Art, Myth and Memory

2020 ◽  
Vol 7 (2) ◽  
pp. 199-206
Author(s):  
Alessandra Campoli
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Art Practice ◽  
The Past ◽  
The Relationship

This paper aims at investigating the relationship between collective and cultural memory, myth, and contemporary art practice. Artists in the past have relied on the power of myth to visually speak to their audience, re-presenting myths in an illusionistic way. Today art is not conventionally telling stories anymore and is disentangled from the need for mimesis. How has the relation between art and myth changed outside the framework of representational art? Is the connection between myth and collective and cultural memory used in contemporary art practice? How do art and myth intersect today?

scholarly journals Film and Media as a Site for Memory in Contemporary Art

2017 ◽  
Vol 14 (1) ◽  
pp. 157-173
Author(s):  
Domingo Martinez Rosario
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Media Art ◽  
The Past ◽  
Multi Media ◽  
A Site ◽  
The Relationship ◽  
Film And Video ◽  
With Memory

Abstract This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory.

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.

Images between Religion and Art

2017 ◽  
Keyword(s):  
Mass Media ◽  
Public Space ◽  
Contemporary Art ◽  
Religious Art ◽  
Critical Potential ◽  
The Public ◽  
The Past ◽  
The Relationship ◽  
Religion And Art ◽  
Contemporary Artists

This chapter discusses the different ways contemporary artists re-use religious motifs and the effects of such citations. In the majority of cases their artworks function as a context to turn that religion into a topic, and an object of discussion. The critical potential of contemporary artworks that deal with religious themes lies somewhere apart from art’s rejection or mocking of religion, as blasphemy retains its proximity to the specifically religious power of images. When contemporary artists reuse religious motifs they become counter-motifs. The interest in religion, in its various traditions and guises, indicates a desire for self-understanding by re-staging the past. The multifaceted relationship between contemporary art and religion is examined through a detailed discussion of twelve exhibitions organised between 1999 and 2010, which approach religion and religious art from a variety of perspectives. Many of the curators claim that they are emphatically not religious, nor trying to send a religious message. Including religion in the infrastructure of display associated with contemporary art creates a different visibility in the public space and asks questions concerning such visual practices as iconoclasm; the relationship between commercialism, mass media and religion, and the afterlife of religious art, among many others.

scholarly journals THEORETICAL AND PRACTICAL UNIVERSALITY OF MEMORY AND OBLIVION CATEGORIES IN LITERATURE

2019 ◽  
pp. 70-75
Author(s):  
Valerii Bren
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Theoretical Basis ◽  
Past Experience ◽  
Literary Studies ◽  
Social Discourse ◽  
The Past ◽  
Balanced Approach ◽  
The Future ◽  
Individual Memory

This research is devoted to the concepts of memory and oblivion in terms of the universality of these categories for literature, and their interdisciplinary in history, culturology, and sociology. The theoretical basis for analysis in the artistic text is shown on the example of Ukrainian and foreign researchers, specified and illustrated manifestations in the Ukrainian novels by Y. Andrukhovych, O. Zabuzhko, S. Zhadan, O. Irvanetz, etc. Literature is the centre of individual and national cultural memory and a means of creating of it. However, it becomes a platform for social discourse of memory, as well as the preservation of individual memory as a genetic key in the text. Consequently, modern literary studies require a well-balanced approach and analysis of the ways, means, methods, and forms of its functioning in contemporary art. Such approach will enable an understanding of the past experience, as well as assessments of contemporary imprints of events in the future, on a qualitatively new level.

The Fiend and its Followers

2021 ◽  
pp. 53-76
Author(s):  
David Evans-Powell ◽  
David Evans-Powell
Keyword(s):  
Cultural Memory ◽  
Western Europe ◽  
Detailed Examination ◽  
Cultural Attitudes ◽  
The Past ◽  
Close Study ◽  
The Witch ◽  
The Relationship

This chapter will examine the relationship between the past and the present within the film through a close assessment of the behaviour of the fiend, in particular the relationship between the fiend and the landscape. The chapter will consider the historical and cultural attitudes towards cultural memory and the remembrance or forgetting of unwelcome aspects of the past. The chapter will also place the film into its contemporary screen context through a survey of other British screen texts concerned with malign revenants that upset the present when unearthed or discovered. The chapter will continue by considering the nature of the fiend and the consequences of its influence through a detailed examination of the character of Angel Blake and the abject. The chapter will also make a close study of the influence of Margaret Murray’s The Witch-Cult in Western Europe on the film.

scholarly journals Precarity + excess in the latinopolis: Miami as Erzulie

2019 ◽  
Vol 31 (1-2) ◽  
pp. 62-80 ◽  
Author(s):  
Fredo Rivera
Keyword(s):  
Latin America ◽  
Cultural Capital ◽  
Contemporary Art ◽  
Cultural Production ◽  
Urban Landscape ◽  
Global City ◽  
Economic Conditions ◽  
The Past ◽  
Relationship Of ◽  
The Relationship

Miami’s built and natural environment, together with the politics of migration, has transformed it into a major global city and art center over the past decades. This article situates Miami—generally viewed as an aspirational city and cultural nexus of the Americas—as an oceanic borderlands lying between political and ecological precarity as well as economic and cultural excess. This article examines the relationship of contemporary art and the urban landscape to consider Miami’s unique place for thinking about LatinX and Latin America today. Building on Gloria Anzaldúa’s theorizing on borderlands and creative expression as a framework and drawing inspiration from the Vodou pantheon of Erzulie, this essay analyzes Miami through a queer and Caribbean lens. New high-rises, prominent museums, and public art installations exemplify the rise of the neoliberal city and its inherent contradictions. The work of prominent local and international artists such as Edouard Duval-Carrié, Jeanne-Claude & Christo, Glexis Novoa, and Alfredo Jaar is explored as a window for considering Miami’s cultural production. Miami is a model of tropical urbanity. Its social, political, and economic conditions belie this city’s status as global cultural capital.

scholarly journals As voces dos recordos: memoria oral, pasado traumático e novela na Galiza actual

2020 ◽  
Vol 27 ◽  
pp. 129-140
Author(s):  
Diego Rivadulla Costa
Keyword(s):  
Cultural Memory ◽  
Spanish Civil War ◽  
Interdisciplinary Approach ◽  
Point Of View ◽  
Literary Representations ◽  
The Novel ◽  
History And Memory ◽  
The Past ◽  
The Relationship ◽  
Formal Point

Voices of memories: Oral memory, traumatic past and the novel in contemporary GaliciaThe fictionalisation of the Spanish Civil War and Francoism in the Galician novel has experienced a significant evolution from a thematic and formal point of view. This evolution has been greatly influenced by the memory boom since the beginning of the 21st century, both in Galicia and the rest of Spain. Therefore, exploring the contemporary Galician narrative corpus requires an interdisciplinary approach to address not only the literary representations of history and memory, but also the functions acquired by those narratives in connection with the context as well as the cultural memory of the Galician people. This paper focuses on the relationship between memory and orality in some of these texts in order to analyse how oral memory emerges in the novel as a form of persistence of the past in current times. This oral memory becomes a key element in many of these narratives and faces a deliberate collective amnesia and the reluctance to remember, acting as a space for resistance that connects the past and present in the texts.

Cultures of Commemoration

2012 ◽  
Keyword(s):  
Cultural Memory ◽  
Ancient Greece ◽  
Comparative Approach ◽  
The Past ◽  
The Usa ◽  
War Dead ◽  
Set Up ◽  
The Relationship ◽  
Key Questions

This book offers a comparative approach to the study of the commemoration of war. It draws together a set of contributions that combine to produce a considered approach to the changes and continuities that marked the ways in which war, and in particular the war dead, were commemorated and remembered. Chapters explore the commemorative practices of Ancient Greece and Rome, and investigate how those practices have been reflected, adapted and abandoned in more recent Western cultures, from eighteenth-century France to twentieth-century Britain, Germany and the USA. The book concentrates on monuments set up by communities, from local communities to the state, but it also considers the role of ‘private’ memorials, since the interaction between private or more personalised monuments and the commemoration of the war dead by the community often lies at the heart of commemorative practices. It furthermore explores the relationship between memory and forgetting, in the context of the longer-term idea of cultural memory. Key questions addressed by the book include: What importance does such commemoration have for the cultures that continue to live with the legacies of the commemorative actions of the recent and distant past? How is the commemoration of the war dead of the past not only used but reused? The book demonstrates that our own understanding of the treatment of the war dead has absorbed and reinterpreted the treatments already developed by past societies.

scholarly journals Introduction: Cultural Memory, the Past and the Static of the Present

2006 ◽  
Vol 7 (1-2) ◽  
pp. 7-12
Author(s):  
Jane Marie Law
Keyword(s):  
New York ◽  
Cultural Memory ◽  
Memory Studies ◽  
History And Memory ◽  
The Past ◽  
Knowing That ◽  
Traditional Sense ◽  
The Many ◽  
Object Of Study ◽  
The Relationship

Ithaca, New York, September 2007 “The past is not dead. In fact, it is not even past.”WILLIAM FAULKNER The burgeoning field of study loosely known as “cultural memory studies” fills a strange gap between more traditional historiography and the anthropology of memory. Historiography in the more traditional sense embraces the stance that the past is knowable, verifiable to the extent that we have reliable evidence, and retrievable to some extent. It concerns itself with what happened in the past (and the many complications of knowing that). Cultural memory studies, on the other hand, address what Paul Ricoeur so aptly labeled “the mnemonic phenomenon,” the dialogical process through which collectivities recall the past in light of present concerns that arein part shaped by this very past that is being recalled and refashioned in the present. For the scholar of cultural memory, the object of study is not the past, but the many projects memory undertakes: healing, denial, revision, invention, recreation and re-creation, forgetting. What is the relationship between history and memory? What should it be? ...

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