Enunciability of the work of architecture after Alberti

2014 ◽  
Author(s):  
José Capela
Keyword(s):  
Visual Arts ◽  
Conceptual Art ◽  
Artistic Practice ◽  
New Framework

After Alberti, the “architecture project” started to be understood as an autonomous entity mediating two separate phenomena: the conception of an architectural artifact and its eventual execution. In 1967, Sol LeWitt advocates a new framework for artistic practice, which he calls “conceptual”, saying that “when an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair”. Apparently, LeWitt merely seems to claim, within the scope of visual arts, an operative model similar to what Alberti inaugurated within the scope of architecture. However, I do not believe that this is all he does. I propose to dicuss the enunciability of architectural artifacts, comparing and contrasting the operative model of the “project” inaugurated by Alberti – which is essentially formal (the project is mainly constituted by drawings) – vis-à-vis the operative model that is characteristic to conceptual art – essentially discoursive (the idea can be verbalized). In this way, I also propose to discuss how the issue of the fidelity to the “executed work” in relation to its enunciation can be addressed within these two approches. * A partir de Alberti, o “projecto de arquitectura” terá começado a ser entendido como uma entidade autónoma e intermediária entre dois fenómenos independentes: a concepção de um artefacto arquitectónico e a sua eventual execução. Em 1967, Sol LeWitt preconiza uma nova conjuntura para a prática artística, que designa como “conceptual”, afirmando que “quando um artista usa uma forma de arte conceptual, isso significa que todo o planeamento e todas as decisões são efectuados de antemão e que a execução é uma tarefa perfunctória”. Aparentemente, LeWitt parece não fazer mais do que reivindicar, para o âmbito das artes visuais, uma conjuntura operativa semelhante àquela que Alberti terá inaugurado no âmbito da arquitectura. Contudo, julgo que não é apenas isso que faz. Proponho discutir a enunciabilidade dos artefactos arquitectónicos, confrontando o modelo operativo do “projecto” inaugurado por Alberti – essencialmente formal (o projecto é sobretudo desenho) – com o modelo operativo característico da arte conceptual – essencialmente discursivo (a ideia pode ser verbalizável). Neste sentido, proponho ainda discutir de que modo, nestas duas conjunturas, pode colocar-se o problema da fidelidade da “obra executada” ao respectivo enunciado.

Visual Noise as a Painting Method. An Attempt to a Manifesto

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Bogdan Alexandrov ◽  
◽  
◽  
Keyword(s):  
Visual Arts ◽  
The Self ◽  
Visual Noise ◽  
Artistic Practice ◽  
Digital Arts ◽  
Privileged Position

In the era of image, painting loses its privileged position on the typological scale of visual arts. The horizontal leveled order changes essentially its coordinates to transform them into a media, equivalent to visual arts based on technology and/or time. The change does not happen without resistance. We find traces and testimonies of the desire to preserve the “self-centered” memory of the ever-prevailing painting in the attributed elements of initially considered to be her denials – photography and digital arts. We are witnessing a strange paradox – in an attempt to preserve itsclaiming perfection nature, painting recognizes the inherentin technology imperfections. The report discusses the visual noise as a possible painting method, demonstrated in the author’s artistic practice and specifically stated in several cycles of works, presented at four exhibitions.

Unpacking the self

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 29-37
Author(s):  
Manju Sharma
Keyword(s):  
Visual Arts ◽  
Personal Narrative ◽  
The Self ◽  
Cross Linking ◽  
Artistic Practice ◽  
Content Type ◽  
Personal Stories ◽  
The World ◽  
Visual Artist ◽  
Sensitive Issues

Abstract In this essay, visual artist and writer Manju Sharma reflects on the use of autobiography as a methodology for storytelling in the visual arts. She focuses on the methods that she uses to explore the self and its relatedness to the world that she wishes to grasp. She also sheds light on how autobiography fits into her artistic practice as a means of finding hidden narratives and to keep the personal narrative related to the world. The essay touches upon the use of personal stories, cross-linking and note-taking to unpack everyday sensitive issues that can allow people to find their voice and to speak out.

scholarly journals SPACE AS A CONTEXT IN DANIEL BUREN’S ART

2021 ◽  
Vol 11 (1) ◽  
pp. 301-322
Author(s):  
Tuğba RENKÇİ TAŞTAN
Keyword(s):  
World War Ii ◽  
Conceptual Art ◽  
World Order ◽  
Art World ◽  
Artistic Practice ◽  
Innovation Development ◽  
Traditional Art ◽  
The Social ◽  
Art Scene ◽  
The 1960S

20th century; it is a period in which two world wars took place and a new world order in human history occurred in many areas of innovation, development and transformation. After the war, the meaning, content and boundaries of art and the artist have been discussed, expanded and gained a new dimension and acceleration with the deep changes in the social, economic, political and cultural fields with the crisis brought on by the war. This complex period also manifested itself in the traditional art scene in France. The French artist Daniel Buren (b. 1938) has witnessed this process; by adopting the innovations in art with his productions, he has demonstrated his space-oriented conceptual works dating back to the present day in a period in which daily life accelerates with the mechanization of art practice and conceptual art movements are in succession. In this article, in order to comprehend the point of the artist and his productions from the beginning until today; the cultural environment in France after the World War II, the developments in the art world, the changes in the social field and the artistic dimensions of these changes are mentioned. The development and practices of the French artist Daniel Buren's artistic practice, policy, artistic attitude and style for the place, architecture, workshop and museum in the period from the second half of the 1960s to the present day are examined with examples with certain sources. In this context, the views and concepts that the artist advocates with his original productions are included. Finally, in the research, the evaluations were made in line with the sources and information obtained about the art adventure and development of the artist, and the innovations, contributions and different perspectives he offered about the art are discussed.

scholarly journals Art across Frontiers: Cross-cultural Encounters in America. Introduction

2013 ◽  
Vol 47 (2) ◽  
pp. 301-311
Author(s):  
STEPHANIE LEWTHWAITE
Keyword(s):  
Visual Arts ◽  
Cultural Exchange ◽  
Cross Cultural ◽  
Special Issue ◽  
Artistic Practice ◽  
Short Introduction ◽  
Cultural Encounters ◽  
Individual Contributions ◽  
The Individual

This short introduction provides a brief overview of the special issue, by addressing the main historiographical and theoretical concerns that unite the individual contributions and by placing the essays in comparative, inter-American and interdisciplinary perspective. What do comparative analyses tell us about patterns of cross-cultural exchange in the visual arts? More specifically, what do these analyses tell us about the role of ethnic agency and audience, and the complex relationship between artistic practice and the “mainstream,” the local and the global?

scholarly journals The Visual Economy of “Precious Books”

2020 ◽  
Vol 40 (1) ◽  
pp. 95-114
Author(s):  
Zeina Maasri
Keyword(s):  
Political Economy ◽  
Print Culture ◽  
Visual Arts ◽  
Modern Art ◽  
Book Publishing ◽  
The Political ◽  
Artistic Practice ◽  
Capitalist Economy ◽  
Art Object ◽  
The Aesthetic

Abstract Shedding light on the postcolonial Arabic book, this article expands the literary and art historical fields of inquiry by bringing into play the translocal design and visual economy of modern art books. It is focused on the short-lived Silsilat al-Nafa'is (Precious Books series, 1967–70), published in Beirut by Dar an-Nahar and edited by modernist poet Yusuf al-Khal (1917–87). The series engaged prominent Arab artists and foregrounded the aesthetic dimension of the printed Arabic book as a “precious” art object. Situated historically at the threshold of contemporary globalization, this publishing endeavor formed a node connecting transnational modernist art and literary circuits with book publishing and was thus paradigmatic of new forms of visuality of the Arabic book. This materiality was enabled by a network of changes in the visual arts, printing technologies, and the political economy of transnational Arabic publishing in late 1960s Beirut. Relations between these three fields are analyzed through a multifaceted lens, focusing on the book as at once a product of intellectual and artistic practice, a commodity in a capitalist economy of publishing, and a translocal artifact of visual and print culture.

scholarly journals DISSENTING BODY AND ITS CREATIVE RECONTEXTUALISATION IN LITHUANIAN VISUAL ARTS

2019 ◽  
Vol 12 (2) ◽  
pp. 361-375
Author(s):  
Basia Nikiforova ◽  
Kęstutis Šapoka
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Cultural Development ◽  
The Body ◽  
New Materialism ◽  
Artistic Practice ◽  
Clear Cut ◽  
Cultural Biography ◽  
Starting Point ◽  
Art As Research

The body is an important starting point concept throughout deconstruction, reconstruction and recontextualization of the body’s concept. This change of focus in research that stems from the results to the process of contextualization means that the researcher should engage with texts or images, as they are reflected in the process of cultural development and exchange, through which decontextualization is exhibited. This article deals with the concept of new materialism and endeavors to explain, how discourses come to matter. It examines the issue of how new materialism tackles visual art in innovative ways – through the intersections of artistic practice, art-as-research, and philosophical analysis. Such definitions as Maurice Merleau-Ponty’s “a bodily being”, Julia Kristeva’s “the abjection of the self”, Arjun Appadurai’s “the aesthetics of decontextualization” and “singularized object”, Igor Kopytoff’s “the cultural biography of things”, and Nicholas Thomas’ “entangled objects”, constitute the methodological frameworks of our research. We will analyze such approaches as Hans Belting’s concept of body as a “living medium”, Giorgio Agamben’s view on body as an object of commodification and Jacques Derrida’s “trust in painting”. An attempt to understand body reconceptualization and deconstruction through the categories of new materialism is the most important aim of this article. Karen Barad’s concept of intra-action (that implies a clear-cut subject-object distinction) is crucial to our research, which underlines that bodies have no inherent boundaries and properties and that the analyzed representations are “material-discursive phenomena”. The artworks under consideration will be confronted with a diagnosis that, according to Barad, all bodies come to matter thanks the intra-activity and its performativity. The case studies of Svajonė Stanikienė and Paulius Stanikas, Evaldas Jansas and Eglė Rakauskaitė works show how the image of the body is developed through the processes of their deconstruction and decontextualization.

The Bride Stripped Bare

2020 ◽  
pp. 197-210
Author(s):  
Nicholas Mee
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Conceptual Art ◽  
Higher Dimensions ◽  
Abstract Art ◽  
Marcel Duchamp ◽  
Higher Dimensional ◽  
Future Direction ◽  
Spiritual Movement ◽  
Modern Artists

Hinton’s writing on higher dimensions influenced artists as well as writers. Chapter 19 looks at how higher-dimensional geometry influenced the development of the visual arts in the twentieth century. Hinton’s influence was both direct through his own books and through the spiritual movement known as the Theosophists who latched onto his more mystical ideas. The cubists were the first modern artists to abandon the use of traditional perspective, and they were rapidly followed by other art movements. A number of the pioneers of abstract art were influenced by the Theosophists, including Kandinsky, Mondrian, and Malevich. Marcel Duchamp played a key role in determining the future direction of the visual arts, and some of his major works were developed around ideas of higher dimensions. These include Nude Descending a Staircase and Bride Stripped Bare By Her Bachelors, Even. Duchamp also led the way toward today’s conceptual art.

Discourse, Figure, d’après Lyotard.

2021 ◽  
Author(s):  
Noni Geiger
Keyword(s):  
Visual Arts ◽  
Conceptual Art ◽  
Time Lapse ◽  
Abstract Concepts ◽  
Structural Element ◽  
Avant Garde ◽  
White Boards ◽  
The Sixties ◽  
White Type ◽  
Text Condition

The presence of the written element in cinema goes back to the early silent movies era, to express meanings that were not enough comprehensible just through images. The use of text charts as means to support and to implement narrative almost invariable consisted of black cards with centered white type (rarely the opposite, i.e., black type on white boards), occasionally utilizing graphic features as ornaments.These letterings inserted between scenes, either before or after to which they referred, sometimes had a deranged narrative effect because of interrupting the action flow. But words, when added to the cinematographic image, can indeed communicate certain abstract concepts such as date time lapse, local; evince characters speeches; describe some action not performed in the movie.This paper aims to investigate the change of status of the written element as an accessory apparatus to a central and structural element of the movie, specifically in the experimental and avant-garde cinema, considering Marcel Duchamp’s Anémic Cinéma (1926) its inaugural example.The incorporation of textual elements can be understood within the very process of the visual arts in the first decades of the twentieth century since Braque’s Gueridon (1913) and Picasso’s Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913) through the Cubist and the Dada conceptual and formal strategies.The Conceptual art of the sixties and seventies permeates expressions of film experimentalism that will be analyzed for its use of text condition, where Michael Snow’s So this is, already in early 80ies (1982) is to be highlighted.

Are there things only artists can do?

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 45-53
Author(s):  
Carolina Bonfim
Keyword(s):  
Visual Arts ◽  
The Body ◽  
Artistic Practice ◽  
Research Project ◽  
Content Type ◽  
Practice Based Research ◽  
The Relationship

Abstract This article seeks to share the methods and strategies of the practice-based research project Ninety movements on TECHNOGYM G6508D. The research dissects the act of running in all its dimensions by fragmenting, archiving, incorporating, and highlighting what is unique and personal in each gesture and each way of moving. Ninety Movements is a continuation of Carolina Bonfim’s recent artistic practice, which explores the relationship between the body and the archive through a visual-arts approach.

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