scholarly journals Dell'Archivio Storico delle Arti Contemporanee «la Biblioteca n’era il principio»

2019 ◽  
Author(s):  
Giorgia Marchesin
Keyword(s):  
Contemporary Art ◽  
Cultural Institutions ◽  
Continuous Development ◽  
Ground Floor ◽  
Historical Archive ◽  
Current Location ◽  
The World ◽  
Venice Biennale ◽  
Small Room

The essay aims to reconstruct the history and to provide a library analysis about one of the most important libraries of contemporary art in Italy: the Library of the Venice Biennale. The library has been the founding fulcrum of what today is ASAC: Historical Archive of Contemporary Arts of the Venice Biennale. Its long history can be reconstructed by retracing the move of which it has been the protagonist, from the beginning in a small room on the ground floor of the Palazzo Ducale, to the current location inside the Central Pavilion of the Biennale Gardens. The heritage of books is in continuous development thanks to the Book Pavilion project and a network of exchanges between the most important artistic and cultural institutions. Today the Library heritage includes over 153,000 publications and over 3,000 periodicals. This invaluable collection, for the world of contemporary art, offers almost 23,000 volumes owned, in Italy, exclusively from the Library of the Venice Biennale.

scholarly journals Dance Well and Diary of a Move: From Artistic Projects to Social Processes

2021 ◽  
Author(s):  
Susanne Franco
Keyword(s):  
Social Change ◽  
Social Context ◽  
Contemporary Art ◽  
Sense Of Community ◽  
Social Processes ◽  
Cultural Institutions ◽  
Standing Committee ◽  
Diverse Communities ◽  
The World ◽  
Large Audience

This chapter analyses two participatory projects conducted in the frame of the Creative Europe project Dancing Museums. Dance Well (2015) was hosted by the Civic Museum of Bassano del Grappa (Italy) and was aimed at people affected by Parkinson’s disease and their families; Diary of a Move (2020), which was conceived by the Italian-Japanese choreographer Masako Matsushita during the first lockdown in Italy, was addressed to a large audience. Operating outside the contemporary art mainstream and in a rather provincial and conservative political and social context, these two artistic projects and the processes they initiate by actively involving their audiences, have produced real social change and have created a sense of community rather than merely producing a display or a staged version of it. Both projects also prove how museums as cultural institutions can be “democratising and inclusive spaces” and how they “work for diverse communities” to “enhance understandings of the world”, as the 2019 ICOM Standing Committee for Museum Definition, Prospects and Potentials suggested.

The path of reflection into the world: Voices from the Guangzhou Triennial (2002‐08)1

2020 ◽  
Vol 7 (1) ◽  
pp. 47-71 ◽  
Author(s):  
Hu Bin
Keyword(s):  
Contemporary Art ◽  
Historical Perspective ◽  
Chinese Contemporary Art ◽  
Field Of Vision ◽  
Sudden Rise ◽  
The World ◽  
Interpretive System ◽  
The Right ◽  
Venice Biennale ◽  
Contemporary Artists

Biennial and triennial exhibitions were first established in western countries, gradually becoming a well-recognized formula that came to influence non-western nations. Biennial and triennial exhibitions rose in prominence beyond western boundaries as they strove for the right to speak on the international stage. The sudden rise of biennial and triennial exhibitions in China is closely linked to these concerns. It is generally accepted that China’s biennial exhibitions first entered into the international field of vision in 2000 with the Shanghai Biennale, closely followed in 2002 by the Guangzhou Triennial, which has garnered frequent mention internationally. Viewed from a historical perspective, the themes explored by the first three editions of the Guangzhou Triennial constituted a different set of ideas regarding the international predicament of Chinese contemporary art, while the featured artists in the latter two editions were not limited to China. The backdrop for these ideas was the frequent appearance of Chinese contemporary artists on such international platforms as the Venice Biennale beginning in 1993, and the tendencies and conditions of the selections for such appearances. Chinese contemporary artists at the time were excited to gain entry to these important international platforms, but at the same time, the ways in which they were interpreted and selected gave pause for reflection. This reflection was directed not just at the artists themselves, but at the response from the critical and curatorial realms. A very important matter within this was the need for China to establish its own interpretive system and internationalized platform. Below, I will follow a chronological path in outlining the gradual progression of the Guangzhou Triennial in regard to these themes, and the connections between them.

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.

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 Colonial Architecture in Panama City. Analysis of the Heritage Value of Its Monastic Buildings

Designs ◽  
2020 ◽  
Vol 4 (4) ◽  
pp. 57
Author(s):  
Antonio Cubero Hernández ◽  
Silvia Arroyo Duarte
Keyword(s):  
Architectural History ◽  
Heritage Preservation ◽  
Panama City ◽  
World Heritage List ◽  
Current Location ◽  
Specific Analysis ◽  
The World ◽  
Value Loss ◽  
Historical Role ◽  
Historical Heritage

The Historic District of Panama City was inscribed on the World Heritage List in 1997 for representing an exceptional example of 17th century colonial urban planning in the Americas. This article focuses on the specific analysis of the deteriorated monastic typology, highlighting its historical role as an articulating piece of the original urban layout designed in 1673 after the transfer from Panamá Viejo to the current location and which continues today. Our methodology consisted of reviewing the different stages of each of these buildings, extracting common events, and identifying the examples of the greatest value loss, with the aim of enhancing and highlighting their historical footprint. This study includes approaches from urbanism, architectural history, and heritage preservation that allows us to discuss possible tools, either for protection or adaptative reuse, to avoid the deterioration of such important historical heritage.

scholarly journals The Image of the Babel Tower in Contemporary Art and a Parallel Disruption of the Statue of Liberty

2018 ◽  
Vol 1 (1) ◽  
pp. 34-47
Author(s):  
Ayfer Karabıyık
Keyword(s):  
Contemporary Art ◽  
The World ◽  
Local Narratives

The ‘Legend of the Babel Tower’ is mentioned in local narratives in many regions of the world and in mainstream religions, and is a subject much worked on in the field of art. This study will focus on the theme of the Babel Tower myth as discussed in contemporary art. The intention here is to discuss the reasons for the different assessments of the Babel myth in each period.

scholarly journals Art for peace

2019 ◽  
Vol 9 (2) ◽  
pp. 63-74
Author(s):  
Vafa Afshar ◽  
Candan Terwiel
Keyword(s):  
Human Trafficking ◽  
Contemporary Art ◽  
Modern Times ◽  
The Arts ◽  
Healing Power ◽  
The World ◽  
Main Item ◽  
War Art

In this our modern times, many people, although not in every geography, had to live with wars and conflicts. Peace has always been the object of purchase, even if art cannot afford to prevent the war. Violence and war have become commonplace for everyone, especially for children. Exile, immigration, refugee, human trafficking issues, which have become a problem of the world as a result of war and violence, await solutions. Institutions, states and global organisations are trying to take big economic and social measures towards these problems; however the unresolved problems of the endless wars, the issues of war continue to be the main item of the agenda. For instance, the arts of Otto Dix, Kathe Kollwitz or our current days artists Tammam Azzam and Banksy. This study emphasises the belief that the art has a unifying, healing power, and therefore Art for Peace will continue to be made. Keywords: Contemporary art, peace, war, art.

scholarly journals Johan Vilhelm Snellman’s–Finnish Philosopher, Writer, Diplomat–Statement “Science Centers for All”

2019 ◽  
Vol 12 (12) ◽  
pp. 85
Author(s):  
Abdullah Aydın
Keyword(s):  
Latin America ◽  
Human Life ◽  
Cultural Institutions ◽  
Science Centers ◽  
Global Village ◽  
Human Welfare ◽  
Content Analyses ◽  
The World ◽  
The Caribbean ◽  
The One

“Go to temples of science and ideas of Europe. Imitate the Tugendbund, ‘the Union of Virtue’, of which thousands of German youth are the members. Always keep the rule of ‘Fit soul is in fit body’ in mind” (Petrov, 2013, p. 72). This study aimed to show the similarities, in terms of expression, emphasis, and implication, in the about/mission/vision/goals/objectives of various science centers from around the world and in the basic themes derived from Snellman’s statement above, namely, Science for all, Science Centers for all, and Human welfare that he made as a challenge to not only his people but to everyone. Document and content analyses were applied in the study. Within the scope of these analyses, this study investigated the about/mission/vision/goals/objectives sections of websites of science centers from around the world (Asia, Europe, Global, Latin America/The Caribbean, North America, Africa). From this investigation, similar basic themes, derived from Snellman’s statement challenging his people/everyone to adopt this devotion to science, were found in the areas of i) expression in ASTC, CIMUSET/CSTM, CASC and SAASTEC; ii) emphasis in ECSITE, ASDC, ASCN and NSCF; and iii) implication in ASPAC, ASTEN, NCSM, ABCMC and Red-POP. These basic themes, as found in the about/mission/vision/goals/objectives of science centers, can, in effect, be narrowed down to the one theme of “cultural institutions will be a big part of human life” (Madsen 2017, p. 68) science centers in the global village (Touraine, 2016, p. 121) of the future.

The confusion of language in the interpretation of Genesis 11

2018 ◽  
Vol 89 (1) ◽  
pp. 34-50
Author(s):  
Chris Gousmett
Keyword(s):  
Hebrew Text ◽  
Correct Position ◽  
The People ◽  
Current Location ◽  
The World

Genesis 11:1–9 has traditionally been interpreted as the origin of all languages of the world and seen to precede Genesis 10 chronologically. I argue that this is not consistent with the use of lashon and saphah in the Hebrew text and does not make sense of its current location within the narrative. Rather this passage is about the punishment of God on the empire being formed by Nimrod, commencing at Babylon, and on the unity of purpose among the people. Their common intent was confused, the people scattered and the construction ended. The story is in its correct position in the narrative of Genesis, and builds on Genesis 10:10–12 in greater detail.

The Zidane Film

Post-cinema ◽  
2020 ◽  
Author(s):  
Richard Conte
Keyword(s):  
Contemporary Art ◽  
21St Century ◽  
Football Player ◽  
Social Aspect ◽  
Depth Analysis ◽  
The World

Post-cinema in the post-art era can also arise from the collaboration of two artists, as in the case of Zidane: A 21st Century Portrait (2006), a film by Douglas Gordon and Philippe Parreno: 17 cameras placed around the Bernabéu stadium in Madrid where a match is taking place follow the well-known football player, Zinédine Zidane, from the beginning of the game until his dismissal. Richard Conte examines this special portrait, paying particular attention to how the film focuses primarily on Zidane and on details that could only be captured by the artistic filmic device. This in-depth analysis of such an approach and its astonishing filmic result also concern a social aspect of post-cinema that deserves to be highlighted: here, “the elitist contemporary art meets the most popular sport of the world and one of its most emblematic figures.”

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