scholarly journals Punctures in the Periphery. Show-Bix and the Media Conscious Practice of Per Højholt.

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 115
Author(s):  
Morten Søndergaard
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
Art Scene ◽  
Art Forms ◽  
Visual Artist ◽  
The Media ◽  
Paradigmatic Change ◽  
Definition Of

Around 1967 and onwards, Per Højholt (1923-2004) performs a series of punctures in the periphery of a small and self-conscious avant-garde in Denmark - experiments that combine most of the known art forms and genres in a still more active dialogue with new media and technology.One of the first things Højholt engaged himself in at the time was Show-Bix, which is best described as an artist group consisting of the photographer and visual artist Poul Ib Henriksen, composer Gunner Møller Pedersen, and Per Højholt (at the time described largely as a poet). The group was operative from 1968 and until 1971, a period during which it conducted a series of complex experiments involving an audience as well as a media consciousness which is quite unique in Denmark - perhaps even more so today. In fact, I claim that Show-Bix is the visible proof of a paradigmatic change in Per Højholt's artistic practice, as well as in the overall definition of the contemporary art scene.

Phenomenological Ethics of Contemporary Media Theories

Glimpse ◽  
2021 ◽  
Vol 22 (1) ◽  
pp. 87-94
Author(s):  
Dragan Prole ◽  
Keyword(s):  
New Media ◽  
Social Role ◽  
The State ◽  
Artistic Practice ◽  
Media Technology ◽  
Avant Garde ◽  
The Social ◽  
The Media ◽  
Contemporary Media

This article discusses fundamental contradictions regarding the social role of the new media. Avantgarde identifies the emergence of the new media with the possibilities of liberating the man and achieving true individuality, while dystopia qualifies it as the suffocation of individuality, as ballast that levels out and averages a man, as a threat to human freedom. The media technology is for the avant-garde the embodiment of the enriched self and expanded capacities of selfhood, while for dystopia, the media technology is directed against selfhood, since its effects start and end with the creation of alienation, with the distortion of selfhood directed against the fundamental attributes of humanity. On the contrary, for the avant-garde, the breach of media background awareness of the artistic expression has marked the definite parting with the age of alienated artistic practice. According to their most profound beliefs, staggering in the chains of figurative and narrative expressions, art has always served a different purpose, religion, pedagogy, politics, and ideology. Hence, the turn towards the demands and logic of the self-serving media marked the rise from the state of alienation to the state of true achievement, to the emancipation of artists and the art.

THE ISSUE OF CONTEMPORANEITY AS CULTURAL AND HISTORICAL TOTALITY IN THE WORKS OF BORIS GROYS

2021 ◽  
pp. 5-18
Author(s):  
Elena Y. Baboshko ◽  
◽  
Dmitriy V. Galkin ◽  
Keyword(s):  
Contemporary Art ◽  
Social Dynamics ◽  
Will To Power ◽  
Avant Garde ◽  
Historical Processes ◽  
The Social ◽  
Political Forces ◽  
Definition Of ◽  
Modernist Discourse ◽  
Selection Of

The authors refer the issue of definition of contemporaneity as cultural and historical totality basing on the research results of a well-known theorist Boris Groys. Analyzing the progress of his ideas, the authors conclude, that the philosopher’s considerable contribution to the science is composed of the next phase of the development of the thesis about the art language as the base of contemporaneity construction and of the “natural selection” of contemporary art structures. The latter is not simply reduced to the postmodern “polylogue” variant, but implies a kind of contemporaneity patterns niche and “stabilization”. The patterns naturally tend to become complementary due to simple juxtaposition/ overlay in general time context. According to the authors, this circumstance does not prevent them from being turned by different political forces into locally dominating contemporaneity patterns (as in the case of Gesamkunstwerk Stalin). Contemporary art provides simple experience, that helps to retain the illusion of single and seemingly total contemporaneity. B. Groys leads us to the thought that art provides conditions for generating a significant reflective distance in relation to different social and historical situations. The distance gives an artist the opportunity to consider the reality comprehensively, given the autonomy, through the art language. However, we believe, that the most important philosopher’s achievement is not only drawing parallels between cultural and social and historical processes, based on the concept of art strategies influencing the social dynamics. He also managed to approach one of the most significant issues in culture theory and history – the opportunity to define contemporaneity as cultural and historical totality. According to his modernity theory, the origin of contemporaneity is hidden in the avant-garde art manifestation. He interprets the utopic by its nature modernist discourse, applied in art practice, through Nietzscheian will to power as redefining the new age philosophy. This article aims to analyze the progress of the issue of contemporaneity in the works of B. Groys and to explicate the complexity of considering contemporaneity as cultural and historical totality. The authors believe that the thorough study of the phenomenon of total artwork (Gesamtkunstwerk) as a soviet Stalin project and critics’ opinion analysis helps to create arguments limiting the opportunity of considering contemporaneity as totality.

Presenting the Unpresentable: Jean-François Lyotard’s Kantian Art-Sublime

2021 ◽  
pp. 1-17
Author(s):  
Rachel Zuckert
Keyword(s):  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
The Sublime ◽  
The Absolute

Abstract This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime (idea of reason, sensible representation) should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a non-absolute, sensibly perceivable object (the artwork) – that can be understood to drive avant-garde artistic experimentation.

When the History Turns Stronger than the Rhetoric

2013 ◽  
pp. 118-146 ◽  
Author(s):  
Ullamaija Kivikuru
Keyword(s):  
New Media ◽  
Empirical Evidence ◽  
Social History ◽  
Sub Saharan Africa ◽  
Media Content ◽  
Editorial Office ◽  
The Media ◽  
Media Professionals ◽  
Sub Saharan ◽  
Definition Of

The 1990s brought radical changes to Sub-Saharan Africa. In the rhetoric, the ownership mode appeared as a crucial marker of freedom. However, neither the access to the media nor the media content has changed much. The media mode, inherited from previous phases of social history, seems to change slowly. Old modes reproduce themselves in new media titles disregarding ownership mode. In this chapter, empirical evidence is sought from Namibia and Tanzania. The empirical evidence is based on two sets of one-week samples (2007, 2010) of all four papers. In this material, a government paper and a private paper from one particular country resemble each other more than when ownership modes are compared. Bearers of the journalistic culture seem to be to a certain extent media professionals moving from one editorial office to another, but the more decisive factors are the ideals set for journalism. The “first definition of journalism” reflects old times.

New formats, new roles, new agents: Artists’ publications in Spain since 2000

2013 ◽  
Vol 38 (3) ◽  
pp. 18-29
Author(s):  
Mela Dávila Freire
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Golden Age ◽  
Sources Of Information ◽  
New Agents ◽  
Public And Private ◽  
Art Scene ◽  
The Media ◽  
Spanish Art ◽  
The 1960S

Half a century after the 1960s, commonly considered to have been the period when artists’ publications expanded and consolidated, this genre seems to be experiencing a new ‘golden age’. In recent years, the number of books and printed matter produced by artists has grown exponentially, and so has the interest in them demonstrated by exhibition curators, public and private collectors, and even the media. The contemporary art scene in Spain is not immune to this phenomenon. On the contrary, over the last decade, artists’ publishing has undergone an explosion in quantity, quality and impact with no precedents in Spanish art history. The causes for such an explosion and its main traits are explored here, focusing on a number of significant examples and protagonists. Relevant sources of information documenting its course are offered, both online and in print.

scholarly journals On Lars von Trier, Enfant Terrible of Danish Art Film

2011 ◽  
Author(s):  
Mette Hjort
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Good Deal ◽  
Artistic Practice ◽  
Avant Garde ◽  
Lars Von Trier ◽  
Crucial Feature ◽  
Art Film

THE PROBLEM WITH PROVOCATION: ON LARS VON TRIER, ENFANT TERRIBLE OF DANISH ART FILM Anyone interested in contemporary art is likely to have spent a good deal of time pondering the nature and role of artistic provocation. Provocation as a crucial feature of artistic practice was largely unknown before 1800 (Walker 1999: 1). The idea of 'shocking the recipient' was, however, 'a dominant principle of artistic intent' for members of the various avant-garde movements that emerged in the early decades of the 20th century (Peter Bürger, cited in Walker: 2), and at this point the provocateur is a well-known and even expected figure in the landscape of art. It is not difficult to think of examples of artworks that are self-evidently about creating a sense of outrage. Let me mention just a few well-known works that prompted a public outcry: Rick Gibson's Human Earrings (1985), which consists of a...

Maas, Willard (1906–71)

2018 ◽  
Author(s):  
Laura E.B. Key
Keyword(s):  
New York ◽  
Virginia Woolf ◽  
Film Industry ◽  
The Body ◽  
Avant Garde ◽  
Experimental Art ◽  
Art Scene ◽  
Group A ◽  
The Media ◽  
The 1960S

Willard Maas (1906–71) was an American filmmaker and poet. He was known for his experimental style of filmmaking and was considered part of an avant-garde group of artists who worked in opposition to the commercial film industry. The types of films he made were sometimes referred to as "film poems" for their unconventional style, blurring the traditional distinction between the media of film and poetry. Maas was a literature professor by trade, working at Wagner College in New York City. Along with his wife, fellow filmmaker and artist Marie Menken, Maas was prominent in the New York art scene from the 1940s to the 1960s. Maas and Menken were founder members of the Gryphon Group, a set of like-minded artists who worked together on postwar experimental art and film projects. The couple was well-known for holding avant-garde salons at their Brooklyn apartment. Maas and Menken’s tempestuous relationship was well recorded, and they are cited as inspiration for the characters of George and Martha in Edward Albee’s play, Who’s Afraid of Virginia Woolf? (1962). Maas’s film credits as director include Geography of the Body (1943, with Marie Menken and George Barker), The Mechanics of Love (1955, with Ben Moore), Image in the Snow (1943–8), and Narcissus (1956, with Ben Moore).

Relocating the Literary: In Networks, Knowledge Bases, Global Systems, Material, and Mental Environments

CounterText ◽  
2017 ◽  
Vol 3 (1) ◽  
pp. 47-70
Author(s):  
Joseph Tabbi
Keyword(s):  
New Media ◽  
World Literature ◽  
Knowledge Bases ◽  
Media Ecology ◽  
Costs And Benefits ◽  
Avant Garde ◽  
Literary Forms ◽  
The Media ◽  
Global Systems ◽  
Current Potential

The cosmopolitan ideal of a world literature, only partially and occasionally realised in print, can give us terms with which to measure the costs and benefits of moving scholarly works, and our conversations about works, into present media. This essay takes a measuredly optimistic view of our current potential, as literature moves not simply from print to screen, across national borders, or among avant-garde aesthetics. The defining move, I want to argue, is from bounded forms to the database, whose works, while stable, remain open to linkages with all other literary forms available in any number of interoperable databases. The relocation of works in new media is a shift not in degree, but in kind. As our expectations too shift regarding the means of circulation among minds and media, we are more likely to discern what is really new and really global about writing in the media ecology and cognitive economies we currently inhabit.

The Aesthetics of Disruption: German Theatre in the Age of the Media

1993 ◽  
Vol 34 (2) ◽  
pp. 7-27
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
New York ◽  
New Developments ◽  
Avant Garde ◽  
Exhibition Hall ◽  
Slaughter House ◽  
Commercial Theatre ◽  
The Media ◽  
Definition Of

In the early 1960s, certain new developments in Western theatre occurred which in some ways seemed to complete the process of the re-definition of theatre that was initiated by the historical avant-garde movement at the beginning of this century. In a decisive move against the long established bourgeois, educational and commercial theatre, now theatre was explicitly being defined as the “detailed investigations of the actor-audience relationship”. As before, this new definition led to the search for new theatre spaces and genres and a new manner of using signs where the focus shifted from the semantic to the pragmatic level. Performances were held in a disused workshop (Richard Schechner's Performance Garage in New York), a factory (Ariane Mnouchkine's Theatre du Soleil in a former munitions factory in Vincennes), a slaughter house (Bremen), in cinemas (Bremen and Bochum), in an exhibition hall (the Schaubuehne Greek project), in a film studio (the Schaubuehne Shakespeare project at the Halleschen Ufer 1976–7), in a tram depot (Frankfurt), in the 1936 Olympic Stadium in Berlin (Gruber's Winterreise 1977).

scholarly journals Being in Cosmos: Sergei Dykov’s Visual Exploration of the Spirit of Altai

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 405
Author(s):  
Andrzej Rozwadowski
Keyword(s):  
Contemporary Art ◽  
Visual Language ◽  
Visual Exploration ◽  
Human Beings ◽  
The World ◽  
Key Concepts ◽  
Art Forms ◽  
Visual Artist ◽  
Human Animal

This article focuses on how shamanism and animism, two important features of Altaic ontology, can be expressed in art. This is discussed by exploring the art of Sergei Dykov, a contemporary Altaic (south Siberian) visual artist, whose art is part of a wider trend in modern Siberian art of rediscovering the conceptual potentials of indigenous Siberian values. Dykov is one of those artists whose fascination with Siberian culture is not limited to formal inspirations but who also seeks how to express these indigenous values in contemporary art forms. Drawing on Altaic folklore, its myths and beliefs, including shamanism, as well as ancient Siberian art forms, Dykov searches for a new visual language capable of expressing the Altaic perception of the world. For him, therefore, painting is significantly an intellectual project involving an attempt to understand the indigenous ontology of being in the world. The key concepts around which his art revolves are thus human-animal transformations, human and non-human beings’ relations, and the interconnectedness of the visible and nonvisible. The study was based on an analysis of a sample of his unpublished artworks.

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