Free food in the gallery: Understanding Tiravanija

2020 ◽  
Vol 6 (2) ◽  
pp. 139-152 ◽  
Author(s):  
Zora Pang
Keyword(s):  
Contemporary Art ◽  
Communicative Action ◽  
Free Food ◽  
Art Museum ◽  
Institutional Critique ◽  
Museum Displays ◽  
History Of ◽  
Critical Account ◽  
Communicative Actions ◽  
Contemporary Context

Artists interrupting or intervening in art museum displays with food as a medium or theme is a distinct strand of contemporary art practice. In this article, we travel through fragments of the history of food-art with a few examples of different genres and forms, demonstrating that art history can be explained in other ways than through the already recognized art genres. Based on my experience in-person with Untitled (Lunch Box), an interpretation of Tiravanija’s ephemeral work is provided using the model of communicative action theorized by Habermas, which was first applied to contemporary art by art scholar Grant Kester (2004). Tiravanija’s practice uses food to create situations for communicative actions to happen and is an approach to institutional critique. The last section provides a critical account against Bishop’s criticism of Tiravanija, arguing that Bishop’s understanding of art is based on instrumental rationality. On the other hand, Tiravanija’s approach is based on value rationality and is a more timely approach in the contemporary context of late-stage capitalism.

scholarly journals ART AND ARCHAEOLOGY CLOSE ENCOUNTERS OF THE THIRD KIND

2021 ◽  
Vol 11 (2) ◽  
pp. 732-749
Author(s):  
Üftade MUŞKARA ◽  
Oylum TUNÇELLİ ◽  
Serpil ŞAHİN
Keyword(s):  
Material Culture ◽  
Contemporary Art ◽  
Design Features ◽  
New Approach ◽  
The Third ◽  
Museum Displays ◽  
Interactive Display ◽  
New Directions ◽  
History Of ◽  
Ancient Civilizations

Art and archaeology have a growing interaction, which is expressed mainly in displaying the material culture of ancient civilizations. The post-modernist concept suggests that art is for everyone. Likewise, archaeologists recognize the idea that archaeological narratives are supposed to be everyone to understand and enjoy. Today, many museum displays and special exhibitions consist of contemporary design features of art. The technology-driven exhibition techniques applied in the “Curious Case of Çatalhöyük” exhibition and Göbeklitepe Animation Center to increase the perception of visitors establish the basis of the study. The paper examines the backgrounds of the relation between two disciplines by “digging” up the history of archaeological theories and analyzing main art movements corresponding to a period from Dadaism to contemporary art. Archaeological storytelling of history and culture using post-modern rhetoric is defined as the “close encounter.” The interactive display provides new directions in the visual reconstructions of past societies. We proposed that the Çatalhöyük exhibition and Göbeklitepe Animation Center are among the best examples of the new approach for presentation in archaeology.

scholarly journals Architecture as palimpsest : a strategy of intermediacy

2021 ◽  
Author(s):  
Ke Leng Tran
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Historic Buildings ◽  
New Work ◽  
Historic Building ◽  
Original Intent ◽  
History Of ◽  
History Of Architecture ◽  
Evolving Context ◽  
The City

In much of historic preservation work, artefacts are primarily seen as documents of their time and bearing little relevance to how we design buildings and cities today. Consequently, architectural interventions separate the old and new work, unintentionally distancing historic buildings from their evolving context. There are layers of inspiration embedded within an existing site that can enrich architectural creations. The history of architecture is the story of built forms that have been altered and re-created to make space for the continuation of life. This thesis seeks an archtictural strategy that not only complements but also challenges and reveals the history and material character of the original intent, in order to create greater meaning for the historic building. As a hypothesis, the thesis project presents a schema for the conversion of century old public school in the City of Toronto into a contemporary art museum that demonstrates this strategy, arguing that engaging with the existing work can lead to new insights and meanings.

scholarly journals Architecture as palimpsest : a strategy of intermediacy

2021 ◽  
Author(s):  
Ke Leng Tran
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Historic Buildings ◽  
New Work ◽  
Historic Building ◽  
Original Intent ◽  
History Of ◽  
History Of Architecture ◽  
Evolving Context ◽  
The City

In much of historic preservation work, artefacts are primarily seen as documents of their time and bearing little relevance to how we design buildings and cities today. Consequently, architectural interventions separate the old and new work, unintentionally distancing historic buildings from their evolving context. There are layers of inspiration embedded within an existing site that can enrich architectural creations. The history of architecture is the story of built forms that have been altered and re-created to make space for the continuation of life. This thesis seeks an archtictural strategy that not only complements but also challenges and reveals the history and material character of the original intent, in order to create greater meaning for the historic building. As a hypothesis, the thesis project presents a schema for the conversion of century old public school in the City of Toronto into a contemporary art museum that demonstrates this strategy, arguing that engaging with the existing work can lead to new insights and meanings.

scholarly journals Communicative actions we live by: The problem with fact-checking, tagging or flagging fake news – the case of Facebook

2019 ◽  
Vol 35 (2) ◽  
pp. 126-139 ◽  
Author(s):  
Jack Andersen ◽  
Sille Obelitz Søe
Keyword(s):  
Political Communication ◽  
Communicative Action ◽  
The Other ◽  
Fake News ◽  
Long Run ◽  
History Of ◽  
Fact Checking ◽  
Communicative Actions ◽  
Global World ◽  
Political Question

In this article, we question the efforts undertaken by Facebook in regard to fact-checking, tagging, and flagging instances or appearances of fake news. We argue that in a global world of communication, fake news is a form of communicative action, which we must learn to deal with rather than try to remove. The very existence of fake news is a political question inscribing itself in the history of political communication and thus in the long run a question about the democratic conversation. This conversation must and will always be a conversation where arguments (emotional or not) are discussed in a common place. In other words, there is no technical fix, such as automated flagging or tagging, to the ‘solution’ for democratic conversation. We must insist on the democratic value of listening to the other. The outcome can never be one of getting it right by algorithmic means.

scholarly journals Narrative Theories and Learning in Contemporary Art Museums: A Theoretical Exploration

2016 ◽  
Vol 1 ◽  
Author(s):  
Emilie Sitzia
Keyword(s):  
Media Studies ◽  
Contemporary Art ◽  
Art Museum ◽  
Art Museums ◽  
Roland Barthes ◽  
Human Beings ◽  
History Of ◽  
Ways Of Being ◽  
Contemporary Art Museum

Stories are an integral part of our experience as human beings. As Roland Barthes put forward, narrative “is present at all times, in all places, in all societies; indeed narrative starts with the very history of mankind; there is not, there has never been anywhere, any people without narratives; all classes, all human groups have their stories….”[1] Narrative theories (in literature, media studies, psychology, or neurology) have explored the impacts of narratives on our ways of being, thinking, dreaming, and remembering. This article will explore the implications of narrative theories for learning in a contemporary art museum context.

Moment's Monument

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Art World ◽  
Self And Other ◽  
Single Culture ◽  
Modern Sculpture ◽  
The World ◽  
History Of ◽  
Critical Account ◽  
Modern Experience ◽  
Artistic Heritage

Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.

Challenges in using moving images at the MAC/VAL, Vitry-sur-Seine

2009 ◽  
Vol 34 (3) ◽  
pp. 11-15
Author(s):  
Céline Latil
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Moving Images ◽  
Audiovisual Archives ◽  
Contemporary Art Museum

This article describes the documentation centre at the contemporary art museum MAC/VAL in Vitry-sur-Seine in the Val-de-Marne, outside Paris, and in particular its audiovisual collections. It outlines the problems that have to be faced when seeking to make this material – documentaries and artists’ videos, whether purchased or produced in-house, even the museum’s audiovisual archives – available to the centre’s users.

scholarly journals The liberation of nature and knowledge: a case study on Hans Reichenbach’s naturalism

Synthese ◽  
2021 ◽  
Author(s):  
László Kocsis ◽  
Adam Tamas Tuboly
Keyword(s):  
Common Sense ◽  
Interesting Case ◽  
Valuable Contribution ◽  
Rhetorical Strategy ◽  
Scientific Philosophy ◽  
Political Program ◽  
History Of ◽  
Contemporary Context ◽  
Common Sense Knowledge

AbstractOur main goal in this paper is to present and scrutinize Reichenbach’s own naturalism in our contemporary context, with special attention to competing versions of the concept. By exploring the idea of Reichenbach’s naturalism, we will argue that he defended a liberating, therapeutic form of naturalism, meaning that he took scientific philosophy (or philosophy of nature, Naturphilosophie) to be a possible cure for bad old habits and traditional ways of philosophy. For Reichenbach, naturalistic scientific philosophy was a well-established form of liberation. We do not intend to suggest that Reichenbach acted as an inventor of naturalism; nonetheless, invoking the term and the idea of ‘naturalism’ is more than a simple rhetorical strategy for rehabilitating Reichenbach as a forerunner of this field. We think that his ideas can make a valuable contribution to contemporary debates, and that he presents an interesting case among the other scientifically oriented proponents of his time. After presenting a short reconstruction of the meaning of naturalism—or, more appropriately, naturalisms—in order to be able to correctly situate Reichenbach within his own as well as a systematic context, we discuss Reichenbach’s naturalism against the background of his scientific philosophy, his views on the relation of common-sense knowledge to science, and his efforts at popularization. To delve deeper into this topic, we present a case study to show how Reichenbach argued that in both scientific and philosophical discussions (assuming their naturalistic continuity), it is necessary to move from the request and value of truth to probability. And, finally, we argue that the liberation of knowledge and nature was a socio-political program for Reichenbach, who talked about his own scientific philosophy as “a crusade.” By emphasizing this aspect of Reichenbach’s naturalism, we may be in a better position to situate him in the history of analytic philosophy in general, and in the yet-to-be-written narrative of the naturalistic movement in particular.

The Art Museum and the Teaching of the History of Art

1968 ◽  
Vol 27 (2) ◽  
pp. 51
Author(s):  
David R. Coffin
Keyword(s):  
Art Museum ◽  
History Of Art ◽  
History Of
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