Discourse, Figure, d’après Lyotard.

2021 ◽  
Author(s):  
Noni Geiger
Keyword(s):  
Visual Arts ◽  
Conceptual Art ◽  
Time Lapse ◽  
Abstract Concepts ◽  
Structural Element ◽  
Avant Garde ◽  
White Boards ◽  
The Sixties ◽  
White Type ◽  
Text Condition

The presence of the written element in cinema goes back to the early silent movies era, to express meanings that were not enough comprehensible just through images. The use of text charts as means to support and to implement narrative almost invariable consisted of black cards with centered white type (rarely the opposite, i.e., black type on white boards), occasionally utilizing graphic features as ornaments.These letterings inserted between scenes, either before or after to which they referred, sometimes had a deranged narrative effect because of interrupting the action flow. But words, when added to the cinematographic image, can indeed communicate certain abstract concepts such as date time lapse, local; evince characters speeches; describe some action not performed in the movie.This paper aims to investigate the change of status of the written element as an accessory apparatus to a central and structural element of the movie, specifically in the experimental and avant-garde cinema, considering Marcel Duchamp’s Anémic Cinéma (1926) its inaugural example.The incorporation of textual elements can be understood within the very process of the visual arts in the first decades of the twentieth century since Braque’s Gueridon (1913) and Picasso’s Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913) through the Cubist and the Dada conceptual and formal strategies.The Conceptual art of the sixties and seventies permeates expressions of film experimentalism that will be analyzed for its use of text condition, where Michael Snow’s So this is, already in early 80ies (1982) is to be highlighted.

scholarly journals Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks

2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Digital Humanities ◽  
First Generation ◽  
Digital Archive ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Sixties ◽  
New Methodologies ◽  
Post War

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

Georges Perec’s Enduring Presence in the Visual Arts

2017 ◽  
Author(s):  
Mireille Ribière
Keyword(s):  
Visual Arts ◽  
Conceptual Art ◽  
Roland Barthes ◽  
Time And Space ◽  
The Real ◽  
Avant Garde ◽  
The Subject ◽  
1960S And 1970S ◽  
Formal Constraints ◽  
Contemporary Artists

A former student of Roland Barthes, Perec rejected the dogmatism of the French avant-garde and the oppressive nature of theory in the late 1960s and 1970s, while dismissing the myth of the inspired artist and upholding those aspects of modernism that enabled art to assert itself as constructed intentionality. When he reconsidered the issue of the subject in its relationship to history and society, to the real, and to time and space, he managed to steer clear of expressivity, psychology and conventional mimesis. The co-existence of autobiographical and sociological concerns with formal constraints that both challenge and integrate the notion of chance, as well as his particular brand of formal pre-composition, which does not exclude humour, playfulness and immediacy, constitute further aspects of his enduring presence in the visual arts. This chapter argues that Perec practised literature both as a craft and as a form of conceptual art, and examines how the fundamental questions he raised, the conversations he initiated and the various methodologies he proposed have made, and continue to make him relevant to contemporary artists.

Tradycja modernizmu i awangardy w ukraińskim malarstwie II połowy XX wieku

2018 ◽  
Vol 6 ◽  
pp. 397-416 ◽  
Author(s):  
Marta Zambrzycka
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Socialist Realism ◽  
Socialist Republic ◽  
Soviet Socialist Republic ◽  
Avant Garde ◽  
Social Activists ◽  
The Sixties ◽  
The Subject

The subject of the article is the infl uence of the Ukrainian modernism tradition and avant-garde on painting evolving in the second half of the 20th century in the Ukrainian Soviet Socialist Republic. The author of this article focuses on trends that do not correspond with the aesthetics of socialist realism being developed in opposition to it. The subject of the analysis is the generation work that debuted during the “Khrushchev Thaw” (1956–1964), called the generation of the sixties or nonconformists. The fi rst term includes painters, writers, poets, cinema and theater makers, as well as social activists. The second term both narrows the fi eld of interest to visual arts and extends the timespan from the Khrushchev Thaw to Perestroika.

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.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

Klee, Paul (1879-1940)

2018 ◽  
Author(s):  
Annie Bourneuf
Keyword(s):  
Visual Arts ◽  
Music Teacher ◽  
Growing Up ◽  
Paul Klee ◽  
Avant Garde ◽  
Swiss German ◽  
Tone Color ◽  
Blaue Reiter ◽  
Artistic Self ◽  
Walter Gropius

Paul Klee was one of the most important and inventive figures in the development of Modernism in the visual arts. The Swiss-German artist's unusual oeuvre drew on the work of other modernist painters while also challenging foundational tenets of Modernism in painting. The son of a music teacher, Klee was a talented violinist. As an adolescent growing up in Berne, Switzerland, Klee was interested not only in the visual arts but also in poetry and music. After graduating from the Berne Gymnasium in 1898, Klee moved to Munich to study art at the academy. In 1906, Klee married the pianist Lily Stumpf; their only child was born the next year. Relatively isolated from avant-garde art, Klee undertook a prolonged artistic self-education, attempting to break down pictorial art into its elements—line, tone, color—and master them one by one. In 1911 and 1912, Klee became friendly with the artists of Der Blaue Reiter, including Vassily Kandinsky, Franz Marc, and August Macke, who accompanied Klee on a trip to Tunisia in 1914. Through these new connections, Klee became familiar with a broad spectrum of modernist art. In 1916, Klee, a German citizen, was drafted; he served as a clerk in Bavaria, far from the front. During the war, the Berlin dealer Herwarth Walden energetically promoted Klee's work. By 1920, many in the German avant-garde acknowledged Klee as a major artist, and Walter Gropius invited him to join the faculty of the newly established Bauhaus.

Xul Solar (1887–1963)

2018 ◽  
Author(s):  
David Fernando Cortés Saavedra
Keyword(s):  
Latin American ◽  
Visual Arts ◽  
Buenos Aires ◽  
Italian Renaissance ◽  
American Modernism ◽  
Avant Garde ◽  
Long Period ◽  
Semiotic Systems ◽  
San Fernando ◽  
Modernist Project

Associated with the most important figures of the literary and artistic avant-garde of Buenos Aires, the Argentinean painter and polyglot Xul Solar was key in connecting European movements like Expressionism, Constructivism and Dadaism to Latin American modernism. He contributed to the modernist project via the convergence in his work of depurated (simplified) flat colorful figuration and a complex iconography of pre-Columbian and religious derivation. Xul Solar lived during his youth in San Fernando, Argentina, and was equally inclined towards music and the visual arts. During a long period of travel throughout Europe, he encountered several artistic movements—from the Italian Renaissance to die Brücke—and studied linguistics and theosophy. Enthralled by his experiences abroad, Xul Solar returned to Argentina in 1924, joining the artist group Martín Fierro and elaborating on projects begun in Europe such as the creation of his artificial language, Panlingua. His fascination with elaborate semiotic systems also led him to create the game PanChess. Xul Solar’s visual works varied throughout his career from geometric abstraction to schematic figuration, from fantastic paintings to symbolic portraits. Xul Solar remains one of the most influential Latin American artists of the modern period.

Carl Michael von Hausswolff

2008 ◽  
Vol 13 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Daniela Cascella
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Site Specific ◽  
Sound Installation ◽  
Avant Garde ◽  
Wide Range ◽  
The World ◽  
Art Photography ◽  
Conceptual Research ◽  
Audio Production

AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.

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