scholarly journals #unmaskedselfiesinsolidarity. From Digital Artivism to the Collective Care of Social Art in Public Space

2020 ◽  
pp. 87-106
Author(s):  
Klare Lanson ◽  
Marnie Badham ◽  
Tammy Wong Hulbert
Keyword(s):  
International Students ◽  
Public Space ◽  
Media Studies ◽  
Contemporary Art ◽  
Social Exchange ◽  
Chinese Students ◽  
Mobile Media ◽  
The Social ◽  
Social Art ◽  
Physical Spaces

Contemporary mobile media affords new insights into social and creative practices while expanding our understanding of what kinds of public space matter. With the continual rise of the social in contemporary art which sees relationships as the medium, smartphones have become important devices for individual political expression, social exchange and now contemporary art. This article draws on media studies and contemporary art theories to discuss #unmaskedselfiesinsolidarity (2020), a socially engaged artwork engaging more than 300 contributors in a few short weeks within the online and physical spaces of RMIT University in the heart of Melbourne, Australia. This artwork was instigated during the initial February 2020 outbreak of the coronavirus in Wuhan, China in response to expressions of fear and isolation, travel bans, and growing racism targeting international students. It employed one of the most pervasive barometers of popular and public culture today, the selfie. Through its messages of care alongside signs of solidarity from Chinese students suffering anxiety and isolation, #unmaskedselfiesinsolidarity moved individual selfie expressions of identity into the realm of socially engaged arts and public space.

scholarly journals Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

2018 ◽  
Vol 12 (1) ◽  
pp. 163-176
Author(s):  
Katarina Rukavina
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Virtual Space ◽  
Spatial Experience ◽  
The Public ◽  
Social Sphere ◽  
The Social ◽  
Material Goods ◽  
Art Intervention ◽  
The City

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

American Undergraduate Students’ Social Experiences With Chinese International Students

2020 ◽  
Vol 29 (4) ◽  
pp. 354-370
Author(s):  
Takahiro Sato ◽  
Valerie Burge-Hall ◽  
Tsuyoshi Matsumoto
Keyword(s):  
International Students ◽  
Social Exchange ◽  
Undergraduate Students ◽  
Global Education ◽  
Social Exchange Theory ◽  
Social Experiences ◽  
Chinese International Students ◽  
International Exchange ◽  
American University ◽  
The Social

The purpose of this study was to describe and explain American undergraduate students’ social experiences interacting with non-native English-speaking Chinese international students during conversational practices at an American university. This study used an explanatory (holistic) multiple case study design (Yin, 2003) using in-depth, semistructured interviews grounded in the social exchange theory. The participants were seven American students (three men and four women) who served as conversation partners of Chinese international exchange students during each fall semester. Three major interrelated and complex themes emerged from the data. They were (a) developing social reward relationships, (b) proving the social norm information during the conversational partnerships, and (c) employing/utilizing strategies for developing trust relationships. The results of this study can be utilized to encourage faculty, global education office staff, and all students to respect, value, and embrace the languages and cultures of Chinese international students. This contribution can prompt a greater appreciation for diversity which leads to meaningful academic, athletic, and social experiences for all students at American college and university.

Mobile Art

2020 ◽  
pp. 369-391
Author(s):  
Larissa Hjorth
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art Practice ◽  
Contemporary Culture ◽  
Mobile Media ◽  
Cindy Sherman ◽  
Media Arts ◽  
The Social ◽  
A Site ◽  
The Relationship

This chapter surveys the multiple ways in which mobile media art has been defined by outlining some of the ways in which the field has been defined as it moves from media arts and hybrid reality to a more holistic contemporary art practice. It is then considered how mobile art is heralding ways in which to rethink the relationship between the quotidian, the social, and the politics of data. Finally, the chapter reflects on movements by artists (such as Cindy Sherman) to social mobile media as a site for critique and questioning of contemporary culture and everyday life.

scholarly journals Transgression as a Profanation in the Contemporary Art

2015 ◽  
pp. 18-24
Author(s):  
Olessya V. Stroeva
Keyword(s):  
Contemporary Art ◽  
Political Action ◽  
Media Culture ◽  
Street Art ◽  
Modern Culture ◽  
Artistic Activity ◽  
The Social ◽  
Social Art ◽  
The Media ◽  
Market Relations

Analyses the postmodern concepts of “transgression” and “bricolage” in relation to contemporary art. Addressing the street art and the social art the author shows how the model of bricolage with the elements of transgression­profanity works in the modern culture. The mass audio­visual culture dictates a new way of perceiving art works, and all of them are the reflections of the media culture, or its bricolage “bounce.” The media culture and the society of globalisation in general produce a syncretic or bricolage environment with a “soft ban” system anticipating transgression; it is the erosion of boundaries which creates the illusion of transgression steps that can turn an artistic activity into a political action or make it balance on the verge of breaking the law. However, in such a type of culture, a transgression step is not opposed by a ban but by another transgression state which is a part of the system of market relations already

scholarly journals #UNMASKEDSELFIESINSOLIDARITY: FROM SELF CARE TO COLLECTIVE CARE—AFFECTIVE ARTIVISM, NETWORKED BELONGING AND MOBILE MEDIA PARTICIPATORY ART.

2020 ◽  
Author(s):  
Klare Louise Lanson
Keyword(s):  
International Students ◽  
Global Health ◽  
Social Practice ◽  
Information Dissemination ◽  
Mobile Media ◽  
Cultural Economic ◽  
Health Crisis ◽  
Participatory Art ◽  
The Social ◽  
The Government

Contemporary mobile media affords new insights into the social, critical, cultural and creative practice methods. With the continual rise of social practice in art which sees the “social” and “experience” as the medium, smartphones have become an increasingly important device for information dissemination, collective dialogue and poetic expression. This paper considers these insights through the lively and multivalent discussion of participatory art project entitled $2 (2020) as case study. It is situated within the community of **** University international students, local students, staff and friends during the recent outbreak of the coronavirus in Wuhan, China, a global health event that has had significant socio-cultural, economic, and political impacts. It employs one of the most pervasive barometers of popular culture today, the selfie. Moving through related topics such as facial recognition and digital parenting, the $2 team recognise that now more than ever, we need transformative work to engage in collective care. In essence, this project has created an affective listening network to make the unheard heard, to voice personal concerns, and to show empathy for the broader community affected by this global health crisis. $2 openly supports international students caught in the crossfire of strict new travel restrictions imposed by the Government. We critically reflect on how art is a socially transformative process, through its messages of care alongside messages from Chinese students suffering anxiety and isolation, waiting for the travel bans to be lifted, a tempering of the stigma and racism accompanying the coronavirus event here in $2 .

scholarly journals Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

2018 ◽  
Vol 12 (1) ◽  
pp. 163-176
Author(s):  
Katarina Rukavina
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Virtual Space ◽  
Spatial Experience ◽  
The Public ◽  
Social Sphere ◽  
The Social ◽  
Material Goods ◽  
Art Intervention ◽  
The City

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

Introduction

2017 ◽  
Author(s):  
Angela Harutyunyan
Keyword(s):  
Soviet Union ◽  
Contemporary Art ◽  
Social Institutions ◽  
Historical Study ◽  
East European ◽  
The Soviet Union ◽  
The Social ◽  
Social Art ◽  
The Aesthetic ◽  
The Individual

This book addresses the discursive and representational field of contemporary art in Armenia in the context of the post-Soviet condition, from the late 1980s through the 1990s up until the early 2000s. Contemporary art, I argue, is what best captures the historical and social contradictions of the period of the so-called ‘transition’, especially if one considers ‘transition’ from the perspective of the former Soviet republics that have been consistently marginalized in Russian- and East European-dominated post-socialist studies. Occupying a sphere distinct from other social and cultural spheres of productive activity and yet inextricably connected to social institutions, contemporary art in Armenia has become a negative mirror for the social: art has been viewed as that which reflects those wishes and desires for emancipation that the social world has been incapable of accommodating in both late Soviet and post-Soviet contexts. Contemporary art’s status as a negative mirror is due to its particular historical emergence in transnational (Soviet) and national (post-Soviet) contexts, its peculiar institutionalization in relation to official cultural discourse, and to a prevailing belief in art’s autonomy. Throughout the two decades that encompass the chronological scope of this work, contemporary art has encapsulated the difficult dilemmas of autonomy and social participation, innovation and tradition, progressive political ethos and national identification, the problematic of communication with the world beyond Armenia’s borders, dreams of subjective freedom and the imperative to find an identity in the new circumstances after the collapse of the Soviet Union. These are questions that have occupied culture and society at large, in the post-Soviet context and beyond. Yet the contradictions embedded in these questions are best crystallized in contemporary art, because of its peculiar position within the social sphere. This historical study aims at outlining the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist) and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia in post-Soviet conditions from a critical perspective and in ways that point towards the limitations of the aesthetic ...

Inkluzywny potencjał sztuki społecznej

2021 ◽  
pp. 7-22
Author(s):  
Krystyna M. Błeszyńska ◽  
Małgorzata Orłowska ◽  
Joanna Salska McNeil
Keyword(s):  
Social Exclusion ◽  
Contemporary Art ◽  
Social Practice ◽  
Social Activism ◽  
Art Market ◽  
Pedagogical Practice ◽  
Social Rehabilitation ◽  
The Social ◽  
Social Art

One of the most interesting phenomena in contemporary art is the interpenetration of art and social practice. The artist’s search for new forms of expression and finding himself on the contemporary art market are intertwined with social activism and attempts to contest the existing order. By presenting the variety and ambiguity of activities classified as social art, the authors attempt to interpret them critically. By situating the analysed phenomenon in the context of overcoming social exclusion and social rehabilitation interactions, they also try to determine whether, and if so, to what extent it can enrich the current pedagogical practice. Two questions become key here. One of them is the question of the essence of social art. The second one is to define the significance of including the role of the Artist and Participant of artistic activities in the repertoire of the social roles of the excluded subject to date.

Early Debates

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Eighteenth Century ◽  
Public Space ◽  
Domestic Space ◽  
Limited Resources ◽  
Public And Private ◽  
Conduct Manuals ◽  
The Public ◽  
Clear Cut ◽  
The Social ◽  
Undeserving Poor

This chapter provides an account of how organilleros elicited public anger because their activity did not fit into any of the social aid categories that had been in place since the late eighteenth century. Social aid in Spain relied on a clear-cut distinction between deserving and undeserving poor in order to rationalize the distribution of limited resources and reduce mendicancy on the streets. Organilleros could not, strictly speaking, be considered idle, since they played music, but their activity required no specific skills and was regarded with suspicion as a surrogate form of begging. The in-betweenness of the organillero caused further anger as it challenged attempts to establish a neat distinction between public and private spaces. On one hand, organillo music penetrated the domestic space, which conduct manuals of the nineteenth century configured as female; on the other, it brought women into the public space, which those manuals configured as male.

Sign in / Sign up

Export Citation Format

Share Document