Grand Theft Terra Firma: Relationships and Cross-Cultural Art Production

Artists David Campion and Sandra Shields reflect on the role that relationships with Indigenous people played in shaping their installation Grand Theft Terra Firma which uses digital gaming to reframe the settlement of Canada as a heist perpetuated by the usual cast of colonial characters reimagined as villains. The artists provide a detailed account of the collaborative practice that became the means of co-creating photos with Stó:lō friends and neighbors as ‘actors.’ They share how relationships that grew over many years of time spent together were central to the understanding that became the foundation for the work as well as to the process of conceptualizing and executing the project.

South Slavic Lands

The reception of Byzantine art among the South Slavs began with their conversion to Christianity in the ninth century. Bulgaria and Serbia were the largest medieval states, covering most of the territory of the Balkan Peninsula. With the development and strengthening of political power of these kingdoms, more influences from Byzantium penetrated the state administration and society. Art production mostly relied on the patronage of local rulers, nobles, or prelates, who were able to bring the best artists from Byzantine centers or those trained in Byzantine workshops. This resulted in the intermingling of Byzantine traditions and skills and local patrons’ desires for creating artistic programs and objects with political and national content.

PLASTIC LANGUAGE OF LIGHT IN ART

Technological education has moved away from material understanding. It will be initiated as these formal indicators that can be applied in the world surrounded by technological content. These technological objects have become the indispensable production material of the artist. In the rich material world of art, artists continue to surprise the audience with the interesting materials they use. Each material has its own characteristics. In this rich world of objects, light as an art production material has attracted the attention of some artists. This research focuses on examining how light is used in art production and its reflection on works of art from a plastic point of view. Readings were made on the works of artists who use light with a plastic understanding. Thus, it has been seen that light is used as a conceptual and visual artistic expression tool. Keywords: Art, Object, Light

Piecing Shards Together

The imperial manufacture of porcelain in the Qing dynasty was always related to the broad state economy and politics, especially ritual. As has been revealed in administrative regulations and raw material supply, porcelain production seemed to be an independent operation like other court art production. However, as evidence regarding managerial personnel, finance, quality control, and design shows, the technology for producing porcelain was integral to other material production at court. Thus, multiple productive processes were interdependent and they influenced each other. The productive processes and products of court art showcase the character of monarchical industry.

Visuality, Sonicity and Corporeality in Installation Art: A Conversation with Jun Nguyen-Hatsushiba

This conversation paper examines the visual, sonic and corporeal entanglements that inform the work of the Vietnamese-American-Japanese artist Jun Nguyen-Hatsushiba. It explores the corporeal and aural qualities that are central to an understanding and sensorial experience of the artist's installations and visual practice. In paying attention to breath, sound and motion in visual art production, Jun Nguyen-Hatsushiba's works reveal how corporeality and sonicity can dismantle the ocular-centrism of visual art. The discussions between Jun and Prarthana map the varied traumatic histories of racial colonialism, war and forced migration that haunt Vietnam's present, and bring to the surface the artist's aesthetic and political concerns around art, performance and cultural memory.

POTTERY ART OF SURKHAN OASISIN 1950-80s

The article tells about the history of ceramics and its features, which is one of the types of crafts in Surkhandarya. A scientific analysis of the social and spiritual basis for the development of crafts in Uzbekistan in the traditional national context and the thousand-year experience of folk crafts are given. Pottery is one of the national handicraft traditions of the Uzbek people, which has long been valued as one of the crafts. At the beginning of the twentieth century, various techniques and mechanisms began to be used in the production of handicrafts. This has had a significant negative impact on the quality of art production. By the 1950s and 1980s, ceramics had made many items disappear. Nevertheless, the oasis potters continued their work, remaining true to the tradition of the master apprentice