Work of art as an event - performance restructured in imagination

2019 ◽  
Vol 26 (26) ◽  
pp. 52-71
Author(s):  
Marek Śnieciński
Keyword(s):  
Contemporary Art ◽  
Interesting Case ◽  
Work Of Art ◽  
A Performance

An exceptionally interesting case of performance in contemporary art are artworks, in which artists do not present a performance itself but rather its effects. For these artists a performance is somehow included in the tissue of the artwork; it was indispensable for the artwork to be created, yet it is hidden so the viewer needs to make an effort to reconstruct this performative character of the artwork and understand (become aware of) the resulting consequences. The text analyses works by Akira Komoto (the Seeing series), the realization by Lech Twardowski (Generator Bez Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well as selected sculptures by Shen Shaomin (the Bonsai series). Although in these works we deal with various forms of performativeness, their joint feature is the fact that in each of them the viewer must discover and reconstruct the hidden performance in his/her memory.

Dzieło jako zdarzenie - Performans rekonstruowany w wyobraźni

2019 ◽  
Vol 26 (26) ◽  
pp. 52-71
Author(s):  
Marek Śnieciński
Keyword(s):  
Contemporary Art ◽  
Interesting Case ◽  
A Performance

An exceptionally interesting case of performance in contemporary art are artworks, in which artists do not present a performance itself but rather its effects. For these artists a performance is somehow included in the tissue of the artwork; it was indispensable for the artwork to be created, yet it is hidden so the viewer needs to make an effort to reconstruct this performative character of the artwork and understand (become aware of) the resulting consequences. The text analyses works by Akira Komoto (the Seeing series), the realization by Lech Twardowski (Generator Bez Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well as selected sculptures by Shen Shaomin (the Bonsai series). Although in these works we deal with various forms of performativeness, their joint feature is the fact that in each of them the viewer must discover and reconstruct the hidden performance in his/her memory.

Contemporary Art: The Generative Role of Play

1959 ◽  
Vol 21 (2) ◽  
pp. 389-401
Author(s):  
James Johnson Sweeney
Keyword(s):  
Contemporary Art ◽  
Physical World ◽  
Work Of Art ◽  
Looking Glass

AllOfUs who have considered the problem of enjoying contemporary art are aware that the most serious barriers to it are the reluctance on the part of many painters and sculptors to put aside the notion that a work of art must mirror the physical world about us and their unwillingness to accept the fact that all true art must go “through the looking glass” — that is beyond the mirror.

Introduction: almost nothing

2017 ◽  
Author(s):  
Anna Dezeuze
Keyword(s):  
Contemporary Art ◽  
Human Condition ◽  
Work Of Art ◽  
Art Object ◽  
New Perspective ◽  
The 1960S ◽  
Definition Of ◽  
The Human Condition

This introduction introduces the term ‘precariousness’ by contrasting it with the ‘ephemeral’. Precarious practices that explore the ‘almost nothing’ are situated in the context of studies of ‘nothingness’ and empty exhibitions in contemporary art. Such debates focus on the ‘dematerialisation’ of the art object since the 1960s, which will be addressed from a new perspective following Lawrence Alloway’s 1969 definition of ‘an expanding and disappearing’ work of art. Re-readings of the materiality of contemporary art since the 1960s are related to continental debates concerning ‘precarity’ in the 1990s, and traced back to Hannah Arendt’s 1958 remarks on The Human Condition. Two different philosophical books — Vladimir Jankélévitch’s 1957 Le Je-ne-sais-quoi et le presque rien, and Simon Critchley’s 1997 Very little, almost nothing — point to some of the questions and methods raised by the study of precarious practices.

scholarly journals Museus de Arte Contemporânea: entre bancos de dados e narrativas

2015 ◽  
Vol 1 (1) ◽  
Author(s):  
Cristina Freire
Keyword(s):  
Contemporary Art ◽  
Work Of Art ◽  
The Relationship ◽  
Data Banks

Resumo O caráter documental das práticas artísticas define um dos principais paradigmas da arte contemporânea. A relação entre obra de arte e documentação indica os paralelos entre museu e arquivo, narrativas e banco de dados.   Abstract The documental character of the artistic practices defines one of the main paradigms of contemporary art. The relationship between work of art and documentation suggests the parallels between museum and archives, as well as narratives and data banks.  

scholarly journals Communication disorder: contemporary art and psychoanalysis

2019 ◽  
pp. 91-97
Author(s):  
Ana Lúcia Mandelli de Marsillac
Keyword(s):  
Contemporary Art ◽  
Time History ◽  
Communication Disorders ◽  
Work Of Art ◽  
The Uncanny ◽  
The Face ◽  
History Of ◽  
Qualitative Methodologies ◽  
And Function ◽  
Psychoanalytic Method

This revision seeks to analyze the methodological intersections of contemporary art and psychoanalysis, by considering the value attributed to communication disorders by both fields. I will analyze elements of "In the Face of time: History of art and anachronism of Images" (2000), by Didi-Huberman. In addition, I will single out two texts that are crucial to the psychoanalytic method: "The Uncanny” (1919), by Freud and "Function and field of speech and Language" (1953), by Lacan. The concept of the uncanny is central to this approach, since it reveals the proximity between strangeness and familiarity. It is through the concept of the uncanny that psychoanalysis unfolds the perspective of a negative aesthetics, which is not at the service of the completeness of communication. Instead, it focuses on the cracks that paradoxically allow us to say more and to look at the latent contents of communication. Contemporary art and psychoanalysis both use non-linear communication. Research performed at their intersection is based on qualitative methodologies and seeks to analyze exemplary situations in culture, such as the discourses of an epoch and works of art. In this methodological encounter, there isn’t a single meaning to be sought. On the contrary, it is the researcher’s task to reflect on the paths that lead to the creation of a work of art, as well as on the ideals it conveys, its singularity and its relationship with culture. He can then render visible the complexity and the multiple meanings embedded in the work of art.

scholarly journals Image spaces. Digital visual media in the context of baroque mural painting in architecture

2021 ◽  
Vol 29 (38) ◽  
pp. 249-254
Author(s):  
Piotr P. Drozdowicz
Keyword(s):  
Digital Media ◽  
20Th Century ◽  
Contemporary Art ◽  
Visual Media ◽  
Basic Material ◽  
Mural Painting ◽  
Total Work ◽  
Work Of Art ◽  
Spatial Turn ◽  
Avant Garde

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

The Art of Doing (Geographies of) Music

10.1068/d416t ◽  
2007 ◽  
Vol 25 (5) ◽  
pp. 867-889 ◽  
Author(s):  
Nichola Wood ◽  
Michelle Duffy ◽  
Susan J Smith
Keyword(s):  
Cultural Landscapes ◽  
Social Research ◽  
Human Life ◽  
Art Music ◽  
Work Of Art ◽  
A Performance

Like every other work of art, music has become the stuff of social research: it has been interrogated for its economy, its politics, and its role in elaborating human life. Music has its geographies too: its cultural landscapes; its positioning in a soundworld; its embodiment; its materiality. But, intriguingly, until recently musical methodologies have remained half formed, fragmentary, hidden, elusive, out of sight, beyond words. This is partly a result of disciplinary histories and an unhelpful division of intellectual labour; it is partly an expression of what music is. This paper is a performance enacted to assemble the field of musical methodologies: to enlarge its scope; to engage with its strengths and limitations; to animate the soundworld; to participate in the art of doing and being (geographies of) music.

scholarly journals Communication Models in Contemporary Art

2021 ◽  
pp. 84-90
Author(s):  
Rugilė Navickaitė
Keyword(s):  
Contemporary Art ◽  
Nonverbal Communication ◽  
Mass Communication ◽  
Body Language ◽  
Verbal Communication ◽  
Process Models ◽  
Communication Process ◽  
Review Of The Literature ◽  
Work Of Art ◽  
Communication Models

The object of research is the communication features of contemporary art. The aim is to reveal these features based on a review of the literature. The paper discusses the concept of communication in contemporary art; describes the characteristics of contemporary art as a medium; defines communication models in contemporary art. Communication and its features are manifested in many fields, one of which is art. To discuss the concept of communication in contemporary art, the levels of verbal and nonverbal communication are distinguished. Image forms, colours, lighting, lines, motifs, body language, sound, as well as the written or unwritten language of verbal communication about a work of art, can serve to recognise the communicative properties of a work of art. Types of intrapersonal and public and mass communication are applied, communication process models are based.

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