scholarly journals Destellos de luz y sus ambivalencias simbólicas

AusArt ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 65-76
Author(s):  
Joaquim Cantalozella i Planas ◽  
Marta Negre i Busó
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Site Specific ◽  
Human Thought ◽  
Art Works ◽  
Electrical Devices ◽  
Light Darkness ◽  
The Many ◽  
Everyday Reality ◽  
Point Of Departure

La luz sugiere una imagen culturalmente construida, sus metáforas están tan arraigadas a nuestro pensamiento que se hace difícil ignorar el efecto que provocan. A causa de la carga cultural que posee, en una escenificación o representación, la luz alude a cierta mística o trascendencia; incluso siendo esta completamente artificial, sujeta a artefactos y bombillas. Podría decirse, pues, que en nuestra cotidianeidad electrificada, las luces que envuelven el entorno toman partido en este juego de significados. En la presente era de la tecnificación, la luz no parece haber perdido el menor ápice de su poder evocativo, lo cual es perceptible en muchas propuestas artísticas, cuyos enfoques ambivalentes redundan irónicamente en los grandes temas. Esto sucede porque muchas de ellas parten de un ideario desmitificador, para aplicar criterios diferentes tanto en la elaboración como en la recepción de las imágenes. Aun así, los significados tradicionales de la luz sobreviven en propuestas de muy distinta índole, ya sea en clave crítica o no. En el presente artículo, indagamos en las lecturas que suscitan obras realizadas mediante estos parámetros, aquellas que justamente se instalan en la contradicción y la aceptan como punto de partida.Palabras clave: LUZ; OSCURIDAD; ARTE CONTEMPORÁNEO; TECNOLOGÍA; INTERVENCIONES  Flashes of light and their symbolic ambivalence AbstractLight in art is essentially tied to culturally constructed images and its various metaphors are so enmeshed in human thought that their effect is difficult to ignore. Because of its cultural load, the light in any staging or representation invariably refers, however indirectly, to matters that are in some sense mystical and transcendent—even when it relies upon prosaic electrical devices or simple light bulbs. We might argue, therefore, that the many lights illuminating our electrified everyday reality also play their part in this game of meanings. Indeed, in today’s technified world, light does not seem to have lost even the slightest portion of its evocative potential. This is evidenced in the many art works whose intentional ambivalence casts a wry eye on the big issues they address and which set out to demystify their subject, applying novel criteria in how images are created and responded to. But it is also seen in the more traditional metaphors of light which still abound, critical or otherwise, in art works of very different kinds. This article examines the readings that emerge from artworks created with these parameters, the very ones that that are based on contradiction and accept contradiction as their point of departure. Key Words: LIGHT; DARKNESS; CONTEMPORARY ART; TECHNOLOGY; SITE-SPECIFIC

scholarly journals Ar-quiteturas. Os infláveis como estratégia de reinterpretação do lugar

Revista Prumo ◽  
2019 ◽  
Vol 4 (7) ◽  
pp. 138-151
Author(s):  
Adriana Sansão Fontes ◽  
Fernando Espósito ◽  
Sergi Arbusà
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Rio De Janeiro ◽  
The Other ◽  
Common Denominator ◽  
Site Specific ◽  
Adequate Response ◽  
Other Hand ◽  
The Common

Architecture, a discipline called to design the living places, usually operates within a logic that has as main objective welcoming human acts. Its status as a built object requires an adequate response not only material, structural, spatial and environmental, but also in meeting the most vital demands of these acts. Art, on the other hand, can respond with almost absolute freedom, uncompromising with the proper habits of living, in which the act of dwelling can be questioned, freeing itself from its responsibilities related to life. This paper presents a clipping of the work of the artistic collective Penique Productios - the inflatables - their references and methodology, highlighting two interventions in Rio de Janeiro, carried out in a partnership between Penique, DAU PUC-Rio and FAU/UFRJ. The common denominator is to establish a connection between architecture, city and art, through large, ephemeral and habitable collective works that dialogue with the existing place, stimulating its reinterpretation. Key-Words: Inflatables, ephemeral interventions, site-specific interventions, contemporary art

PERILAKU PEDAGANG MUSLIM DALAM TINJAUAN ETIKA BISNIS ISLAM (KASUS DI PASAR LOAK JAGALAN KEDIRI)

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Alwi Musa Muzaiyin
Keyword(s):  
Business Ethics ◽  
Key Words ◽  
Luxury Goods ◽  
The World ◽  
Goods Market ◽  
Islamic Business Ethics ◽  
New Goods ◽  
The Many ◽  
Used Goods ◽  
The City

Trade is a form of business that is run by many people around the world, ranging from trading various kinds of daily necessities or primary needs, to selling the need for luxury goods for human satisfaction. For that, to overcome the many needs of life, they try to outsmart them buy products that are useful, economical and efficient. One of the markets they aim at is the second-hand market or the so-called trashy market. As for a trader at a trashy market, they aim to sell in the used goods market with a variety of reasons. These reasons include; first, because it is indeed to fulfill their needs. Second, the capital needed to trade at trashy markets is much smaller than opening a business where the products come from new goods. Third, used goods are easily available and easily sold to buyer. Here the researcher will discuss the behavior of Muslim traders in a review of Islamic business ethics (the case in the Jagalan Kediri Trashy Market). Kediri Jagalan Trashy Market is central to the sale of used goods in the city of Kediri. Where every day there are more than 300 used merchants who trade in the market. The focus of this research is how the behavior of Muslim traders in the Jagalan Kediri Trashy Market in general. Then, from the large number of traders, of course not all traders have behavior in accordance with Islamic business ethics, as well as traders who are in accordance with the rules of Islamic business ethics. This study aims to determine how the behavior of Muslim traders in the Jagalan Kediri Trashy Market in buying and selling transactions and to find out how the behavior of Muslim traders in the Jagalan Kediri Trashy Market in reviewing Islamic business ethics. Key Words: Trade, loak market, Islamic business

Bottles of Art, Works of Alcohol

2018 ◽  
Vol 18 (4) ◽  
pp. 54-70
Author(s):  
Jim Drobnick
Keyword(s):  
Contemporary Art ◽  
Art Works ◽  
Art And Society

Alcohol has gained a notable prominence in contemporary art, particularly in artists’ bars and other convivial situations at biennials and art fairs. What happens, though, when an artwork features alcohol that cannot or is not meant to be drunk? If the point of drink in contemporary art involves engaging spectators in sensorial, embodied encounters, what remains of the specialness of alcohol when it stays in the bottle? This article examines artists’ multiples and distillation projects where drinking is teasingly possible but downplayed. In these works, partaking is less important than the inebriating affect, in which drunkenness is experienced at a remove, and so infuses the imagination to instigate thought beyond the act of drinking. Even when contained, the intoxicating potential of alcohol has the ability to disrupt norms and aesthetic conventions, as well as to make compelling comments on art and society.

scholarly journals Learning to Say No, the Ethics of Artist-Curator Relationships

Philosophies ◽  
2021 ◽  
Vol 6 (1) ◽  
pp. 16
Author(s):  
Mirjami Schuppert
Keyword(s):  
Contemporary Art ◽  
Curatorial Practice ◽  
The Many

The article suggests that the perceived ethics of curatorial practice are not often in balance with operative ethics, and analyses the problem by focusing on the curator-artist relationship. Contemporary art curators constantly find themselves in a situation where they have to choose between the needs of the few and the many. Counter-hegemony theory is used to examine the curator’s duty toward the many, while the reading of Jacque Derrida’s concept of responsibility toward an individual and Alain Badiou’s ‘singularity of situations’ suggest that the few are to be considered first. In this article, I suggests that curators could learn to say no in order to be able to balance these different demands.

Genetic transformation of Chainia and heat attenuation of its restriction system

1991 ◽  
Vol 37 (9) ◽  
pp. 713-715 ◽  
Author(s):  
Vijay M. Chauthaiwale ◽  
Pranav R. Vyas ◽  
Vasanti V. Deshpande
Keyword(s):  
Genetic Transformation ◽  
Key Words ◽  
Broad Host Range ◽  
Transformation System ◽  
Restriction System ◽  
Plasmid Replicon ◽  
Commercially Important ◽  
Low Efficiency ◽  
The Many ◽  
Restriction Modification

A PEG-mediated transformation system for Chainia (NCL 82-5-1) was develolped using a broad host range Streptomyces vector, pIJ702. Protoplasts prepared from Chainia (NCL 82-5-1) were regenerated with 5% efficiency. Transformation of the protoplasts with pIJ702 gave 10–20 transformants/μg DNA. The low efficiency of transformation is attributed to a restriction system in Chainia; this could be inhibited by treating the protoplasts at 42 °C for 10 min just before transformation. The yield of transformants increased 100-fold when pIJ702 was modified by passage in Chainia. Because the plasmid replicon was functional in Chainia and the modified plasmid was stably maintained, the transformation system should be useful for self-cloning in Chainia NCL 82-5-1 of the many commercially important enzymes this strain is known to produce. Key words: Chainia, transformation, Streptomyces, pIJ702 restriction modification, heat attenuation.

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.

scholarly journals CONTEMPORARY ART SCENARIO IN THE STATE OF ANDHRA PRADESH

2021 ◽  
pp. 186-192
Author(s):  
Dr. K. Mrutyunjaya Rao
Keyword(s):  
Key Words ◽  
Art Education ◽  
Contemporary Art ◽  
Andhra Pradesh ◽  
The State ◽  
Art Departments ◽  
Art School

The Art activity in the state of Andhra Pradesh was pioneered by Damerla Ramarao and Varada Venkataratnam with the help some English officers and some of their disciples. Later whole art activity is concentrated at Hyderabad till the state bifurcation in 2014. The Art education and Institutions were discussed in details. The arrival of Baroda school product has helped us to mark our self as distinct school on the cultural map of India with help of Ravinder G Reddy, V.Ramesh, T.Sudhakara Reddy, CRS Patnaik and Dr. K.Mrutyunjaya Rao. These masters has succeeded to paved a bridge between art and Contemporary art of India. Later the product of Andhra art school has spreaded all over the state and country. Two art departments emerged in the region of Rayalaseema under the lead of Dr.K. Mrutyunjaya Rao. Due to state bifurcation, the major art activity and development has gone to Telangana. The Residual Andhra Pradesh has lost so much. Many of Andhra Artists settled at other states for bread and butter. But now recovering slowly. KEY WORDS: Damerla Rama Rao , Baroda, Contemporary, Aesthetic, Scrap Sculpture, Kadapa,

scholarly journals De La Revolución A La Transformación Espiritual. La trayectoria Pictórica De Arturo Moyers Villena.

Xihmai ◽  
2013 ◽  
Vol 6 (12) ◽  
Author(s):  
Manuel Alberto Morales Damián
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
The State ◽  
Mural Painting ◽  
Palabras Clave ◽  
Religious Painting ◽  
Arte Contemporáneo

Resumen El presente trabajo es una sucinta biografí­a artí­stica de Arturo Moyers Villena, muralista mochiteco radicado en Hidalgo desde la década de los 80. Se destaca su obra pictórica a partir del análisis de las temáticas que aborda en sus obras manifestándose una evolución que permite proponer tres etapas en su trayectoria. El trabajo se fundamenta en las entrevistas con la familia Moyers López, la revisión del archivo familiar y el análisis de sus obras murales y de caballete. Noviembre de 2011   Palabras clave: Arturo Moyers Villena, arte contemporáneo mexicano, pintura mural, pintura revolucionaria, pintura religiosa.   Abstract This paper is a brief artistic biography of Arturo Moyers Villena. He is a mural painter who was born in Los Mochis, Sinaloa and he live in the State of Hidalgo from the eighties. On the analysis of his work we propose three periods in his pictorial development. Was made interviews with the Moyers López family, was review the familiar archive and was analysed his murals and other paintings.   Key words: Arturo Moyer Villena, Mexican Contemporary Art, Mural Painting, Revolutionary Painting, Religious Painting.

scholarly journals Aspectos de la desaparición

2020 ◽  
Author(s):  
Enric Bou
Keyword(s):  
Urban Space ◽  
Literary Texts ◽  
The Many ◽  
Point Of Departure

This essay discusses issues related to disappearances in urban space, in particular cases that affect streets and subways, the mismatched equivalences of lines on the surface of urban space and what lays underground. Taking as a point of departure David Pike’s concept of threshold, which is key to defining a topography of the “vertical city”, a reading of plans and literary texts and films is proposed. This will illustrate the ways in which surface and other underground spaces overlap and the many differences that exist.

MÜASİR RƏSSAMLARIN YARADICILIĞINDA BAKI TƏSVİRLƏRİ

2020 ◽  
Vol 54 (05) ◽  
pp. 169-172
Author(s):  
Arzu Fazil Hashimova ◽  
Keyword(s):  
Key Words ◽  
Contemporary Art

Key words: Contemporary art, painting, Baki, composition, landscape

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