scholarly journals Moscow Conceptualism through Collective and Private Memory. The Archive as an Artistic Self-historicising Practice in Vadim Zakharov

2021 ◽  
Vol 66 (Special Issue) ◽  
pp. 211-232
Author(s):  
Alessandra Franetovich ◽  
◽  
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Important Case ◽  
Moscow Conceptualism ◽  
Global Art ◽  
The Relationship ◽  
Artistic Self ◽  
Archival Practices

"In an era characterised by the growing tension between local and global, the multiple activities acted by the artist Vadim Zakharov offer an important case study to investigate critically the relationship between artists and the art institutions at the time of the Global Art History. Artist, archivist, collector and editor in the frame of Moscow Conceptualism, since the end of the 1970s up to today, Zakharov embodies the figure of the “artist as institution” in the attempt to reach his artistic autonomy. This text introduces to his expansion of the archival attitude typical of Moscow conceptualism, a Soviet unofficial art movement developed in the marginal, underground, and self-referential context in the capital of USSR since the 1970s. Due to its transnationality, Zakharov’s story gives the opportunity to trace parallels, comparisons and differences to what happened next, when he moved in Germany in 1989, after the fall of USSR, and with the appearance of the new labels of “post-Soviet” and “Russian contemporary art”. Within this socio-historical framework, he joined a more cosmopolitan artistic scene, enlarging his archival practices with the aim to self-institutionalize and self-historicize his own artistic practices and the circle of Moscow Conceptualism in an international scene. Keywords: Vadim Zakharov, Moscow Conceptualism, Russian Contemporary Art, Contemporary Art, Global Art History, Archival fever. "

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

Contemporary Art Museums' Marketing Strategies

2014 ◽  
pp. 371-388
Author(s):  
Zeynep Guney Celebi
Keyword(s):  
Literature Review ◽  
Contemporary Art ◽  
Modern Art ◽  
Art Museums ◽  
Marketing Strategies ◽  
Entertainment Industry ◽  
Museum Marketing ◽  
Marketing Tool ◽  
The Relationship

Contemporary art museums are significant actors in the entertainment industry, which is recreated by new forms of leisure time activities every day. Entertainment that is used as an important and effective marketing tool in contemporary art museums is also a significant formative of the new relationship between contemporary art museums and their visitors. Therefore, the aim of this chapter is to explore the relationship between art, entertainment, leisure, and museum marketing with a literature review in order to find answers to questions like, What is the relationship between art and entertainment? and Which marketing techniques are used by contemporary art organizations? In this context, the relationship between leisure, entertainment, and contemporary art museums is explained; afterwards, contemporary art museums' marketing strategies are described in detail as the main scope of the study. Finally, as a case study, Istanbul Modern Art Museum's political-economical environment and marketing strategies are analyzed.

scholarly journals Entre el Delirio y la Ironía: el Joker. Sátira y Cinismo en la Obra de Chema Cobo

2021 ◽  
Vol 9 (2) ◽  
pp. 118
Author(s):  
Fernando Sáez Pradas
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Points Of View ◽  
Alter Ego ◽  
The Relationship

The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. From cinema to painting, passing through literature and theatre. The resurgence of this character after the screaming of the Hollywood super production directed by Todd Phillips and interpreted by Joaquin Phoenix has become an excuse to revise the figure from different perspectives, and a way of finding the relationship between this figure and our present. Authors such as Velazquez or even within circus performances have nurtured this character. In this text we want to point out the case of the artist Chema Cobo (Tarifa, 1952), a relevant figure in Spanish Contemporary art since the 70s, and who has been working on this theme since the 80s. Cobo has nurtured his practice from this character, presenting him as the master of ceremonies, becoming his own alter-ego, and one of the pillars of iconography.

Hocus Totus: The Elusive Wholeness of Christ

Pro Ecclesia ◽  
2019 ◽  
Vol 29 (1) ◽  
pp. 31-42
Author(s):  
Kevin J. Vanhoozer
Keyword(s):  
Important Case ◽  
Conceptual Coherence ◽  
Mystical Union ◽  
Biblical Language ◽  
Catholic Tradition ◽  
The Relationship ◽  
The Church ◽  
The Way

This article responds to David Moser’s essay commending the Totus Christus to Protestants who wish to be biblical, identify with the catholic tradition, and speak truly about the Church. The article recognizes the Totus Christus as an important case study of the relationship between Christology and ecclesiology. The article evaluates Moser’s case in three movements: first, by examining the way in which biblical language of Christ as the “head” of the Church “body” has been interpreted by Augustine and others; second, by comparing and contrasting the Reformed (soteriological) emphasis on mystical union with the Roman (ecclesiological) emphasis on mystical body; third, by examining the metaphysics of the Totus Christus and, in particular, the conceptual coherence of claiming that the Totus Christus designates a “united person” with “two subjects” that are “distinct in their being.” The article concludes by asking about the practical consequences of accepting the Totus Christus, and by noting that the Totus Christus never did receive the necessary creedal support commensurate with catholic doctrine.

L'International: The World's First International Journal and the Possibilities and Limits of International Studies

2020 ◽  
Author(s):  
Thomas Davies
Keyword(s):  
Important Case ◽  
International Studies ◽  
Policy Sector ◽  
International Team ◽  
Scientific Approach ◽  
The Subject ◽  
The Relationship ◽  
Pluralist Approach

Abstract L'International, a journal published in Paris in the 1840s that brought together an international team of intellectuals aiming to advance international studies, represents not only a forgotten milestone in the development of international studies but also provides an important case study shedding light on the challenges that need to be overcome in the development of international studies as a distinctive area of research. This article considers both the potential and the limits of the approach to international studies set out in L'International with a view to further understanding the potential and limits of international studies today. It elucidates four features of the approach taken in L'International pertinent to debates in today's discipline: (i) the boundaries of international studies; (ii) the nature of a scientific approach to the subject; (iii) the role of race, gender, and class; and (iv) the relationship between international studies and the policy sector. While its contributors were notable for putting forward a pluralist approach to the subject, their efforts were marred by their consideration of a limited set of interests.

scholarly journals ‘Aimless and Absurd Wanderings’? Children at the Museum of Old and New Art (Mona)

2018 ◽  
Vol 16 (1) ◽  
Author(s):  
Adrian Franklin ◽  
Michelle Sansom
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Galleries ◽  
Ethnographic Approach ◽  
Global Art ◽  
Contemporary Artists

AbstractThis article reports on the experience of children at the Museum of New and Old Art (Mona) in Hobart, Tasmania.  Referred to by its innovative owner as a ‘subversive adult Disneyland’, Mona went further than most new contemporary art galleries in designing a radically new experience of art.  It captured the imagination of people new to art in its own locality as well as a global art public.  Favoured by leading international contemporary artists for the freedom it gave art unmediated by art history, Mona also seemingly captured the imagination of children. Through an ethnographic approach in which five young children’s visits were documented in great detail, the article considers these in the light of children’s experiences of previous exhibitionary platforms and the relevance of Mona’s museological interventions for building their dispositions to art and broadening art publics.

Chieftaincy, Development and the Ghanaian State: A Historical Overview of the 19th and 20th Centuries

2018 ◽  
Vol 7 ◽  
pp. 89-119
Author(s):  
James Kojo KUTIN ◽  
Kwame Osei KWARTENG
Keyword(s):  
The State ◽  
The Other ◽  
Important Case ◽  
Northern Ghana ◽  
Historical Overview ◽  
Post Colonial ◽  
Other Hand ◽  
The Relationship ◽  
Southern Ghana

This multi-sourced paper explores the relationship between the chieftaincy institution and the Ghanaian state in the 19th and 20th centuries. It specifically looks at how the relationship between the two has evolved in the overlapping political and economic spheres and how the metamorphosing conceptualization of development on both sides fits into it. Using mainly Asante references,1 this paper argues that the relationship between the state (colonial and post-colonial) and chieftaincy in both spheres has been determined by the policies of the former to either court or curtail the power of the latter when it suits its politics. Chiefs on the other hand, recognizing the nature of this relationship, have skilfully played a “survival politics” strategy in order to remain relevant in the economic and political spheres. This strategy in recent years includes (re)identifying itself with prevailing concepts such as development and either utilising, or readjusting local ideologies where necessary, in order to ensure their own institutional survival.   _________________________________________ 1 The examples utilised in this paper focus on the experience of chieftaincy in southern Ghana, particularly Asante and Akan in general. This is not because happenings in chieftaincy in northern Ghana are not significant. Rather it is because the study is based on the southern experience, particularly, that of the Asante. While the Asante chieftaincy institution does not always mirror the nature of chieftaincy in the entire southern Ghana, its scope and reach presents an important case study to measure the extent of changes that occurred during the 19th and 20th centuries.

Contemporary Art Museums' Marketing Strategies

2014 ◽  
pp. 1154-1171
Author(s):  
Zeynep Guney Celebi
Keyword(s):  
Literature Review ◽  
Contemporary Art ◽  
Modern Art ◽  
Art Museums ◽  
Marketing Strategies ◽  
Entertainment Industry ◽  
Museum Marketing ◽  
Marketing Tool ◽  
The Relationship

Contemporary art museums are significant actors in the entertainment industry, which is recreated by new forms of leisure time activities every day. Entertainment that is used as an important and effective marketing tool in contemporary art museums is also a significant formative of the new relationship between contemporary art museums and their visitors. Therefore, the aim of this chapter is to explore the relationship between art, entertainment, leisure, and museum marketing with a literature review in order to find answers to questions like, What is the relationship between art and entertainment? and Which marketing techniques are used by contemporary art organizations? In this context, the relationship between leisure, entertainment, and contemporary art museums is explained; afterwards, contemporary art museums' marketing strategies are described in detail as the main scope of the study. Finally, as a case study, Istanbul Modern Art Museum's political-economical environment and marketing strategies are analyzed.

Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale

2019 ◽  
Vol 6 (2) ◽  
pp. 343-366
Author(s):  
Ornella De Nigris
Keyword(s):  
Contemporary Art ◽  
Chinese Art ◽  
Chinese Tradition ◽  
Contemporary Chinese Art ◽  
Continuum Generation ◽  
History Of ◽  
The Relationship ◽  
Contemporary Chinese ◽  
Venice Biennale

Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.

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