Suchergebnisse

Borrowed from Allan Kaprow's Essays on the Blurring of Arts and Life, the event "…nonart is more art than Art art" will instead seek to challenge the very concept of the artist studio within contemporary and future artists practices. With Creative Enterprise Zones incorporating artists studios planned by the London Mayor, these urban models will not only further capitalise on the financially and culturally lucrative status of art and artists for governments, developers and other private and corporate investors within regeneration schemes, but will arguably also elevate the status of the artist above other citizens, and away from being in lived social space. Thus shifting artists' practices into a yet more sanitised inverted looking activity. "…nonart is more art than Art art" will question the very need of the artist studio and argue for artists not to reinvent the studio but to divest themselves and their practices conceptually and physically from this traditional model – one that is historically based on the romantic figure of the male artist, and art market transaction – and instead, transcend the boundaries of what it means to be an artist in the 21st century.

Novelist Pip Adam reflects on the processes involved in three of her recent projects: a novel, The New Animals (2017); a community newspaper and art project; and her educational work in creative writing classes in prisons. Drawing on Raymond Williams and Kenneth Goldsmith, Adam considers the relationship between the work of art and the work involved in producing art, and consider some of the ways in which the language of creativity and inspiration may undermine democratic energies.

Les œuvres des autres civilisations, les «arts premiers » d'hier à aujourd'hui, n'ont été véritablement confrontées en tant que telles aux œuvres d'art occidentales que depuis un siècle environ, jusqu'à être maintenant de plus en plus mises en scène (voir le futur Musée du Quai Branly, à Paris en 2004). Un recul nous est donc acquis qui permet désormais de ne plus les penser de façon exclusivement ethnologique ou bien esthétique.
Ces œuvres ouvrent clandestinement à chacun un passage vers un territoire de questionnement et donc de liberté, pour remettre en cause de façon toujours actuelle les définitions de l'Art que l'on aurait été tenté de croire définitivement admises.

1. Introduction: A Case for Copies -- 2. Apprentice Artists -- 3. Copies for the Colonies -- 4. Paintings-within-Paintings -- 5. Education and Entertainment. - 6. Copies in Public Collections. - 7. Protecting the Past. - 8. Cash for Copies. - 9. Conclusion: Sorting the Wheat from the Chaff. .

Working in 1970s Italy, a group of artists--namely Ugo La Pietra, Maurizio Nannucci, Francesco Somaini, Mauro Staccioli, Franco Summa, and Franco Vaccari--sought new spaces to create and exhibit art. Looking beyond the gallery, they generated sculptural, conceptual, and participatory interventions, called Arte Ambientale (Environmental Art), situated in the city streets. Their experiments emerged at a time of cultural crisis, when fierce domestic terrorism aggravated an already fragile political situation. To confront the malaise, these artists embraced a position of artistic autonomy and social critique, democratically connecting the city's inhabitants through direct art practices.

Abstract: Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys's concept of social sculpture and Marcuse's idea of society as a work of art can be complemented by Abreu's project of
a musical orchestra as a social ideal (the Venezuelan example of the music and education project El Sistema) and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey (Temporary Autonomous Zone), with D'Annunzio
also touching upon them with his State of Fiume (1919–1920), for which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene
in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture (with many engaged artists) has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes
new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research.