scholarly journals Architecture as politics

2014 ◽  
Vol 6 (1) ◽  
pp. 63-74
Author(s):  
Gabriela Świtek
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Public Spaces ◽  
Main Concern ◽  
Architectural Theory ◽  
Politics Of Aesthetics ◽  
History Of ◽  
National Gallery Of Art ◽  
Philosophical Writings

The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.

Reenactments der Macht

2011 ◽  
Vol 56 (2) ◽  
pp. 101-112
Author(s):  
Maria Muhle
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Critical Perspective ◽  
Central Object ◽  
Politics Of History ◽  
History Of ◽  
The Media

Der Text stellt Überlegungen zu einer medialen Historiographie an, d. h. zu einer Geschichtsschreibung, an  der die Medien, in diesem Fall die Bilder, mitschreiben. Besondere Aufmerksamkeit gilt den Strategien des Reenactments, die traditionellerweise als Mittel einer ereignisorientierten Geschichtsschreibung verhandelt werden. In letzter Zeit gibt es in zeitgenössischen Kunstformen jedoch eine starke Auseinandersetzung mit  diesen Strategien, die darauf abzielt, eine solche totale oder globale Geschichtsschreibung zugunsten einer fragmentarischen und kritischen Sicht zu hinterfragen. Ausgehend von Michel Foucaults methodologischen Überlegungen zur Geschichte in der Archäologie des Wissens untersucht der Text unterschiedliche Formen  einer Geschichtspolitik der Bilder anhand von drei Reenactment-Beispielen aus Film, Theater und der Bildenden Kunst<br><br>The text considers the possibility of a mediatic historiography, that is, a form of historiographic writing in which the media, in this case images, participate. The central object of investigation is the strategy of reenactment that is traditionally regarded as a means of eventorientated historiography. Contemporary art has recently questioned these strategies and proposed to replace the totalizing or globalizing approach of history and historiography with a more fragmentary and critical perspective. On the backdrop of Michel Foucault’s methodological reflections on history that he develops in Archeology of Knowledge, the text analyzes different forms of a politics of history of the images through three examples of reenactment taken from film, theatre and the fine arts.

scholarly journals Markers Of Post-conceptual Painting In Bandung Contemporary Arts (A Case Study On Errata-optika Exhibition

2017 ◽  
Vol 31 (3) ◽  
Author(s):  
Kiky Rizky Soetisna Putri ◽  
Setiawan Sabana
Keyword(s):  
Qualitative Methods ◽  
Contemporary Art ◽  
Paradigm Shift ◽  
Optical Devices ◽  
History Of ◽  
Contemporary Painting ◽  
Important Milestone

Painting in its development has undergone various criticisms both of the medium and its conceptual substance. Currently painting is widely regarded as mere representation strategy. This study tries to see and tracing the paradigm shift in the era of contemporary painting, conceptual expansion, particularly the use of optical devices in its creation. Case study in this research is an exhibition in 2007 entitled Errata-Optika that was believed to be an important milestone paradigm shift in contemporary painting. This study used qualitative methods to approach the criticism and the study ofliterature on the history of painting to contemporary era. Observation was carried out as a method of collecting data from the exhibition Errata-Optika. The exhibition featured seven artists and twenty-two paintings that used optical devices in its creation method.Keywords: Post-conceptual Painting, Contemporary Art, Bandung, Exhibition

Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale

2019 ◽  
Vol 6 (2) ◽  
pp. 343-366
Author(s):  
Ornella De Nigris
Keyword(s):  
Contemporary Art ◽  
Chinese Art ◽  
Chinese Tradition ◽  
Contemporary Chinese Art ◽  
Continuum Generation ◽  
History Of ◽  
The Relationship ◽  
Contemporary Chinese ◽  
Venice Biennale

Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.

João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal

Collections ◽  
2020 ◽  
Vol 16 (3) ◽  
pp. 279-297
Author(s):  
Laura Castro
Keyword(s):  
Natural History ◽  
Fine Arts ◽  
The Political ◽  
Grand Tour ◽  
The World ◽  
History Of ◽  
The Way

João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.

scholarly journals THE HISTORY OF THE CENTER FOR CONTEMPORARY ART ON YAKIMANKA. ARCHIVE OPTICS

Articult ◽  
2021 ◽  
pp. 81-95
Author(s):  
Vladislava L. Gayduk ◽  
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Visual Anthropology ◽  
Russian Art ◽  
State Museum ◽  
Archival Documents ◽  
History Of ◽  
The Media ◽  
Museum Of Fine Arts ◽  
Institutional Ties

The history of the Center for Contemporary Art on Yakimanka is analyzed through the prism of archival documents that are stored in the Media Library of the Pushkin State Museum of Fine Arts. The investigation of the all types of the archival documents allows us to consider the Centre for contemporary art not as an art institution but as the embodiment of the “artistic tusovka”. This term was suggested by Victor Misiano. The magnitude of the exhibition and other art projects that were created in the Center (the newspaper of contemporary art “Vernisage”, the magazine “Artograph”, the Curators’ workshop, Visual Anthropology workshop, etc.) confirms this hypothesis. Despite the weak institutional ties that characterize artistic tusovka, the Centre became one of the important milestones in the development of contemporary Russian art.

scholarly journals Exhibition Strategies for Videogames in Art Institutions: Blank Arcade 2016

2018 ◽  
Vol 4 (2) ◽  
Author(s):  
Emilie M Reed
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
Game Studies ◽  
Discursive Construction ◽  
Art Object ◽  
History Of ◽  
Cultural Status ◽  
Exhibition Strategies

While debate over videogames’ cultural status can still become contentious, theorist Bruce Altshuler describes the contemporary exhibition form as a route into art history, and exhibitions of videogames and their display choices have already drawn videogames into the discursive construction of the history of art. Therefore, contextualizing past exhibitions of videogames and examining curatorial practices is a vital part of shaping an interdisciplinary history of videogames. This paper summarizes my research and practical work in games curation within this context through a case study of The Blank Arcade 2016,specifically focusing on unexpected ways spectatorship and interaction coexist in videogame exhibitions. By reviewing the process of exhibition organization and the resulting visitor feedback, and finding intersections in game studies and contemporary art perspectives on tensions between spectatorship and interaction, I reflect on the effectiveness of the present curatorial process at addressing the varied ways gallery visitors experience videogames as an art object or aesthetic experience.

scholarly journals The Wound in Visual Art

Monitor ISH ◽  
2015 ◽  
Vol 17 (2) ◽  
pp. 73-94
Author(s):  
Slađana Mitrović
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Visual Art ◽  
Fine Arts ◽  
Body Art ◽  
History Of ◽  
Historical Periods

The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.

Press Propaganda and Subaltern Agents of Pan-Islamic Networks in the Muslim Mediterranean World prior to World War I

2018 ◽  
Author(s):  
Odile Moreau
Keyword(s):  
Middle East ◽  
World War I ◽  
North Africa ◽  
World War ◽  
Subaltern Studies ◽  
Resistance Movements ◽  
The Press ◽  
Mediterranean World ◽  
History Of

This chapter explores movement and circulation across the Mediterranean and seeks to contribute to a history of proto-nationalism in the Maghrib and the Middle East at a particular moment prior to World War I. The discussion is particularly concerned with the interface of two Mediterranean spaces: the Middle East (Egypt, Ottoman Empire) and North Africa (Morocco), where the latter is viewed as a case study where resistance movements sought external allies as a way of compensating for their internal weakness. Applying methods developed by Subaltern Studies, and linking macro-historical approaches, namely of a translocal movement in the Muslim Mediterranean, it explores how the Egypt-based society, al-Ittihad al-Maghribi, through its agent, Aref Taher, used the press as an instrument for political propaganda, promoting its Pan-Islamic programme and its goal of uniting North Africa.

Conclusion

2018 ◽  
Author(s):  
David Randall
Keyword(s):  
Public Opinion ◽  
Early Modern ◽  
Intellectual History ◽  
Fine Arts ◽  
James Madison ◽  
Modern Conception ◽  
Political World ◽  
The Enlightenment ◽  
History Of ◽  
Constitutional Thought

The changed conception of conversation that emerged by c.1700 was about to expand its scope enormously – to the broad culture of Enlightenment Europe, to the fine arts, to philosophy and into the broad political world, both via the conception of public opinion and via the constitutional thought of James Madison (1751–1836). In the Enlightenment, the early modern conception of conversation would expand into a whole wing of Enlightenment thought. The intellectual history of the heirs of Cicero and Petrarch would become the practice of millions and the constitutional architecture of a great republic....

Transformative Encounters and Uncanny Intimacies: Biotechnology and Contemporary Art – A Practitioner's Approach and Perspective

Somatechnics ◽  
2012 ◽  
Vol 2 (2) ◽  
pp. 263-283 ◽  
Author(s):  
Svenja J. Kratz
Keyword(s):  
Tissue Culture ◽  
Human Skin ◽  
Contemporary Art ◽  
Skin Equivalent ◽  
Biomedical Innovation ◽  
Equivalent Models ◽  
Science Projects ◽  
Insight Into ◽  
Human Skin Equivalent

Abstract: Presented from an ArtScience practitioner's perspective, this paper provides an overview of Svenja Kratz's experience working as an artist within the area of cell and tissue culture at QUT's Institute of Health and Biomedical Innovation (IHBI). Using The Absence of Alice, a multi-medium exhibition based on the experience of culturing cells, as a case study, the paper gives insight into the artist's approach to working across art and science and how ideas, processes, and languages from each discipline can intermesh and extend the possibilities of each system. The paper also provides an overview of her most recent artwork, The Human Skin Equivalent/Experience Project, which involves the creation of personal jewellery items incorporating human skin equivalent models grown from the artist's skin and participant cells. Referencing this project, and other contemporary bioart works, the value of ArtScience is discussed, focusing in particular on the way in which cross-art-science projects enable an alternative voice to enter into scientific dialogues and have the potential to yield outcomes valuable to both disciplines.

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