Nervous Systems

2021 ◽  
Keyword(s):  
Contemporary Art ◽  
Systems Thinking ◽  
Video Art ◽  
Nervous Systems ◽  
Cultural Contexts ◽  
Wide Range ◽  
Global Logistics ◽  
Contemporary Artists

The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. Contributors. Cristina Albu, Amanda Boetzkes, Brianne Cohen, Kris Cohen, Jaimey Hamilton Faris, Christine Filippone, Johanna Gosse, Francis Halsall, Judith Rodenbeck, Dawna Schuld, Luke Skrebowski, Timothy Stott, John Tyson

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

Fred Forest's Utopia

2017 ◽  
Author(s):  
Michael F. Leruth
Keyword(s):  
Contemporary Art ◽  
Second Life ◽  
Video Art ◽  
Art World ◽  
Marshall Mcluhan ◽  
Modus Operandi ◽  
Interactive Communication ◽  
Wide Range ◽  
Internet Art ◽  
The 1960S

This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.

scholarly journals THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY

2018 ◽  
pp. 122-130
Author(s):  
Viktor V. Barashkov ◽  
Keyword(s):  
Contemporary Art ◽  
21St Century ◽  
Sacred Space ◽  
Video Art ◽  
Church Members ◽  
Religious Traditions ◽  
Long Time ◽  
New Interpretation ◽  
The Church ◽  
Contemporary Artists

The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives a new interpretation of traditional Christian images of martyrs and Holy Virgin. The technique of video-art makes images dynamic, so spectator can “live” in that space. Stefan Knor aims by the means of contemporary art to actualize the fundamental theological ideas, for example, the idea of stairway to heaven. For the best acceptance of his works he collaborates with church members. The author claims that these artists become the religious owing to such characteristics as depth and sincerity in the interpretation of fundamental anthropological problems and the absence of irony (which is frequent for contemporary art). The article’s author shows that the interiors of the churches can harmoniously accept the works of contemporary artists, provided that the artists have to respect the religious traditions and sacred space of these churches.

Antipodean Early Modern

2018 ◽  
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Contemporary Art ◽  
Historical Research ◽  
Full Potential ◽  
Prayer Book ◽  
Wide Range

A Prayer Book owned by the Rothschilds, an Italian bronze casket by Antico, a lavishly illustrated Carnival chronicle from sixteenth-century Germany, an altarpiece by Pieter Brueghel the Younger - much of the artwork in this book, held by Australian collections, is essentially unknown beyond the continent. The authors of these essays showcase these extraordinary objects to their full potential, revealing a wide range of contemporary art and historical research. This collection of essays will surprise even specialists.

scholarly journals The Phillips Curve: A Case Study Of Theory And Practice

2020 ◽  
pp. 28-38
Author(s):  
K. Lawle ◽  
A. Moscardini ◽  
I. Pavlenko ◽  
T. Vlasova
Keyword(s):  
Systems Thinking ◽  
Inflation Targeting ◽  
Phillips Curve ◽  
Vertical Plane ◽  
Central Banking ◽  
Theory And Practice ◽  
Historical Narrative ◽  
Negative Slope ◽  
Wide Range

This paper develops a detailed case study of the Phillips Curve as it has evolved since Phillips classic work of 1958. An explicit narrative in the paper involves the evolution of the argument using economics and systems thinking, to develop underlying data generating models. These are shown to underpin the inverse relationship between inflation and unemployment in economics. The paper considers the political exigencies relating to the Great inflation of the 1970s and the Great Recession post 2008 in terms of interpretations of the Philips curve. The paper hypothesises that economic ideas have meaningful significance within the context of historical eras with concomitant political imperatives whence such notions become somnolent once crises have abated. This This historical narrative is implicit in the latest research reflections on Philips curves. A particularly useful finding is the relevance of systems thinking and systems dynamics to the interpretation of issues relating to aggregation problems in macroeconomics involving inflation and unemployment causal relationships. The paper concludes that seemingly moribund the Philips curve is alive may have been hibernating. Identifying the Phillips curve requires a wide range of variability of non-aggregative data streams. This allows the negative slope of the curve to be revealed, else the Philips curve slope is pushed towards the vertical plane. Endogenous central banking and inflation targeting intensifies this effect which is evident from a systems thinking /dynamics perspective.

scholarly journals Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture

Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 167-179
Author(s):  
Edita Musneckienė
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
Contemporary Art ◽  
Cultural Context ◽  
Arts Education ◽  
New Technologies ◽  
Thinking Skills ◽  
Education Programs ◽  
Creative People ◽  
Wide Range

This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

scholarly journals Car Flirting and Morality Cruising: Neurotic Gazes and Paranoid Glances in Contemporary Iranian Art

1970 ◽  
pp. 27-38
Author(s):  
Sara Mameni
Keyword(s):  
Public Sphere ◽  
Contemporary Art ◽  
Iranian Art ◽  
The Continuum ◽  
Contemporary Artists

Iran’s public sphere has been segregated along gender lines since the Islamic Revolutionin 1979 and is regularly policed by the Ministry of Culture and Islamic Guidance. Thisarticle considers the ways in which the resulting homosocial spaces appear in the worksof contemporary artists working in Tehran. Looking at video and photographic worksby three Iranian artists, I argue that contemporary art is hyper aware of being undersurveillance and addresses itself to multiple viewers. I bring queer viewing strategiesas a method of viewing these artworks in order to point to the continuum betweenhomosocial and homoerotic spaces that permeate contemporary Iranian art.

‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

2015 ◽  
Vol 20 (6) ◽  
pp. 567-584 ◽  
Author(s):  
Lin Zhang ◽  
Taj Frazier
Keyword(s):  
Contemporary Art ◽  
Chinese Identity ◽  
Chinese Contemporary Art ◽  
Western Art ◽  
Chinese State ◽  
The Aesthetic ◽  
And Control ◽  
Art Industry ◽  
Contemporary Chinese ◽  
Contemporary Artists

This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.

Colonial Legacies

2021 ◽  
Author(s):  
Gabriella Nugent
Keyword(s):  
Video Art ◽  
The Future ◽  
New Type ◽  
Colonial Legacies ◽  
Dominant Narratives ◽  
Visual Record ◽  
Contemporary Artists

In Colonial Legacies, Gabriella Nugent examines a generation of contemporary artists born or based in the Congo whose lens-based art attends to the afterlives and mutations of Belgian colonialism in postcolonial Congo. Focusing on three artists and one artist collective, Nugent analyses artworks produced by Sammy Baloji, Michèle Magema, Georges Senga and Kongo Astronauts, each of whom offers a different perspective onto this history gleaned from their own experiences. In their photography and video art, these artists rework existent images and redress archival absences, making visible people and events occluded from dominant narratives. Their artworks are shown to offer a re-reading of the colonial and immediate post-independence past, blurring the lines of historical and speculative knowledge, documentary and fiction. Nugent demonstrates how their practices create a new type of visual record for the future, one that attests to the ramifications of colonialism across time.

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