Conceptual and Performance Interventions

Collections ◽  
2011 ◽  
Vol 7 (4) ◽  
pp. 405-414
Keyword(s):  
Public Space ◽  
Conceptual Art ◽  
Curatorial Practice ◽  
1960S And 1970S ◽  
And Performance ◽  
Performance Interventions ◽  
The 1960S

Considers a variety of examples in which curatorial practice intersects and blurs with interventionism in art, including using billboards as a medium for artistic interference in public space (Shaked), translating and re-activating Regina Galindo's activist performances (Carolin), analyzing the overlapping and divergent agendas of conceptual art and curatorial practice in Zagreb and Paris during the 1960s and 1970s (Bago), and the “re-possession of perception” through curating carnival and procession (Tancons).

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

Brer Soul and the Mythic Being

2018 ◽  
pp. 76-98
Author(s):  
Tavia Nyong'o
Keyword(s):  
Performance Art ◽  
Conceptual Art ◽  
Gender And Sexuality ◽  
And Performance ◽  
The 1960S

Challenging accounts of black gender and sexuality that equate radicalism with misogynistic and patriarchal values, this chapter looks to the subversive cinema and performance art of the 1960s for prefigurations of the gender and sex nonconformity of today. Placing in counterpoint the theater and cinema of Melvin van Peebles and the performance and conceptual art of Adrian Piper, this chapter foregrounds the role of a funk epistemology in both cases. Contemporary queer and transgender art and aesthetics can only gain, this chapter argues, by acknowledging these works as sources of fabulation.

scholarly journals “Breakin' the Rules”: Eleo Pomare and the Transcultural Choreographies of Black Modernity

2012 ◽  
Vol 45 (1) ◽  
pp. 41-63 ◽  
Author(s):  
Rachel Fensham
Keyword(s):  
Modern Dance ◽  
Amiri Baraka ◽  
Avant Garde ◽  
Radical Innovations ◽  
Black Performance ◽  
Jazz Music ◽  
1960S And 1970S ◽  
And Performance ◽  
The 1960S ◽  
African American Artists

The radical innovations of African-American artists with artistic form during the 1960s and 1970s, according to black performance theorist Fred Moten, led to a new theorization of the avant-garde. His book, In the Break: The Radical Aesthetics of the Black Tradition, discusses the poetry and jazz music of artists, from Amiri Baraka and Billie Holiday to Charles Mingus, and extols their radical experimentation with the structures and conventions of aurality, visuality, literature, and performance dominant in European art and aesthetics. In this essay, I consider the implications of these processes of resignification in relation to the choreographic legacy of the artist, Eleo Pomare, whose work and career during this period was both experimental and radical and, I will suggest, critical to the formation of a transnational, multiracial conception of modern dance.

The Global Recession: Its Impact in Asia and the Pacific

2009 ◽  
Vol 24 (3) ◽  
pp. 254-261 ◽  
Author(s):  
Ian Shirley
Keyword(s):  
Global Economy ◽  
Local Economic Development ◽  
Developed Countries ◽  
Least Developed Countries ◽  
Global Recession ◽  
The Pacific ◽  
1960S And 1970S ◽  
And Performance ◽  
The 1960S ◽  
Short Time

The relationship between local economic development and the global economy is a dynamic process that differs in space and time and from country to country. Nowhere are these differences more evident than within the Asian and Pacific region—a region of contrasts. It is a region that contains nine of the so called ‘least developed’ countries and more than 50 per cent of the world's poor. It hosts Japan, which emerged as a major economic power in the 1960s and 1970s, to be followed a short time later by the ‘tiger’ economies of South Korea, Hong Kong, Taiwan and Singapore. More recently, the region's development has been dominated by the emerging global powers of China, India and Brazil. The contrasting characteristics and performance of these nations becomes even more graphic when the focus centres on the metropolitan cities of the region, including Mumbai, Shanghai, Apia, Melbourne, Kuala Lumpur, Santiago and Auckland (Shirley, 2008).

scholarly journals Kritisk kuratering. Udstillingspraksis udviklet i perspektiv af 1960- og 1970’ernes institutionskritik

2017 ◽  
pp. 95-104
Author(s):  
Charlotte Præstegaard Schwartz
Keyword(s):  
Art World ◽  
Institutional Critique ◽  
Educational Strategies ◽  
Political Criticism ◽  
Project Description ◽  
Curatorial Practice ◽  
Commercial Art ◽  
1960S And 1970S ◽  
The 1960S ◽  
Under Construction

This project description presents a curatorial practice that is part of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the contrary are perceived as active spaces of production. Referring to Doreen Massey’s seminal work For Space – first published in 2005 – art spaces are thought of as a product of interrelations and recognised as always being under construction. In the research project institutional critique from the 1960s and 1970s avant-gardes is used as an analytical approach and as a method of spatial and political criticism and articulation that can be applied not only to the art world, but to spaces and institutions in general, which is a point made by Simon Sheikh. The two exhibitions are not to be considered as institutional critique, but as critical exchanges with and about contemporary art. The exhibitions are made in collaboration with two non-commercial art spaces in Copenhagen and will be on show in the spring of 2017.

Of Spoons and Other Political Things

2016 ◽  
Author(s):  
Camilo D. Trumper
Keyword(s):  
Public Space ◽  
Industrial Design ◽  
Socialist Economy ◽  
National Socialist ◽  
Everyday Objects ◽  
Political Debates ◽  
1960S And 1970S ◽  
The 1960S ◽  
Popular Unity

Chapter 1 examines the connections between urban planning and political theory, with particular attention to how the state’s urbanization and industrial design programs of the 1960s and 1970s shed light on the era’s political debates over citizenship. It looks especially closely at the work of the state-sponsored industrial design team that was charged with reshaping both everyday objects like spoons, plates, and chairs, and the larger processes that underwrote the integration of industry into a national socialist economy. This chapter examines the connections between seemingly mundane or innocuous everyday objects, and the era’s most ambitious projects. It ends with a study of the building designed for and built to host the Third United Nations Congress on Trade and Development (UNCTAD III), which acted as a symbol of Popular Unity socialist modernity and a stage upon which its residents and visitors could practice an inclusive vision of Popular Unity socialism. The UNCTAD building was, in short, a public sphere rooted or grounded in public space and action. This chapter offers a unique view into multilayered visions for an “ideal” socialist city, and a model for the practice of a particular, modern socialist citizenship.

Critical Infrastructure in Extreme Events

2014 ◽  
Author(s):  
Thomas A. Birkland ◽  
Megan K. Warnement
Keyword(s):  
Natural Disasters ◽  
Extreme Events ◽  
Critical Infrastructure ◽  
September 11 ◽  
Public Works ◽  
Production And Distribution ◽  
1960S And 1970S ◽  
And Performance ◽  
The 1960S ◽  
Definition Of

The September 11 attacks triggered concern about the performance of “critical” infrastructure on which social, political, and economic activity depend. The attacks moved terrorism to the top of the national security agenda and led to significant legislative, regulatory, and behavioral changes. Furthermore, the shift in focus to the threat of terrorism diminished policymakers’ appreciation and preparation for the natural disasters that communities typically face every year (Boin and McConnell 2007). The increasing number of declared natural disasters, coupled with the threat of terrorism, suggests that “extreme events” can lead to failures in critical infrastructure. These failures have national implications that can ripple through society and the economy. This chapter is about the performance of our interdependent infrastruc­ture systems in extreme events, which are outside shocks to infrastructures; we do not consider failures internal to a system, such as major power blackouts that are not triggered by some significant external shock. We argue that “infrastructure” is best considered as systems of technical and social systems that interact in both predictable and unpredictable ways. As such, we cannot simply consider their design and performance as solely technological problems. There is no one universally accepted definition of “infrastructure.” The Compact Oxford English Dictionary defines the term as “the basic physical and organizational structures and facilities (e.g., buildings, roads, power supplies) needed for the operation of a society or enterprise” but uses the example sentence “the social and economic infrastructure of a country,” suggesting that the term is very broad and very vague. The term came into widespread use in the 1960s and 1970s to mean “public works” (Boin and McConnell 2007). Alternative definitions link “public works” with narrowly defined systems, such as telecommunications and electrical systems, as well as broader systems such as finance, health care, and food production and distribution. The broader definition of infrastructure, which gained currency after September 11, refers to what’s become known as “critical” infrastructure.

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