scholarly journals Rock Balancing Land Art: A More-than-Human Approach

2021 ◽  
Vol 7 (1) ◽  
pp. 26-33
Author(s):  
Jun Hu
Keyword(s):  
Land Art

scholarly journals ERRÂNCIAS ESTÉTICAS: SURREALISMO, SITUACIONISMO E ARTE RADICANTE

2016 ◽  
Vol 7 (15) ◽  
Author(s):  
Ricardo Nascimento FABBRINI (USP)
Keyword(s):  
Land Art

Esse artigo caracteriza o projeto moderno na arte e na arquitetura pela esperança de reconciliação entre arte e vida, destacando, em seu interior, o intento de tomar o “caminhar como prática estética”; como nas vagâncias dadá-surreais dos anos 1910 e 1920, herdadas da flânerie baudelaireana do século XIX; nas deambulações situacionistas e nas peregrinações da land art, dos anos 1960 e 1970; e, no período dito pós-vanguardista, no nomadismo dos artistas radicantes, na expressão de Nicolas Bourriaud, dos anos 1990 e 2000. Mostramos, por fim, que embora o artista radicante compartilhe com as vanguardas o objetivo de produzir a vida cotidiana como obra de arte, delas se distancia porque não é movido pelo intento de libertar a potência revolucionária do desejo, abrindo-se à imponderabilidade do devir, mas pela ideia de trocas culturais enquanto prática intersubjetiva conforme o paradigma contemporâneo da comunicação.

scholarly journals Restauración paisajística de Cantera Rosales. Hellín (Albacete, España)

REVISTARQUIS ◽  
2016 ◽  
Vol 5 (2) ◽  
Author(s):  
José Durán Fernández ◽  
Daniel Moreno Ruiz
Keyword(s):  
Design Methodology ◽  
Mining Activity ◽  
Land Art ◽  
Innovative Design ◽  
Ornamental Stone ◽  
Geometric Reconstruction ◽  
Man And Nature ◽  
The Impact ◽  
Near Future ◽  
The Relationship

ResumenEl texto describe y dibuja una estrategia de recuperación ecológica de una explotación minera de piedra ornamental en activo, situada en el entorno del parque arqueológico del Tolmo de Minateda, en el Término municipal de Hellín (Albacete, España). En el año 2015, la empresa Areniscas Rosal, propietaria de los derechos de explotación de dicha cantera, encargó a la oficina de Arquitectura y Urbanismo SSS (Spanish Studio of Space) un Plan de Restauración para establecer las directrices básicas de una recuperación paisajística que revierta el impacto de la actividad extractiva en un futuro próximo. El proyecto, fundamentado en la filosofía del Land Art, es una reconstrucción geométrica del terreno por medio de la reutilización de los sobrantes de la propia actividad, para así crear un paisaje totalmente nuevo y contemporáneo. El reciclaje, la re-vegetación y una solución proyectual innovadora fundamentan las directrices de esta intervención paisajística y territorial. Las posibilidades de reutilización y disfrute de este nuevo entorno natural podrán ser variadas y enriquecedoras y solo dependerán de una gestión sensible y respetuosa de la relación del hombre con la naturaleza. AbstractThe former document describes and draws a strategy of ecological recovery of an ornamental stone mine in active, located in the archaeological park environment of Tolmo de Minateda in the municipality of Hellín (Albacete, Spain). Back in 2015, the company Rosal Sandstones, which owns the rights to exploit the quarry, commissioned the Office of Architecture and Urbanism SSS (Spanish Studio of Space) a Restoration Plan in order to establish the basic guidelines for a landscape recovery to revert the impact of mining activity in the near future. The project, based on the philosophy of Land Art, is a geometric reconstruction of the ground by means of reusing the leftovers of the activity itself, to thereby create a totally new and contemporary landscape. Recycling, re-vegetation and innovative design methodology solutions substantiate the guidelines of this landscape and territorial intervention. The possibilities for reusability and enjoyment of this new natural environment can be diverse and enriching and, only depend on a sensitive and respectful management of the relationship between man and nature.

The Imprisoned Queen

2021 ◽  
Vol 71 (1) ◽  
pp. 1-36
Author(s):  
Anne N. Feng
Keyword(s):  
Tang Dynasty ◽  
Seventh Century ◽  
Land Art ◽  
Central Component ◽  
Chinese Art ◽  
Pure Land ◽  
Spatial Imagery ◽  
Mountain Ranges ◽  
The Tang Dynasty ◽  
The Buddha

Abstract This paper reconsiders how and why the representation of landscape became an increasingly central component of Pure Land art in the Tang dynasty. Focusing on the seventh-century Cave 209, I examine the first set of mountain panels at Dunhuang, arguing that those polychrome landscapes represent Vulture Peak, the sacred abode of Śākyamuni Buddha. Cave 209 shows how Lady Vaidehī—the protagonist of the Meditation Sutra—emerges as the first female viewer of landscape in Chinese art. Departing from the Meditation Sutra, painters at Dunhuang resituate Lady Vaidehī, the formerly imprisoned royal consort and model Pure Land adept, within mountain ranges where she converses with the Buddha. I argue that Lady Vaidehī's encounter with the Buddha is mapped onto the space of a Dunhuang cave to enable the viewer to assume her position when facing the icon of Śākyamuni surrounded by Vulture Peak. By grappling with Vaidehī's imprisonment, painters use landscape to develop a new spatial imagery of salvation. I maintain that the striking innovations in landscape representation at Dunhuang—achievements that have been seen to anticipate later Tang “blue and green” landscapes—are in actuality based on an effort to visualize Buddhist soteriology in the early seventh century.

Projection between Exhibition and Information

2020 ◽  
pp. 211-236
Author(s):  
Adeena Mey
Keyword(s):  
Research Group ◽  
Spatial Relations ◽  
Media History ◽  
Land Art ◽  
Earth History ◽  
Moving Images ◽  
Entire Country ◽  
The Many ◽  
Different Levels ◽  
The Way

Among the many reconfigurations and experiments with the ‘medium of the exhibition’ of the 1960–1970s, Sonsbeek 71 stands as one the most audacious examples. Organized by curator Wim Beeren as an attempt to find a new curatorial language and innovative exhibition form, Sonsbeek 71 took ‘the entire country as its field of operation’, the ‘exhibition’ consisting of several works of land art, ‘information centres’, as well as pavilions dedicated to film, video, and art mediation. The ‘spatial relations’ exposed by the scale of this apparatus became the very object of Beeren’s curatorial inquiry. Focusing on projected moving images at Sonsbeek 71, this chapter discusses it on three different levels. First, it identifies the way both the film and exhibition apparatus were reconfigured and how Sonsbeek 71 functioned as an epistemology of the exhibition as medium. Second, it articulates a critique of the exhibition as a form intersecting technical, discursive, informational, and sensible elements, and shows how, in its radical expansion of the exhibition medium, Sonsbeek 71 ‘conflates media history with earth history’ (Parikka). Third, what is meant by the notion of the exhibition as ‘medium’ is discussed in light of the inflatable pavilions designed by the Eventstructure Research Group where structural films and artists’ films were projected. This eventually opens up to a critique of the informational, cybernetic epistemology of Sonsbeek 71.

Interlude 5

2020 ◽  
pp. 192-199
Author(s):  
Rosemary A. Joyce
Keyword(s):  
Nuclear Waste ◽  
Waste Disposal ◽  
Nuclear Waste Disposal ◽  
Yucca Mountain ◽  
Land Art ◽  
Marker System ◽  
Australian Aboriginal ◽  
Mountain Site

LAND ART MAKERS AND Australian aboriginal painters were not the only artists whose work became entangled with proposals to mark nuclear waste disposal sites. In 2002, the director of the Desert Space Foundation in Nevada, Joshua Abbey, carried out an art competition for designs for a possible marker system for the Yucca Mountain site....

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