scholarly journals DISSENTING BODY AND ITS CREATIVE RECONTEXTUALISATION IN LITHUANIAN VISUAL ARTS

2019 ◽  
Vol 12 (2) ◽  
pp. 361-375
Author(s):  
Basia Nikiforova ◽  
Kęstutis Šapoka
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Cultural Development ◽  
The Body ◽  
New Materialism ◽  
Artistic Practice ◽  
Clear Cut ◽  
Cultural Biography ◽  
Starting Point ◽  
Art As Research

The body is an important starting point concept throughout deconstruction, reconstruction and recontextualization of the body’s concept. This change of focus in research that stems from the results to the process of contextualization means that the researcher should engage with texts or images, as they are reflected in the process of cultural development and exchange, through which decontextualization is exhibited. This article deals with the concept of new materialism and endeavors to explain, how discourses come to matter. It examines the issue of how new materialism tackles visual art in innovative ways – through the intersections of artistic practice, art-as-research, and philosophical analysis. Such definitions as Maurice Merleau-Ponty’s “a bodily being”, Julia Kristeva’s “the abjection of the self”, Arjun Appadurai’s “the aesthetics of decontextualization” and “singularized object”, Igor Kopytoff’s “the cultural biography of things”, and Nicholas Thomas’ “entangled objects”, constitute the methodological frameworks of our research. We will analyze such approaches as Hans Belting’s concept of body as a “living medium”, Giorgio Agamben’s view on body as an object of commodification and Jacques Derrida’s “trust in painting”. An attempt to understand body reconceptualization and deconstruction through the categories of new materialism is the most important aim of this article. Karen Barad’s concept of intra-action (that implies a clear-cut subject-object distinction) is crucial to our research, which underlines that bodies have no inherent boundaries and properties and that the analyzed representations are “material-discursive phenomena”. The artworks under consideration will be confronted with a diagnosis that, according to Barad, all bodies come to matter thanks the intra-activity and its performativity. The case studies of Svajonė Stanikienė and Paulius Stanikas, Evaldas Jansas and Eglė Rakauskaitė works show how the image of the body is developed through the processes of their deconstruction and decontextualization.

Making and Remaking: The Practice Research of Place

Placemaking ◽  
2020 ◽  
pp. 123-149
Author(s):  
Tara Page
Keyword(s):  
Social Relations ◽  
The Body ◽  
Innovative Approach ◽  
New Materialism ◽  
Practice Research ◽  
Research Approach ◽  
Empirical Methods ◽  
Artistic Practice ◽  
Practice Methods ◽  
Relations Of Power

To understand and question these everyday and artistic practices of life that are sometimes invisible or hidden - and most of the time taken for granted - because they are sensed, felt, of the body, and not easily verbalised, an embodied, affective, relational research approach is needed. The innovative approach of practice research, underpinned by new materialism, that can enable these understandings are discussed in Chapter Five. Additionally, inventive artistic practice methods and a remaking of traditional empirical methods are examined that enable the exploration of the agency of matter and advance vitalist frameworks. By moving beyond the problem-focused approach this chapter works the intra-actions of theory with practice, practice with theory, to develop new approaches to new materialist-place practice research. The practice research approach also politically positions research practices, emphasising the complex materiality of bodies immersed in social relations of power.

Are there things only artists can do?

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 45-53
Author(s):  
Carolina Bonfim
Keyword(s):  
Visual Arts ◽  
The Body ◽  
Artistic Practice ◽  
Research Project ◽  
Content Type ◽  
Practice Based Research ◽  
The Relationship

Abstract This article seeks to share the methods and strategies of the practice-based research project Ninety movements on TECHNOGYM G6508D. The research dissects the act of running in all its dimensions by fragmenting, archiving, incorporating, and highlighting what is unique and personal in each gesture and each way of moving. Ninety Movements is a continuation of Carolina Bonfim’s recent artistic practice, which explores the relationship between the body and the archive through a visual-arts approach.

Between the Body, the Object and the Image: Dance and the Visual Arts in Puppet Art

Maska ◽  
2016 ◽  
Vol 31 (179) ◽  
pp. 34-45
Author(s):  
Renaud Herbin
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Other ◽  
Phantom Limb ◽  
Close Connection ◽  
Other Hand ◽  
Starting Point ◽  
The Relationship

The close connection between creation, theory, and institutions is the starting point for the author’s reflection on the kinds of spaces the latter should prepare. He emphasises that of particular interest are those spaces that are established between different approaches (or rather relationships between the body, the object, and the image). In Reprendre son soufflé by Julika Mayer, the puppet and the actor form a relationship that leaves none of the participants untouched but allows their identities to be changed. Similarly, the puppeteer-dancer in Uta Gebert’s Anubis reveals himself in order to uncover the relationship which links him and the puppet: both exist solely in motion, in the zone of exchange. Bodies and objects, assembled into body-objects, seem to meet by chance in Miet Warlop’s Springville, but in the forefront is the Image, which follows a visual logic in placing the body-objects in different configurations. On the other hand, the space occupied by the body in Yngvild Aspeli’s Signaux is undefined: the actor, his puppet-double, and his phantom limb embody a feeling of strangeness and pain. In the project Anémochore, Christophe Le Blay enables the embodiment of the environment (the wind) in the image of a recorded trace, with which a dancer then engages in dance. Space is therefore something unfinished, something open, undefinable and empty, all of which applies equally to bodies, objects, and images.

scholarly journals El cuerpo como dispositivo didáctico en la formación inicial docente en artes visuales para enseñanza secundaria

2020 ◽  
pp. 54
Author(s):  
Luis Claudio Cortes ◽  
Noemi Grinspun ◽  
Sandra Medina ◽  
Claudio Humberto Oyarzún
Keyword(s):  
Training Program ◽  
Visual Arts ◽  
Visual Art ◽  
Teaching And Learning ◽  
School Context ◽  
The Body ◽  
Human Cognition ◽  
Education Levels ◽  
Arts Teachers ◽  
Teachers Training

Resumen. El presente artículo corresponde a una experiencia pedagógica implementada al interior de un programa de formación de profesores/as en artes visuales, cuyo futuro contexto de desempeño laboral son los niveles de enseñanza secundaria en el contexto escolar chileno. Su objetivo principal es reflexionar teóricamente en torno al cuerpo y sus posibilidades pedagógicas, a partir de la implementación de estrategias de enseñanza y aprendizaje de las artes visuales que involucran la practica corporal como dispositivo didáctico. Bajo una metodología de Proyectos de Aprendizaje Expresivos define tres talleres teóricos/prácticos en torno al cuerpo al interior de un programa formación de profesores/as en artes visuales en Chile. Tras la implementación de cada taller, describe la reflexión de la práctica corporal con el ámbito teórico de la política del cuerpo, la corporeización de la identidad profesional y la cognición corporeizada. A modo de conclusión, permite reflexionar en torno al tránsito de una enseñanza disciplinar de las artes visuales hacia su integración interdisciplinar, entrelazando el ámbito de las humanidades con la cognición humana corporeizada. Finalmente sugiere tres talleres interdisciplinares que entrelazan literatura, teatro y cine, a partir del lenguaje y expresión corporal para programas de formación inicial de profesores/as en artes visuales.  Palabras clave: cuerpo; artes visuales; teoría del arte; formación de docentes.  Abstract: This article is based on a pedagogical experience implemented within a visual arts teacher training program, whose future work context will be the secondary education levels in the Chilean school context. Its main objective is to theoretically reflect about the body and its pedagogical possibilities. Since the implementation of a program of visual art teaching and learning that includes the body as a didactic dispositive. Under a methodology of a Learning-Expressive Project were defined three theoretical practical workshops about the body within a visual art teachers training program in Chile. After every workshop it was described the reflection of corporal practice with the theoretical scope of the body politics, the embodiment of professional identity and embodied cognition. As a conclusion, it allows us to reflect on the transition from a disciplinary teaching of the visual arts towards its interdisciplinary integration, intertwining the field of the humanities with embodied human cognition. Finally, three interdisciplinary workshops are suggested that intertwine literature, theater and cinema, based on body language and expression for visual arts teachers initial training programs.  Keywords: body; visual arts; art theory; teachers training

scholarly journals Visual Art Gifted Child in Pre-School and Early School Years

2021 ◽  
Vol 8 (2) ◽  
pp. 86-102
Author(s):  
Uršula Podobnik ◽  
Jurij Selan
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Freedom Of Expression ◽  
High Sensitivity ◽  
Gifted Child ◽  
Longitudinal Case Study ◽  
Clear Cut ◽  
Individual Work ◽  
Early School

Abstract Visual arts media in pre-school and early school years and development of children’s drawing are well researched. However, when one considers that children are endowed with a talent for visual arts, the research is not as comprehensive and clear-cut. The signs of freedom of expression and imagination, intuitiveness and originality, an inclination to individual work, high sensitivity, and other indicators begin to show soon after visual art gifted (VAG) children enter the representative stages of visual arts. This article was based on a longitudinal case study that was carried out to show some aspects of the functioning of a VAG child in pre-school and early school years and to make some suggestions on how to consider the needs of VAG children.

scholarly journals Altering a Fixed Identity: Thinking through Improvisation

2013 ◽  
Vol 8 (2) ◽  
Author(s):  
Anne Douglas
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Artistic Practice ◽  
Creative Imagination ◽  
Mobile State ◽  
Experimental Art ◽  
The Arts ◽  
Art Practices ◽  
Identity Thinking ◽  
Insight Into

"Replacing artist with player as if adopting an alias is a way of altering a fixed identity. And a changed identity is a principle of mobility, of going from one place to another…" (Kaprow, Essays on the Blurring of Art and Life 125-6) This paper explores an experiment in improvisation in which the practices of music, the visual arts, philosophy, and anthropology come together. Calendar Variations (2010-11) draws different kinds of artists into creative experiences through the use of verbal scores. The score invites participation in a process in which the outcome is indeterminate. The experiment raises a question within the group of artists and participants about the nature of artistic practice itself and whether any single aesthetic approach is more appropriate than another. The experiment frames the following questions: Why do we have/institute improvisation in life? Can art particularly inform those situations in life in which the unscripted and contingent challenge us to rethink in situations in which we may be encountering failure either in what is around us or failure in ourselves to cope? Drawing in particular on Allan Kaprow’s articulation of Experimental Art (Essays), informed by Ingold and Hallam’s construct of improvisation as a metaphor for existence (Creativity and Cultural Improvisation), I propose that the radical questioning of certainty in experimental art practices offers a different insight into improvisation, one that deals with experiences of failure. The paper concludes that sustaining uncertainty about what the arts might be has given rise to two possible understandings of visual art, one based on contemplation, and the other on time and duration. Our creative imagination is challenged by the collisions and complementarities of these different understandings to sustain a perpetually mobile state of creativity, akin to "adopting an alias as a way of altering a fixed identity" (Kaprow, Essays).

scholarly journals ARE THERE THINGS ONLY ARTISTS CAN DO? ARCHIVING THROUGH A TREADMILL

Cena ◽  
2021 ◽  
pp. 215-221
Author(s):  
Carolina Felice Bonfim
Keyword(s):  
Visual Arts ◽  
The Body ◽  
Artistic Practice ◽  
Research Project ◽  
Practice Based Research ◽  
The Relationship

This article seeks to share the methods and strategies of the practice-based research project Ninety movements on TECHNOGYM G6508D. The research dissects the act of running in all its dimensions by fragmenting, archiving, incorporating, and highlighting what is unique and personal in each gesture and each way of moving. Ninety movements is a continuation of Carolina Bonfim’s recent artistic practice, which explores the relationship between the body and the archive through a visual-arts approach. KeywordsArchive. Body. Embodiment. Methodology. Practice-based Research.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Compulsive Bodies, Creative Bodies: Beckett'sQuadand Agency in the 21stCentury

2018 ◽  
Vol 27 (1) ◽  
pp. 5-21
Author(s):  
Amanda Dennis
Keyword(s):  
Human Action ◽  
The Body ◽  
New Materialism ◽  
Illustrative Case ◽  
Repetitive Movement ◽  
Repetitive Tasks ◽  
The Subject ◽  
Object Oriented Ontology ◽  
Geological Space ◽  
Alternative Reading

Lying in ditches, tromping through mud, wedged in urns, trash bins, buried in earth, bodies in Beckett appear anything but capable of acting meaningfully on their environments. Bodies in Beckett seem, rather, synonymous with abjection, brokenness, and passivity—as if the human were overcome by its materiality: odours, pain, foot sores, decreased mobility. To the extent that Beckett's personae act, they act vaguely (wandering) or engage in quasi-obsessive, repetitive tasks: maniacal rocking, rotating sucking stones and biscuits, uttering words evacuated of sense, ceaseless pacing. Perhaps the most vivid dramatization of bodies compelled to meaningless, repetitive movement is Quad (1981), Beckett's ‘ballet’ for television, in which four bodies in hooded robes repeat their series ad infinitum. By 1981, has all possibility for intentional action in Beckett been foreclosed? Are we doomed, as Hamm puts it, to an eternal repetition of the same? (‘Moments for nothing, now as always, time was never and time is over, reckoning closed and story ended.’)This article proposes an alternative reading of bodily abjection, passivity and compulsivity in Beckett, a reading that implies a version of agency more capacious than voluntarism. Focusing on Quad as an illustrative case, I show how, if we shift our focus from the body's diminished possibilities for movement to the imbrication of Beckett's personae in environments (a mound of earth), things, and objects, a different story emerges: rather than dramatizing the impossibility of action, Beckett's work may sketch plans for a more ecological, post-human version of agency, a more collaborative mode of ‘acting’ that eases the divide between the human, the world of inanimate objects, and the earth.Movements such as new materialism and object-oriented ontology challenge hierarchies among subjects, objects and environments, questioning the rigid distinction between animate and inanimate, and the notion of the Anthropocene emphasizes the influence of human activity on social and geological space. A major theoretical challenge that arises from such discourses (including 20th-century challenges to the idea of an autonomous, willing, subject) is to arrive at an account of agency robust enough to survive if not the ‘death of the subject’ then its imbrication in the material and social environment it acts upon. Beckett's treatment of the human body suggests a version of agency that draws strength from a body's interaction with its environment, such that meaning is formed in the nexus between body and world. Using the example of Quad, I show how representations of the body in Beckett disturb the opposition between compulsivity (when a body is driven to move or speak in the absence of intention) and creative invention. In Quad, serial repetition works to create an interface between body and world that is receptive to meanings outside the control of a human will. Paradoxically, compulsive repetition in Beckett, despite its uncomfortable closeness to addiction, harnesses a loss of individual control that proposes a more versatile and ecologically mindful understanding of human action.

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