Coming to Our Senses

TURBA ◽  
2022 ◽  
Vol 1 (1) ◽  
pp. 28-43
Keyword(s):  
Visual Arts ◽  
Parallel Operation ◽  
Curatorial Practice ◽  
The 1960S

In order to grasp the significance and potential of live arts curating, I claim it is essential to understand the coming-to-visibility of the curator function in the artworld from the 1960s. This helps to navigate the question of whether the arrival of this discourse and practice for performance in the last decade is an extension of a curatorial remit founded in the gallery arts. Has the scope of curatorial work expanded, or is there a parallel operation for live arts? I argue that a third possibility remains, that it signals a mutation of curatorial practice that bears on both the formerly visual arts and on the shift ing ground of live arts. What becomes possible when curatorial work lays aside its visual privilege, its expert eyes and the authority of its insights?

Denaturalizing Time: On Kris Verdonck's Performative Installation End

2014 ◽  
Vol 39 (1) ◽  
pp. 47-56 ◽  
Author(s):  
KATIA ARFARA
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Single Point ◽  
Point Of View ◽  
Major Influence ◽  
Human Society ◽  
Work Of Art ◽  
The Spectator ◽  
The 1960S ◽  
Space Art

Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.

scholarly journals Murilo Mendes, a disciplina do indisciplinado

eLyra ◽  
2021 ◽  
pp. 103-112
Author(s):  
Kenneth David Jackson
Keyword(s):  
Visual Arts ◽  
Critical Distance ◽  
Literary Production ◽  
Electronic Communications ◽  
Poetic Imagination ◽  
The 1960S

With the rebelliousness characteristic of his self-description as an “experimental youth,” Murilo Mendes creates a critical distance between his poetic consciousness and his liberty of action. With the term, he retrospectively characterizes his entire literary production, from the poetry of the 1930s to the 1960s and 70s. To be indisciplined is to challenge norms and introduce thematic and graphic innovations, such as linguistic play, kitsch, graffiti, miniaturization and new tendencies of visual arts and electronic communications. Murilo is always attentive to the independence of the word and the musicality of poetry. Indiscipline is his self-described source of expression and method, thus a discipline in reverse that motives his poetic imagination

scholarly journals Kritisk kuratering. Udstillingspraksis udviklet i perspektiv af 1960- og 1970’ernes institutionskritik

2017 ◽  
pp. 95-104
Author(s):  
Charlotte Præstegaard Schwartz
Keyword(s):  
Art World ◽  
Institutional Critique ◽  
Educational Strategies ◽  
Political Criticism ◽  
Project Description ◽  
Curatorial Practice ◽  
Commercial Art ◽  
1960S And 1970S ◽  
The 1960S ◽  
Under Construction

This project description presents a curatorial practice that is part of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the contrary are perceived as active spaces of production. Referring to Doreen Massey’s seminal work For Space – first published in 2005 – art spaces are thought of as a product of interrelations and recognised as always being under construction. In the research project institutional critique from the 1960s and 1970s avant-gardes is used as an analytical approach and as a method of spatial and political criticism and articulation that can be applied not only to the art world, but to spaces and institutions in general, which is a point made by Simon Sheikh. The two exhibitions are not to be considered as institutional critique, but as critical exchanges with and about contemporary art. The exhibitions are made in collaboration with two non-commercial art spaces in Copenhagen and will be on show in the spring of 2017.

scholarly journals Is there a theory of peripheral postmodernism?

2020 ◽  
pp. 18-33
Author(s):  
Josnei Di Carlo
Keyword(s):  
Visual Arts ◽  
The 1960S ◽  
Brazilian Culture

After Caetano Veloso and Gilberto Gil performed at the 1967 MPB Festival, there was a change in Brazilian culture. From 1966 to 1968, Mário Pedrosa outlined in his Correio da Manhã columns what he understood by postmodernism by analyzing contemporary visual arts. Despite the contemporaneity between Tropicália and Pedrosa, his analysis is not used to understand the intervention of the two musicians in the Brazilian culture of the 1960s. Thus, we will reconstruct Pedrosa’s concept to investigate Tropicália as a manifestation of postmodernism in the periphery.

Conceptual and Performance Interventions

Collections ◽  
2011 ◽  
Vol 7 (4) ◽  
pp. 405-414
Keyword(s):  
Public Space ◽  
Conceptual Art ◽  
Curatorial Practice ◽  
1960S And 1970S ◽  
And Performance ◽  
Performance Interventions ◽  
The 1960S

Considers a variety of examples in which curatorial practice intersects and blurs with interventionism in art, including using billboards as a medium for artistic interference in public space (Shaked), translating and re-activating Regina Galindo's activist performances (Carolin), analyzing the overlapping and divergent agendas of conceptual art and curatorial practice in Zagreb and Paris during the 1960s and 1970s (Bago), and the “re-possession of perception” through curating carnival and procession (Tancons).

The Documentary Films of José Gómez Sicre and the Pan American Union Visual Arts Department

ARTMargins ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 34-56
Author(s):  
Claire F. Fox
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Cultural Policy ◽  
Cultural Development ◽  
Policy Framework ◽  
Heritage Sites ◽  
Pan American ◽  
1960S And 1970S ◽  
The 1960S ◽  
American Union

During the 1960s and 1970s, the Visual Arts Department of the Pan American Union, headquarters of the Organization of American States (OAS) in Washington, D.C., produced nearly fifty 16mm documentary short films on topics ranging from contemporary art to heritage sites and OAS member countries. This article focuses on a cluster of three titles about Peru directed by curator and critic José Gómez Sicre between approximately 1964 and 1968. Produced with funding from an international affiliate of Esso Standard Oil, the films were shot on location and demonstrate careful attention to the contexts of art production within an emerging cultural policy framework that cast art and heritage as engines of regional cultural development. The films further assert that the antiquities and modern art markets might be synchronized to become a generational taste formation, insofar as they identify classes of affordable artifacts that were finding their way to collectors relatively recently, and which had also inspired the work of postwar Peruvian artists. As an ensemble, the films reveal unexplored interactions between contemporary art movements, the development of heritage districts and site museums, and emergent cultural policies that continue to impact hemispheric American locations.

‘Sound Effects (O.K., Music)’: Steve Reich and the Visual Arts in New York City, 1966–1968

2014 ◽  
Vol 11 (2) ◽  
pp. 217-244 ◽  
Author(s):  
ROSS COLE
Keyword(s):  
New York ◽  
Visual Arts ◽  
Aesthetic Value ◽  
Process Art ◽  
Linguistic Turn ◽  
Steve Reich ◽  
Sound Effects ◽  
Gradual Process ◽  
Richard Serra ◽  
The 1960S

AbstractThis article explores Steve Reich's relationship with New York City's downtown artworld during the latter half of the 1960s, aiming to nuance aspects of early minimalism by tracing diachronic connections with the Park Place gallery, the exhibitionAnti-Illusion: Procedures/Materials, Richard Serra, Sol LeWitt, and movements such as process art and conceptualism. I suggest that, rather than revealing Reich's prior compositional philosophy, his 1968 treatise ‘Music as a Gradual Process’ demonstrated aesthetic cohesion with the stance of a particular milieu, mirroring a broader linguistic turn in contemporaneous art and revealing a certain discrepancy between theory and praxis. Drawing on newspaper reception, I explore Reich's compositions fromMelodica(1966) toPendulum Music(1968), arguing that these pieces gained both aesthetic value and institutional credibility through being understood in relation to concurrent artwork and ideas, affording productive horizons of expectation.

Live and let live? Morality in symbolic boundaries across different cultural areas

2021 ◽  
pp. 001139212110348
Author(s):  
Anders Vassenden ◽  
Merete Jonvik
Keyword(s):  
Visual Arts ◽  
Cultural Sociology ◽  
Temporal Variations ◽  
Moral Evaluation ◽  
Photo Elicitation ◽  
Symbolic Boundaries ◽  
Cultural Boundaries ◽  
The 1960S ◽  
Cultural Hierarchies ◽  
Symbolic Boundary

This article examines morality in taste judgements. In response to Bourdieu’s analysis of France in the 1960s, sociologists note that repertoires of moral evaluation vary across contexts. They typically highlight national variations, like Nordic egalitarianism weakens cultural boundaries, and temporal variations, with transformed values having made cultural hierarchies less defensible. The article investigates a neglected type of moral variation: contrasting cultural areas. In a study of class and culture in Stavanger, Norway, the authors combined oral interviews on taste with photo elicitation in the visual arts, literature and housing/architecture. While interviewees were often careful not to appear disdainful of other people’s tastes, and expressed ambivalence about cultural boundaries, their thoughts on housing/architecture diverged. Here, people did not hesitate to criticise other people’s taste, even to the point of ridiculing their houses. The authors discuss the implications for Lamont’s symbolic boundary perspective, which is predicated on a separation of three types of symbolic boundaries (cultural, socioeconomic, moral). Morality can both weaken and reinforce cultural boundaries, depending on the areas under investigation. In conclusion, the authors suggest ways cultural sociology may conceive of different moral modalities.

The Soviet Culture of Collage

2021 ◽  
pp. 29-46
Author(s):  
Peter J. Schmelz
Keyword(s):  
Visual Arts ◽  
General Trend ◽  
Soviet Culture ◽  
Violin Sonata ◽  
The 1960S

Chapter 1 discusses the precursors for polystylism in the film, visual arts, and musicking of the Soviet 1920s and 1930s. It begins by considering two compositions that encapsulate the initial motivations and method for polystylism: Schnittke’s Violin Sonata no. 2, “Quasi una Sonata,” from 1968, and Silvestrov’s Drama for violin, cello, and piano, composed between 1970 and 1971. Both works juxtapose different techniques and approaches, shifting, often quite radically, from extremely dissonant, sonoristic gestures to quotations or pastiche. This chapter also presents a genealogy of polystylism, looking first at polystylistic antecedents in the music of Dmitriy Shostakovich, Gavriil Popov, Boris Asafyev, and other composers, as well as the general trend toward collage and montage in the Russian visual arts and film from the teens to the 1930s. It concludes by exploring the collage works that took hold in the 1960s in the USSR, starting with Arvo Pärt’s Collage on the Theme B-A-C-H, before spreading more widely, ultimately providing the fuel for Schnittke’s early polystylistic compositions and his theorizing of polystylism by the end of the decade.

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