scholarly journals Aesthetics of Art and Life Sciences: Collaborations and Resistance

2019 ◽  
pp. 11
Author(s):  
Polona Tratnik
Keyword(s):  
Media Studies ◽  
Contemporary Art ◽  
Life Science ◽  
Life Sciences ◽  
Art And Science ◽  
Avant Garde ◽  
Political Agent ◽  
Socially Relevant ◽  
19Th Century Art

In this paper, the author pays attention to the actual phenomenon of art and life science collaborative projects. She discusses the orientation of this project towards the world. In the course of modernity, the fields of art and science have been established as relatively autonomous fields with canonized methods and objectives. The author will compare scientific and artistic activities and address the question of their objectives. If art and science strive for different objectives, are these art and science projects about harmonizing them, or what is the objective that art follows and perhaps differs much from science? The author emphasizes a certain role of art, which art inherited from Romanticism. Comprehension of art as an avant-garde was extremely important for 19th-century art, particularly in France, where artists considered themselves the avant-garde of the society and also used militant rhetoric. Mallarmé, for instance, said that the modern poet is “at strike against the society”. This romantic attitude of the artists that position themselves rebelliously against the norms and cannons of the majority of population, insisted in the art throughout modernism and expressed particularly strongly in the historical avant-gardes. The author claims that exactly this heritage is crucial for the art that enters the field of science and is engaged with its socially-relevant aspects. The contemporary art projects entering the field of life sciences inherit the tradition of the avant-garde. The modes of collaborations and resistance will be addressed in the paper. Particular relevance will be given to the orientation of art towards the future. That is the comprehension of art as a political agent. Article received: June 12, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Review articleHow to cite this article: Tratnik, Polona. "Aesthetics of Art and Life Sciences: Collaborations and Resistance." AM Journal of Art and Media Studies 20 (2019): 11-16. doi: 10.25038/am.v0i20.329

scholarly journals On Lars von Trier, Enfant Terrible of Danish Art Film

2011 ◽  
Author(s):  
Mette Hjort
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Good Deal ◽  
Artistic Practice ◽  
Avant Garde ◽  
Lars Von Trier ◽  
Crucial Feature ◽  
Art Film

THE PROBLEM WITH PROVOCATION: ON LARS VON TRIER, ENFANT TERRIBLE OF DANISH ART FILM Anyone interested in contemporary art is likely to have spent a good deal of time pondering the nature and role of artistic provocation. Provocation as a crucial feature of artistic practice was largely unknown before 1800 (Walker 1999: 1). The idea of 'shocking the recipient' was, however, 'a dominant principle of artistic intent' for members of the various avant-garde movements that emerged in the early decades of the 20th century (Peter Bürger, cited in Walker: 2), and at this point the provocateur is a well-known and even expected figure in the landscape of art. It is not difficult to think of examples of artworks that are self-evidently about creating a sense of outrage. Let me mention just a few well-known works that prompted a public outcry: Rick Gibson's Human Earrings (1985), which consists of a...

Remediating the New Media

2020 ◽  
pp. 120-141
Keyword(s):  
Cultural Studies ◽  
New Media ◽  
Media Studies ◽  
Contemporary Art ◽  
Film Theory ◽  
Theoretical Background ◽  
Media Production ◽  
Art Theory ◽  
Film And Video

By applying the researching devices of media studies, art theory, film theory, philosophy, and cultural studies as a theoretical background, this chapter aims to explore the role of remediation in new media production, where the digital procedures enable smooth interaction, remixes, mashups, and hybridization. Remediation brings the dynamics into the institution of contemporary art and electronic literature by stimulating traditional and new media to refashion each other and generate novel hybrids at the intersection of several media (e.g. animated digital textuality which refashions film and video) as well as media contexts. Although the key reference of this chapter is Bolter and Grusin's theory of immediacy, hypermediacy, and remediation, the issues of post-remediation theory are addressed as well.

scholarly journals Из истории Людвиг Музеум – от коллекции к музею

2021 ◽  
pp. 164-175
Author(s):  
E.V. Orlova
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Pop Art ◽  
Avant Garde ◽  
German Art ◽  
The Status ◽  
Museum Of Contemporary Art ◽  
The 1960S

The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.

Suva Residents’ Views on Cancer, Diabetes and HIV in The Fiji Times

2020 ◽  
Vol 40 (1) ◽  
Author(s):  
Farzana Gounder
Keyword(s):  
Chronic Illnesses ◽  
Structural Reforms ◽  
Letters To The Editor ◽  
Medical Responsibility ◽  
Grassroots Support ◽  
Preliminary Study ◽  
Socially Relevant ◽  
Situated Approach ◽  
Significant Health

The burden of preventable diseases is increasing in the South Pacific Island Countries and Territories. In Fiji, significant media attention and national finances are spent on public dissemination of the modifiable risk factors of chronic illnesses. However, little is known about lay societal perceptions of chronic illnesses and of people living with these illnesses. This preliminary study takes an area-situated approach to lay knowledge and examines Suva residents’ moral evaluations associated with socially significant health concerns in Fiji. Using the case studies of HIV, cancer, and diabetes, the research employs content analysis to examine 144 Suva residents’ Letters to the Editor, published between 2000 and 2019 in The Fiji Times. The findings indicate that letter writers on chronic illnesses are power sensitive, interested in governmental responsibility, and aware of the role of stigma in creating inequitable health outcomes. The study’s findings locate chronic illness as not only a medical responsibility but also a social justice and human rights concern that requires a multisectoral approach, with community-tailored responses at the heart of all discussions. The lay-societal recognition of the three illnesses as being socially relevant suggests grassroots support for policies directed towards structural reforms for the prevention and management of these illnesses.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa

ARTMargins ◽  
2018 ◽  
Vol 7 (2) ◽  
pp. 42-71
Author(s):  
Hiroko Ikegami
Keyword(s):  
Vietnam War ◽  
Contemporary Art ◽  
Economic Benefits ◽  
Pop Art ◽  
Cocktail Party ◽  
Lingua Franca ◽  
Avant Garde ◽  
Japanese Imperialism ◽  
Translation Strategy ◽  
The Vietnam War

This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.

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