The Incurable Park: Fundidora

2016 ◽  
Author(s):  
Tarek Elhaik
Keyword(s):  
Contemporary Art ◽  
Thought Experiment ◽  
Industrial City ◽  
Art Scene ◽  
Public Lecture

This chapter is a pedagogical experiment in curatorial design that takes issue with humanist and socially oriented forms of collaboration in the age of ethnography. In 2013 the author had the opportunity to conduct a one-week seminar and deliver a public lecture in the context of the ‘Curation and Critique’ series programmed by Javier Toscano at the Escuela Adolfo Prieto in Mexico's industrial city of Monterrey. The seminar was designed to explore the concept of the incurable-image with twelve participants active in Monterrey's contemporary art scene. To this end, participants embarked on a thought experiment and a collaborative essay that would diagnose one of Monterrey's postindustrial landmarks: Parque Fundidora. This chapter first describes Toscano's curatorial work before discussing the interplay of control and curation in the layout of what seminar participants refer to as the ‘Incurable Park’. Through collaboration, this chapter tests the limits of ethnography, curation, and conceptual pedagogy.

scholarly journals L’exposition, un contexte de collaboration sur la scène mondiale de l’art : un cas de figure, l’art africain contemporain

2018 ◽  
Vol 9 (1) ◽  
pp. 33-43
Author(s):  
Francine Couture
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Cooperative Network ◽  
Art Exhibitions ◽  
African Art ◽  
Art Worlds ◽  
Art Scene ◽  
Contemporary African Art

This analysis of the context of the globalization of the contemporary art scene is based on the concept of the cooperative network of the art worlds, as defined by the American sociologist Howard Becker, applied to the exhibition's sociological character. It is approached as a sociocultural event furthering the establishment of a cooperative network among artists, commissioners, critics and theoreticians who acknowledge in the exhibited works a certain number of values and ideas about art which they share to various degrees. Case studies from the corpus of contemporary African-art exhibitions that have been labelled as contemporary African art on the international stage serve as illustrations for this analysis.

The Appearance and Development of Art Informel in European Painting

2019 ◽  
Vol 3 (2) ◽  
Author(s):  
Rumen Zhekov ◽  
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Contemporary Art ◽  
World War ◽  
Art Scene ◽  
American Painting

The article aims to identify and analyze the prerequisites and causes of the emergence of art informel in European painting and to define its first official manifestations of the art scene and it the unusual development of the late 1940s to the 1980s. Are considerate and the socio-political situations and changes after the end of World War II and their reflections on European painting in the second half of the twentieth century. The author brings a parallel with processes running during this period of time in American painting and correspondence with the European one. The main groups and representatives of this movement, manifesto, concepts and ideologies are included. Significant forums were also mentioned, presenting their works, promoted and promoted in contemporary art.

New formats, new roles, new agents: Artists’ publications in Spain since 2000

2013 ◽  
Vol 38 (3) ◽  
pp. 18-29
Author(s):  
Mela Dávila Freire
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Golden Age ◽  
Sources Of Information ◽  
New Agents ◽  
Public And Private ◽  
Art Scene ◽  
The Media ◽  
Spanish Art ◽  
The 1960S

Half a century after the 1960s, commonly considered to have been the period when artists’ publications expanded and consolidated, this genre seems to be experiencing a new ‘golden age’. In recent years, the number of books and printed matter produced by artists has grown exponentially, and so has the interest in them demonstrated by exhibition curators, public and private collectors, and even the media. The contemporary art scene in Spain is not immune to this phenomenon. On the contrary, over the last decade, artists’ publishing has undergone an explosion in quantity, quality and impact with no precedents in Spanish art history. The causes for such an explosion and its main traits are explored here, focusing on a number of significant examples and protagonists. Relevant sources of information documenting its course are offered, both online and in print.

scholarly journals Cultural Workers from the Paintbrush Factory. Between Institution-Building and Urban Development Challenges

2019 ◽  
Vol 64 (2) ◽  
pp. 85-106
Author(s):  
Marina Mironică
Keyword(s):  
Development Strategy ◽  
Contemporary Art ◽  
Physical Space ◽  
Institution Building ◽  
Cultural Workers ◽  
Cultural Policies ◽  
Art Scene ◽  
The One

Abstract The paper is an ethnography of cultural workers from the contemporary art centre from Cluj-Napoca, Romania – The Paintbrush Factory. The one-decade existence of the alternative space contributed to a range of changes in the local cultural scene and evolved from a physical space into a resource for the city’s culture-led development strategy. It also became affected and reshaped by wider changes in terms of applied cultural policies. Cultural workers’ perspective, their precarity and their involvement in the local art scene influenced the current commodification and entrepreneurialisation of the cultural offer. The Paintbrush Factory’s expansion and contraction are vividly presented through the reflexive lenses of the cultural workers and managers, whose case-study could easily be regarded as a signal and a symbol of the deficient cultural policies mostly oriented to profit and lacking any local and long term-vision.

scholarly journals Performative utopier i samtidskunsten

2012 ◽  
Vol 40 (114) ◽  
pp. 109-122
Author(s):  
Camilla Jalving ◽  
Marie Laurberg
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Cultural Transformation ◽  
Current Interest ◽  
Art Scene

PERFORMATIVE UTOPIAS IN CONTEMPORARY ART | The article deals with the current interest in the notion of utopia within contemporary visual art and theory. It is argued that utopia as a concept and area of investigation has returned on the contemporary art scene, albeit in a remarkably new way. If modernism presented utopia as a final vision for a better society, utopia is now articulated in a less ambitious way, in the vein of the much more modest question “what if”? Basing its argument on art projects by Andrea Zittel, Olafur Eliasson, Francis Alÿs and Tomàs Saraceno among others, the article puts forward the notion of a “performative utopia” – a utopia that is enacted rather than represented, and which is thus contextually and situationally defined. In the article the notion of a performative utopia is related to Nicolas Bourriaud’s idea of the “microutopia” and Fredric Jameson’s distinction between utopia as program and impulse. In conclusion it is stated that in as much as the contemporary utopia does not necessarily describe a fixed reality, its main objective is to project new visions. Hence, its criticality is not descriptively based, but lies in its ability to present a counter-image that calls on the imagination of the viewer. A plea is made for this kind of criticality as it is argued that challenging the boundaries of our imagination in itself constitutes a true cultural transformation.

scholarly journals AICA Congress in Poland in 1960: “International Character of Contemporary Art”

2020 ◽  
pp. 82-90
Author(s):  
Irina Genova
Keyword(s):  
Contemporary Art ◽  
Eastern European ◽  
Abstract Painting ◽  
Meeting Point ◽  
Art Scene ◽  
History Of ◽  
Western European ◽  
International Character

The art historian prof. Irina Genova traces the history of AICA (Association internationale des critiques d’art) and focuses on its congress in Poland (Warsaw and Krakow) in 1960. The carefully chosen topic of the congress, “International Character of Contemporary Art”, meant to provide a meeting point for Western European and Eastern European artists and to open the post-Stalinist Eastern art scene to the contemporary tendencies of the abstract painting. The situation was different in the different countries. The research draws a parallel between the quite open Polish scene and the more conservative and closed Bulgarian one and the reception the congress had in those two contexts.

scholarly journals Figure de l’indiscipline. Domingo Cisneros, un parcours artistique atypique

2017 ◽  
Vol 42 (1) ◽  
pp. 5-21 ◽  
Author(s):  
Edith-Anne Pageot
Keyword(s):  
First Nations ◽  
Contemporary Art ◽  
White Paper ◽  
Self Determination ◽  
Indian Policy ◽  
Mexican Origin ◽  
Canadian Art ◽  
Art Scene ◽  
The Government ◽  
Government Of Canada

Between 1974 et 1996, the Canadian artist of Mexican origin Domingo Cisneros was seen as a leading figure in contemporary art in Canada. He played a major role in the process of self-determination that First Nations artists undertook following the infamous 1969 White Paper, the Statement of the Government of Canada on Indian Policy. Cisneros was recognized both in the Native and Quebec francophone contemporary art worlds, and was internationally acclaimed within the conceptual and contextual art milieu gathered around the Polish artist Jan Swidzinski. His contribution has nevertheless been forgotten. Coinciding with his seventy-fifth birthday, this article aims to review, conceptually frame, and contextualize Cisneros’s role and impact on the Canadian art scene. It argues that his interdisciplinarity, or “indiscipline,” was instrumental in building connexions and bridges between heterogeneous values, cultural protocols, and epistemological principles.

scholarly journals Easy but not weightless – Pop Art, conceptual art, and politics: the progressive art of Miklós Erdély and Tamás Szentjóby in the second part of the 1960s

KÜLÖNBSÉG ◽  
2012 ◽  
Vol 12 (1) ◽  
Author(s):  
Péter Kőhalmi
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Pop Art ◽  
The Political ◽  
Art And Politics ◽  
Art Scene ◽  
The 1960S

Miklós Erdély’s theory of freedom can be analysed from the perspective of his general thoughts on the dichotomy of life and freedom.  However, the article focuses on the problem of Erdély’s theory of freedom in the context of the political. If, as he claims, freedom exists in art, then what is the relation of his art to the political, the actual conditions of freedom? This question can only be explored if his work is seen in context, in the context of the contemporary art scene of the 1960s. The paper claims that in comparison with the early neoavantgard art of Szentjóbi Tamás and company, Erdély’s work is tame or easy but surely not weightless.

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