous Language ◽  
Art Practice ◽  
Affective Experience ◽  
Artistic Practice ◽  
The Past ◽  
Indigenous Language Revitalization ◽  
Pedagogical Relations

This paper engages with the artistic practice and work of Vanessa Dion Fletcher (Potawatomi and Lenapé) from my perspective as a non-Indigenous academic and curator. Dion Fletcher and I have worked together over the past several years through discussions about her work, studio visits, and various events. In her art practice, Dion Fletcher uses porcupine quills and menstrual blood to inquire into a range of issues and concepts including Indigenous language revitalization, feminist Indigenous corporeality, Land as pedagogy, decolonization, and neurodiversity. In particular her work confronts the ways that Indigeneity, the queer and gendered body, and disability are rendered expendable. In this paper I engage with Dylan Robinson’s “sovereign sense”: a transcorporeal mode of perception that is affective, land-based, and formed through relations between human and non-humans. Dion Fletcher’s work makes palpable this sense of sovereignty through its unruly and mutating feltness. Further, her work makes visible feminist Indigenous artistic acts of resurgence alongside the frictions at the intersections of settler colonialism and disability. Following Karyn Recollet, I contend that Dion Fletcher’s work activates an Indigenous affective experience of futurity and creative intimacy that in turn imagines disability and Indigeneity as sites through which new pedagogical relations can be formed.

scholarly journals Modernity through syncretism and eclecticism: Wu Guanzhong's artistic practice in the cultural and political environment of the PRC (1949-1989)

2021 ◽  
Author(s):  
◽  
Wenwen Liu
Keyword(s):  
Communist Party ◽  
Chinese Communist Party ◽  
Political Correctness ◽  
Political Environment ◽  
Art Practice ◽  
Art Theory ◽  
Artistic Practice ◽  
Direct Response ◽  
Cultural Policies ◽  
Creative Agency

<p>This thesis examines Wu Guanzhong’s 吴冠中 (1919-2010) art and art theory in the context of socialist and post-socialist China. Wu’s art came to maturation through a sophisticated syncretism of Chinese and Western painting styles and techniques. Aesthetic considerations notwithstanding, each of Wu’s artistic breakthroughs was also a direct response to the cultural policies of the Chinese Communist Party or to the larger cultural and political currents at important junctures of twentieth-century China. Mirroring the syncretistic style and political nature of his artwork, Wu’s art theory is characterised by an eclecticism that mediates between Chinese and Western artistic concepts and walks a thin line between creative agency and political correctness. By identifying the particular qualities of Wu’s art practice that captured the spirit of the 1980s and contributed to his phenomenal success during the ‘Culture Fever’ at the time, this thesis seeks to demonstrate how Wu’s unique blend of syncretism may exemplify an alternative path of Chinese artistic modernity, one that is forged by ‘official artists’ working within the system and shaped by the artists’ strategies of cultural politics as much as their aesthetic choices.</p>

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