Imagining Religion in the Public Space. Religious References in Contemporary Art

2015 ◽  
pp. 254-279
Author(s):  
Daria Pezzoli-Olgiati
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
The Public

scholarly journals Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

2018 ◽  
Vol 12 (1) ◽  
pp. 163-176
Author(s):  
Katarina Rukavina
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Virtual Space ◽  
Spatial Experience ◽  
The Public ◽  
Social Sphere ◽  
The Social ◽  
Material Goods ◽  
Art Intervention ◽  
The City

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

scholarly journals A voz feminista em ação: Suzanne Lacy e Andrea Dworkin

2020 ◽  
Vol 2 (2) ◽  
pp. 389-417
Author(s):  
Mirna Xavier Gonçalves
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Target Audience ◽  
The Public ◽  
The People ◽  
Contemporary Artist

Dentre todas as possibilidades de ação feminista, há a militância em espaço público e a prática em apoio às mulheres, bem como a levada de consciência sobre pautas feministas para as mulheres, tanto no âmbito privado como no público. Esta era a abordagem de Andrea Dworkin, que proferia discursos em marchas e levava suas próprias experiências para o âmbito da escrita, sua prática profissional. A mesma abordagem era utilizada por Suzanne Lacy, artista contemporânea que, através de instalações urbanas, realizava suas ações de militância combinada à arte. Este trabalho visa traçar parâmetros comuns entre estas duas mulheres, focando em suas pautas e na reverberação de seus trabalhos um em relação ao outro, bem como na sociedade.Palavras-chave: Público. Arte Contemporânea. Feminismo. AbstractAmongst all possibilities of feminist action there’s the militant strategy: to take the word of action into the public space, to act in women’s aid, to talk to your target audience and bring your discourse to the people. That was Andrea Dworkin’s strategy, who would bring her speeches into women’s marches and take her experience into her writing, which was her profession. The same strategy was taken by Suzanne Lacy, contemporary artist who focuses on urban installations to mix political and artistic action. This paper correlates these two authors, focusing on their preferred subjects and how their works reverberated together and in society.Keywords: Public. Contemporary Art. Feminism.

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 Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

2018 ◽  
Vol 12 (1) ◽  
pp. 163-176
Author(s):  
Katarina Rukavina
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Virtual Space ◽  
Spatial Experience ◽  
The Public ◽  
Social Sphere ◽  
The Social ◽  
Material Goods ◽  
Art Intervention ◽  
The City

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

scholarly journals ANTONIO DIAS: CAMPOS DO DESEJO NO ESPAÇO PÚBLICO DA ARTE / Antonio Dias: desire’s fields in the public space of art

2020 ◽  
Vol 26 (39) ◽  
pp. 143-157
Author(s):  
Fernanda Lopes Torres
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Art And Politics ◽  
The Public ◽  
Handmade Paper ◽  
Paper Manufacturing ◽  
The Sixties ◽  
The Common ◽  
Common World

Uma relação entre arte e política parece constante na trajetória de Antonio Dias. Dos desenhos e quadros-objetos dos anos sessenta à densa materialidade das pinturas de campo de cor dos anos noventa e dois mil, passando pelas telas diagramadas dos anos setenta, esses trabalhos apresentam um domínio da escala coerente com o entendimento da arte como ação no espaço público. Reconhecemos na experiência de fabricação artesanal de papel no Nepal a efetiva vivência do trabalho como passagem para a esfera dessa ação, que é eminentemente política. O cosmopolita Dias deseja participar de fato do mundo em comum partilhado pelos homens, quer afirmar sua singularidade ao outro, e bem sabe que esta somente pode se manifestar através de ação na esfera pública.Palavras-chave: Arte contemporânea; Espaço público; Antonio Dias.AbstractA relation between art and politics seems constant in Antonio Dias’ artistic trajectory. From the drawings and picture-objects of the sixties to the dense materiality of the paintings of the nineties, and also in the diagrammed screens of the seventies, these works present a mastery of scale that is coherent with the understanding of art as an action in the public space. We acknowledge in the experience of handmade paper manufacturing in Nepal the effective experience of the intererference of art in society. The artist wishes that his ouvre actually take part in the common world shared by men, he wants to assert there his singularity, and he knows that this could just be manifested through action in the public sphere.Keywords: Contemporary art; Public space; Antonio Dias.

scholarly journals Rozmowa z Nadą Prlją

2014 ◽  
pp. 452-471
Author(s):  
Zofia Waślicka ◽  
Nada Prlja
Keyword(s):  
Northern Ireland ◽  
Public Space ◽  
Contemporary Art ◽  
Social Inequalities ◽  
Tourist Attraction ◽  
The Public ◽  
The Poor ◽  
The Rich

An interview with Nada Prlja Nada Prlja is an artist who works in the public space and tackles the issues of social inequalities and exclusion. During the 7th Berlin Biennale for Contemporary Art, she built a Peace Wall across Friedrichstrasse and thus she blocked the passage between the northern part of the street, which is a tourist attraction, and where expensive shops and restaurants are located; and its southern part, which is inhabited mainly by immigrants, who live in council flats. Nada Prjla tried to visualise the symbolic divide between the rich and the poor part of the street by putting the wall up, whose name alludes to the peace walls that split Protestants and Catholics in Northern Ireland. Rozmowa z Nadą PrljąNada Prlja to artystka działająca w przestrzeni publicznej, podejmująca kwestie nierówności społecznych i wykluczenia. W ramach 7. Berlińskiego Biennale Sztuki Współczesnej w 2012 roku Prlja zbudowała Peace Wall (‘Mur Pokoju’) w poprzek jezdni na Friedrichstrasse w Berlinie. Zablokowała w ten sposób ruch między turystyczną, północną częścią tej ulicy z eleganckimi restauracjami i sklepami a jej południową częścią, gdzie znajduje się zamieszkane głównie przez imigrantów osiedle budynków socjalnych. Nada Prlja postanowiła uwidocznić tę symboliczną granicę między bogatą a biedną częścią ulicy i ustawiła tam mur. Jego nazwa nawiązuje do „murów pokoju” (peace walls) oddzielających od siebie protestantów i katolików w Irlandii Północnej.

scholarly journals Paisagem Experimental:

Revista Prumo ◽  
2019 ◽  
Vol 4 (7) ◽  
pp. 152-165
Author(s):  
Israel F. Nunes ◽  
Lucia Maria S. A. Costa
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Landscape Architecture ◽  
Active Role ◽  
Public Park ◽  
The Public ◽  
Theoretical Support ◽  
Extended Field ◽  
The City

The links among public space, landscape, and contemporary art are the central theme of this paper. In shaping a landscape design essay for a public park on a silted waterfront in the city of Ilhéus - BA, Brazil, dynamic alter-natives are introduced for the renovation of the public space, based upon the diversification of common uses. The purpose is to build a connection between landscape and art through the re-signification of the natural and cultural processes of the specific site, which may promote a new collective sense of place. The work presents as its theoretical support studies that look at the landscape from its active aspect and discuss the extended field of contemporary art. The paper concludes stressing the importance of the active role of landscape architecture in urban places reconfiguration. Key-Words: Landscape architecture, Urban park, Contemporary Art

scholarly journals Art Experience (AX): Scientific, Technological and Economic Fields of Experience of Contemporary Art

2018 ◽  
Vol 50 (4) ◽  
pp. 173-184 ◽  
Author(s):  
Krzysztof Lang
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Preliminary Analysis ◽  
Scientific Research ◽  
Institutional Practices ◽  
The Public ◽  
Science Technology ◽  
The Impact ◽  
Research Tools

The paper reviews and attempts to define artistic practices implemented in the areas of science, technology and business – perceived as research tools and used as a medium in communicating the results of scientific research. In order to achieve the assumed goal, the examples of selected artistic practices conducted by scientists and curators working for scientific, research and cultural heritage institutions as well as artists operating on the verge of art and science have been presented. The aspect related to the impact of contemporary arts in the public space has also been discussed. The preliminary analysis of these examples helped formulate the thesis about the growing role of artistic practices as research tools and the medium of communication in many fields of science, institutional and non‑institutional practices not directly related to the area of art.

Habermas, Cultural Hegemony, and the Educational Public Sphere

2018 ◽  
Vol 11 (1-2) ◽  
pp. 43-62
Author(s):  
Wisam Kh. Abdul-Jabbar
Keyword(s):  
Public Sphere ◽  
Social Inequality ◽  
Public Space ◽  
Oral Tradition ◽  
Pedagogical Practices ◽  
Cultural Hegemony ◽  
The Public ◽  
The Public Sphere ◽  
Arabic Speaking

This study explores Habermas’s work in terms of the relevance of his theory of the public sphere to the politics and poetics of the Arab oral tradition and its pedagogical practices. In what ways and forms does Arab heritage inform a public sphere of resistance or dissent? How does Habermas’s notion of the public space help or hinder a better understanding of the Arab oral tradition within the sociopolitical and educational landscape of the Arabic-speaking world? This study also explores the pedagogical implications of teaching Arab orality within the context of the public sphere as a contested site that informs a mode of resistance against social inequality and sociopolitical exclusions.

Sign in / Sign up

Export Citation Format

Share Document