scholarly journals SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART

2020 ◽  
Vol 16 (3) ◽  
pp. 11-30
Author(s):  
EKATERINA A. KARTSEVA ◽  
Keyword(s):  
Contemporary Art ◽  
Large Scale ◽  
Human Perception ◽  
Video Art ◽  
Investigative Journalism ◽  
Avant Garde ◽  
The Public ◽  
International Projects ◽  
Full Screen ◽  
Contemporary Artist

Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.

scholarly journals A voz feminista em ação: Suzanne Lacy e Andrea Dworkin

2020 ◽  
Vol 2 (2) ◽  
pp. 389-417
Author(s):  
Mirna Xavier Gonçalves
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Target Audience ◽  
The Public ◽  
The People ◽  
Contemporary Artist

Dentre todas as possibilidades de ação feminista, há a militância em espaço público e a prática em apoio às mulheres, bem como a levada de consciência sobre pautas feministas para as mulheres, tanto no âmbito privado como no público. Esta era a abordagem de Andrea Dworkin, que proferia discursos em marchas e levava suas próprias experiências para o âmbito da escrita, sua prática profissional. A mesma abordagem era utilizada por Suzanne Lacy, artista contemporânea que, através de instalações urbanas, realizava suas ações de militância combinada à arte. Este trabalho visa traçar parâmetros comuns entre estas duas mulheres, focando em suas pautas e na reverberação de seus trabalhos um em relação ao outro, bem como na sociedade.Palavras-chave: Público. Arte Contemporânea. Feminismo. AbstractAmongst all possibilities of feminist action there’s the militant strategy: to take the word of action into the public space, to act in women’s aid, to talk to your target audience and bring your discourse to the people. That was Andrea Dworkin’s strategy, who would bring her speeches into women’s marches and take her experience into her writing, which was her profession. The same strategy was taken by Suzanne Lacy, contemporary artist who focuses on urban installations to mix political and artistic action. This paper correlates these two authors, focusing on their preferred subjects and how their works reverberated together and in society.Keywords: Public. Contemporary Art. Feminism.

scholarly journals The Mama of Dada: Elsa von Freytag-Loringhoven, the original mastermind behind Fountain, 1917

2021 ◽  
Vol 10 (1) ◽  
Author(s):  
Sofia Schartner ◽  
Fran Bidwell
Keyword(s):  
New York ◽  
Art History ◽  
Sufficient Evidence ◽  
Art World ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
The Public ◽  
German American ◽  
To Come ◽  
Contemporary Artist

The most disruptive sculpture that broke the art world and the notion of art itself; the notorious Fountain, by Marcel Duchamp changed art history forever. Since the anonymous submission to the salon of independent artists in New York 1917, art lovers have never been able to come to a consensus about the piece. Debates and disputes polarized the opinion of the public. As a result, the name Duchamp had become synonymous with the term Readymade, Dada and the avant-garde. Absurdly, sufficient evidence suggests that the French artist Duchamp was not the artist behind Fountain. The female Dada poet and German American contemporary artist, Baroness Elsa von Freytag Loringhoven, was the mastermind behind it. 

scholarly journals Umbro Apollonio e l’archivio della Biennale di Venezia (1948-1972)

2019 ◽  
Author(s):  
Vittorio Pajusco
Keyword(s):  
Contemporary Art ◽  
Avant Garde ◽  
The Public ◽  
Historical Archive ◽  
Production Analysis ◽  
Archival Documentation ◽  
Art And Society ◽  
Venice Biennale

In 1948 Rodolfo Pallucchini requested the collaboration of Umbro Apollonio to organize the 24th Venice Biennale. In 1949 the critic became the permanent curator of the Historical Archive of Contemporary Art (The Biennale Archive). First of all Apollonio organized the archival documentation of the Biennale and for this reason he thought of a new project for the library and the archive: to realize it he previously entrusted with the architect Carlo Scarpa and then with BBPR Group. After the great disorders of the 1968 edition, in 1970 Apollonio became Bienniale director. He curated with Dietrich Mahlow the special exhibition «Proposal for an experimental exhibition». On this occasion, a strong dialogue with the public was sought, focusing on issues such as art and society, art and production, analysis of seeing. The result was an exhibition holding arts from historical avant-garde to the most recent researches.

Is economic inequality a universal evil?

2019 ◽  
pp. 91-106 ◽  
Author(s):  
Rostislav I. Kapeliushnikov
Keyword(s):  
Quantitative Data ◽  
Large Scale ◽  
Economic Inequality ◽  
The State ◽  
Fair Play ◽  
Left Wing ◽  
Ordinary People ◽  
The Public ◽  
Discursive Power ◽  
A Current

Using published estimates of inequality for two countries (Russia and USA) the paper demonstrates that inequality measuring still remains in the state of “statistical cacophony”. Under this condition, it seems at least untimely to pass categorical normative judgments and offer radical political advice for governments. Moreover, the mere practice to draw normative conclusions from quantitative data is ethically invalid since ordinary people (non-intellectuals) tend to evaluate wealth and incomes as admissible or inadmissible not on the basis of their size but basing on whether they were obtained under observance or violations of the rules of “fair play”. The paper concludes that a current large-scale ideological campaign of “struggle against inequality” has been unleashed by left-wing intellectuals in order to strengthen even more their discursive power over the public.

KETERTINDASAN MELAYU DALAM CERPEN “SUKU POMPONG” KARYA FEDLI AZIS DAN CERPEN “RUMAH DI UJUNG KAMPUNG” KARYA HANG KAFRAWI

2017 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Marlina Marlina
Keyword(s):  
Short Stories ◽  
Large Scale ◽  
Social Aspects ◽  
Land Conversion ◽  
The Public ◽  
Historical Reality ◽  
Sociological Approach ◽  
The Social ◽  
Imaginative Literature ◽  
The Village

Reading short stories “Suku Pompong” (Pompong Tribe) and “Rumah di Ujung Kampung” (House at the End of the Village) is like reading a historical reality that is happening on the ground of Riau Malay. The exploitation of forest resources on a large scale in recent decades in Riau Province has changed the land use of the area of intact forest into plantation area. The exploitation process causes friction in the community. The friction is eventually lead to conflict between communities and plantation companies. Their struggle to resolve conflicts and maintain their ancestral land, the strength of the company that has the license to the land and sadness when the public finally has always been on the losing side. This study objected to describe the objective reality of the Malay community in terms of land conversion, the communal land into plantations and reality of imaginative literature contained in the short stories “Suku Pompong” dan “Rumah di Ujung Kampung”. This study applied the sociology of literature approach, while the sociological approach to literature is a literary approach that specializes in reviewing literature by considering the social aspects. Based on these approaches, it can be concluded that short stories Suku Pompong and Rumah di Ujung Jalan are short stories that raised the reality of the Malay community.AbstrakMembaca cerpen “Suku Pompong” dan cerpen “Rumah di Ujung Kampung” seperti membaca sebuah realita sejarah yang terjadi di tanah Melayu Riau. Ekploitasi sumber daya hutan secara besar-besaran pada beberapa dekade terakhir di Provinsi Riau telah mengubah tata guna lahan dari kawasan hutan yang utuh menjadi kawasan perkebunan. Proses eksploitasi tersebut menimbulkan gesekan-gesekan dalam masyarakat. Gesekan-gesekan inilah yang akhirnya menimbulkan konflik antara masyarakat dengan pihak perusahaan perkebunan. Perjuangan masyarakat dalam menyelesaikan konflik dan mempertahankan tanah leluhur mereka, kekuatan pihak perusahaan yang memiliki surat izin atas tanah tersebut, dan kesedihan ketika masyarakat akhirnya selalu berada di pihak yang kalah. Penelitian ini bertujuan untuk mendeskripsikan realitas objektif masyarakat Melayu Riau dalam hal alih fungsi lahan, dari lahan tanah ulayat menjadi lahan perkebunan, dan realititas imajinatif sastra yang terdapat dalam cerpen “Suku Pompong” dan cerpen “Rumah di Ujung Kampung”. Penelitian ini menggunakan pendekatan sosiologi sastra, yaitu suatu pendekatan sastra yang mengkhususkan diri dalam menelaah karya sastra dengan mempertimbangkan segi-segi sosial kemasyarakatan. Dari pendekatan tersebut dapat diambil kesimpulan bahwa cerpen “Suku Pompong” dan cerpen “Rumah di Ujung Kampung” memang merupakan cerpen yang mengangkat realitas masyarakat Melayu Riau.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Freedom of Expression versus Privacy and the Right to Reputation

2017 ◽  
Author(s):  
Dirk Voorhoof
Keyword(s):  
Public Interest ◽  
Freedom Of Expression ◽  
Media Freedom ◽  
Investigative Journalism ◽  
The Public ◽  
The Right Of Privacy ◽  
The One ◽  
Grand Chamber ◽  
The Right ◽  
The Impact

The normative perspective of this chapter is how to guarantee respect for the fundamental values of freedom of expression and journalistic reporting on matters of public interest in cases where a (public) person claims protection of his or her right to reputation. First it explains why there is an increasing number and expanding potential of conflicts between the right to freedom of expression and media freedom (Article 10 ECHR), on the one hand, and the right of privacy and the right to protection of reputation (Article 8 ECHR), on the other. In addressing and analysing the European Court’s balancing approach in this domain, the characteristics and the impact of the seminal 2012 Grand Chamber judgment in Axel Springer AG v. Germany (no. 1) are identified and explained. On the basis of the analysis of the Court’s subsequent jurisprudence in defamation cases it evaluates whether this case law preserves the public watchdog-function of media, investigative journalism and NGOs reporting on matters of public interest, but tarnishing the reputation of public figures.

Approaches to Supporting Local and Community Development

2018 ◽  
Author(s):  
Liesel Mack Filgueiras ◽  
Andreia Rabetim ◽  
Isabel Aché Pillar
Keyword(s):  
Large Scale ◽  
Mining Company ◽  
The Sustainable Development ◽  
Social Partnership ◽  
The Public ◽  
Mining Investment ◽  
The Social ◽  
Corporate Social

Reflection about the role of community engagement and corporate social investment in Brazil, associated with the presence of a large economic enterprise, is the major stimulus of this chapter. It seeks to present how cross-sector governance can contribute to the social development of a city and how this process can be led by a partnership comprising a corporate foundation, government, and civil society. The concept of the public–private social partnership (PPSP) is explored: a strategy for building a series of inter-sectoral alliances aimed at promoting the sustainable development of territories where the company has large-scale enterprises, through joint efforts towards integrated long-term strategic planning, around a common agenda. To this end, the case of Canaã dos Carajás is introduced, a municipality in the State of Pará, in the Amazon region, where large-scale mining investment is being carried out by the mining company Vale SA.

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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