scholarly journals L’Educational Turn. L’éducation comme média artistique: À la recherche d’une interactivité nouvelle

2016 ◽  
Vol 43 (1) ◽  
pp. 40
Author(s):  
Rébéca Lemay-Perreault
Keyword(s):  
Public Participation ◽  
20Th Century ◽  
Contemporary Art ◽  
Museum Education ◽  
Knowledge Dissemination ◽  
Institutional Critique ◽  
Relational Aesthetics ◽  
Avant Garde ◽  
Interaction Mode ◽  
Artistic Medium

Abstract: “Educational Turn”, an expression used for a decade by museology and various contemporary art environments, by artists as well as curators (Rogoff, 2008; O’Neill & Wilson (Eds.), 2010; Wilson & O’Neill, 2010; Wesseling (Ed.), 2011).  Derived from artistic avant-garde tendencies of the second half of the 20th Century, including institutional critique and relational aesthetics, it immediately brings forward the issues of interactive modalities of the exhibited artwork, public participation, and knowledge dissemination.  But this expression actually goes further since the concept of “educational turn” is not only rooted in the artwork as a mediation tool, but to cite Podesva (2007), in education as an artistic medium, fudging the disciplinary limits of art, museology, and museum education.  What is new about this turn and how does it transform museum practices?  This essay aims to define a new interaction mode embodied by these productions by analyzing the historiographical corpus theorizing the movement. KEYWORDS: Educational Turn; contemporary art; interactivity; museum; postmodernismRésumé: « Educational turn », un terme qui, depuis dix ans, a su se faire connaître dans différents milieux de l’art contemporain et de la muséologie, tant chez les artistes que chez les conservateurs (Rogoff, 2008; O’Neill & Wilson (Eds.), 2010; Wilson & O’Neill, 2010; Wesseling (Ed.), 2011). Issu des avant-gardes artistiques de la deuxième moitié du 20e siècle, notamment de la critique institutionnelle et de l’esthétique relationnelle, il pose d’emblée la question des modalités d’interactivité de l’objet d’exposition, de la participation des publics et de la transmission des savoirs. Mais l’expression va plus loin puisque l’idée d’un « educational turn » prend non seulement ancrage dans une conception de l’œuvre d’art comme dispositif de médiation, mais aussi, pour reprendre l’expression de Podesva (2007), de l’éducation comme un médium artistique, brouillant les frontières disciplinaires de l’art, de la muséologie et de l’éducation muséale. En quoi ce tournant est-il nouveau et quelles transformations apporte-il à la pratique muséale ? À travers une analyse du corpus historiographique théorisant le mouvement, cet essai vise définir un nouveau mode d’interactivité incarné dans ces productions.MOTS CLES: Eductional Turn; art contemporain; interactivité; musée; postmodernité

Art as Abstract Machine: Guattari's Modernist Aesthetics

2012 ◽  
Vol 6 (2) ◽  
pp. 224-239 ◽  
Author(s):  
Stephen Zepke
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Felix Guattari ◽  
Institutional Critique ◽  
Abstract Machine ◽  
Political Condition ◽  
Avant Garde ◽  
Immanent Critique ◽  
Conditions Of Possibility ◽  
To Come

Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.

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...

scholarly journals Image spaces. Digital visual media in the context of baroque mural painting in architecture

2021 ◽  
Vol 29 (38) ◽  
pp. 249-254
Author(s):  
Piotr P. Drozdowicz
Keyword(s):  
Digital Media ◽  
20Th Century ◽  
Contemporary Art ◽  
Visual Media ◽  
Basic Material ◽  
Mural Painting ◽  
Total Work ◽  
Work Of Art ◽  
Spatial Turn ◽  
Avant Garde

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

scholarly journals Artista contemporáneo busca público al que enfrentarse. Sobre el arte como hecho comunicativo

Liño ◽  
2017 ◽  
Vol 23 (23) ◽  
pp. 147
Author(s):  
Luis D. Rivero Moreno
Keyword(s):  
Twentieth Century ◽  
Public Participation ◽  
Contemporary Art ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Physical Presence ◽  
Siglo Xx ◽  
Arte Contemporáneo

RESUMEN:Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes que limitaban la comunicación en el hecho artístico. Las tentativas de hacer fluir la comunicación entre artista y público se han basado en diversas estrategias: de la socialización de la creación a la disolución material de la obra como elemento intermedio. Gran parte del arte contemporáneo ha tratado de convertir al público en partícipe, o bien conseguir involucrar al artista en la sociedad. Una tercera salida será la de la presencia física de artista y público en un mismo lugar y mismo tiempo.PALABRAS CLAVE:Arte contemporáneo; semiología; artista; público; participación en el arte.ABSTRACT:Since the early twentieth century, the goal of the avant-garde was the break with the constraints that limited the artistic communication. The attempts of flowing communication between artist and audience have relied on different strategies: from the socialization of creation to the material dissolution of the work as intermediate between both. Much of contemporary art is built on the attempt to turn the audience into a participant, or get involve the artist in society. A third output will be the physical presence of the artist and audience in the same place and the same time.KEY WORDS:Contemporary art; semiology; artist; public; participation in art.

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.

scholarly journals Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век

2020 ◽  
pp. 209-222
Author(s):  
Галя Симеонова-Конах
Keyword(s):  
Cultural Heritage ◽  
20Th Century ◽  
Contemporary Art ◽  
Interdisciplinary Research ◽  
Special Significance ◽  
Research Perspective ◽  
Avant Garde ◽  
Native Art

The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgarian expressionism along with its artistic forms of rhythm and motion had a special significance. The analysis focuses on the theoretical writings by the most important representatives of Bulgarian avant-garde, namely, Čavdar Mutafov, Geo Milev, Nikolai Rainov, Sirak Skitnik and others whose attitude towards the problems of the style highlighted the process of it arising from individual acts to artistic syntheses. In the article, there are also references to the works of the contemporary art historian Dimitâr Avramov. The interdisciplinary research perspective of the article allows the author to indicate the distinctive properties of the avant-garde style of the Native Art, but also to illuminate the intellectual turn in Bulgarian art at the beginning of the 20th century.

scholarly journals Radical Avant-Garde and the Obsession for a New Beginning

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Ștefan Gaie
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Past Century ◽  
Avant Garde ◽  
The Past ◽  
New Beginning ◽  
The Face

Rising in an extremely troubled context in the first decades of the 20th century, the so-called radical avant-garde (especially Futurism, Dadaism, Suprematism and Constructivism) obsessively pleaded for a ”new beginning”, a real ”restart” of art. Its discourse, both theoretical, of the avant-garde manifestos, and visual, aimed at giving alternatives for what were meant to become the new benchmarks of art history. We know today that the face of art definitely changed as a result of the avant-garde assaults. Even if the effects of this radicality faded in the past century, they are still evident. This study is intended to understand this radicality within the context of its occurrence, to find some of its constants and to follow its effects upon contemporary art, in order to attempt to understand to what extent we can speak about  a success or a failure of the avant-garde.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

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.

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