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.
La presente-acción –que se graba, aquí, en METAL – aborda, a partir de tres enfoques simultáneos, el concepto de arte indisciplinario. Lo indisciplinario se plantea, así, en tres dimensiones posibles: la expansión de los campos disciplinares, la rebeldía implícita en la idea de indisciplina y la discusión acerca de los límites disciplinares a partir de la asunción del espaciotiempo. Al final, se presenta el ejemplo de una obra de arte indisciplinario. ; This present-action –that is recorded, here, in METAL – analyzes, from three simultaneous points of view, the concept of undisciplinary art. Thus, the undisciplinary is set out in three possible dimensions: the expansion of the disciplinary fields, the implicit rebelliousness in the idea of indiscipline and the discussion about disciplinary limits from the acknowledgement of spacetime. At the end, we show an example of an undisciplinary artwork. ; Facultad de Bellas Artes
This article argues that there is an individual right to art based on the autonomy of art, which distinguishes it from other forms of expression; on the ability of subjective appropriation of art exclusively by humans; on the possibilities of art for the construction of various forms of expression, and the potential use of art in democratic systems where public policies could help to the right to peace and reconciliation, as well as alternative forms of reparation and rehabilitation in society. The exclusive relationship between human and art is the base of its objectification, that would make it a legally enforceable right. ; El artículo defiende que existe un derecho subjetivo al arte fundamentado en la autonomía del arte, que lo diferencia de otras formas expresivas; en la capacidad de apropiación subjetiva del arte exclusivamente por parte de los seres humanos; en las posibilidades del arte para la construcción de formas de expresión varias; y en el potencial uso del arte en políticas públicas propias de los sistemas democráticos, que ayudaría al derecho a la paz y a la reconciliación, así como formas alternativas de reparación y rehabilitación en sociedad. La exclusividad de la relación del hombre con el arte fundamentaría su objetivación y, por ello, lo convertiría en un derecho jurídicamente exigible.
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.
This is our second issue dedicated to the topic "Art and Politics" and it would be worth asking ourselves Why two numbers on a subject that is on everyone's lips? -Academically it is treated daily and appears recurrently in newspapers, magazines and newscasts. The truth is that art generates needs, shapes communities and societies, shapes behaviors, gives status, constitutes identity and even highlights virtues and could propitiate that some truths not so real in the collective imagination, are transformed into inventions or chimeras. Also, it is true that the influence of the mass media is present in the taste shown by communities for art and artists. Today for example: the artist, the title of the work and the justification or support that is made of it, can be more important than the work. If we add to this what is in the offices, it is where mass media decide on what art to promote and promote and what works to ignore or ignore, we would have to affirm that in the contemporaneity the link between art and politics it goes beyond a formal relationship and becomes a form of power. ; Este es nuestro segundo número dedicado al tema "Arte y Política" y valdría la pena preguntarnos¿por qué dos números sobre un tema que está en boca de todo el mundo? Académicamente se trata a diario y aparece recurrentemente en periódicos, revistas y noticieros-. Lo cierto es, que el arte genera necesidades, conforma comunidades y sociedades,moldea conductas, da status, constituye identidad e incluso destaca virtudes y pude propiciar que algunas verdades no tan reales en el imaginario colectivo, se trasformen en invenciones o quimeras. También, es cierto que la influencia de los medios masivos de comunicación está presente en el gusto que demuestran las comunidades por el arte y los artistas. Hoy en día por ejemplo:el artista, el título de la obra y la justificación o sustentación que se haga de ella, pueden ser más importantes que la obra. Si a esto agregamos que es en las oficinas es donde los mas media deciden sobre que arte promocionar e impulsar y que obras desconocer o ignorar, tendríamos que afirmar que en la contemporaneidad el vínculo entre arte y política va más allá de una relación formal y se convierte en una forma de poder.
Art is some sort of social fight. ln that battle we express sadisfaction, aggress,on, desıres. gracefullness, power, chinizam and fear. Every aspect ot these matters depends on specific social contexts. Accordıng to that specific context we can experience art like some sort of amusement or some sort of politic act, what is more value in thal case, art like a modern aphrodisiac for our hidden pleasures or the eternal urge tor searching the truth beyond reality? ldeology is the heart of every art and without it, art would be just a shady form of cheap aesthetic lor hordes ot people For young people that are willing to be new gladiators in art world, stands a thorny path. The Canadian philosopher Marshall Mcluhan predicted the world wide web and it global impact on our society.
El origen de esta reflexión escrita es un curso de doctorado impartido en la ETSA de Sevilla desde el año 1994 hasta la actualidad, por la profesora Dra. M.Cruz Aguilar y por la autora de este artículo, y que se trazó como objetivo encontrar relaciones de afinidad entre las Artes Plásticas y la Arquitectura a lo largo del s.XX. Es necesario aclarar, antes de seguir adelante, que, además de nuestras habituales sesiones teóricas, el curso se ha venido enriqueciendo todos estos años con la participación de numerosos invitados de diversas procedencias, artistas casi todos ellos en activo y que con su testimonio personal nos han ilustrado de una manera fehaciente la evidencia de estas relaciones arte-arquitectura. Así, y entre otros, Enric Miralles y Juan Lacomba nos visitaron por separado en el bienio 1994-5, Juan Navarro Baldeweg lo hizo en 1998, en el año 1999 estuvo en nuestras tertulias Guillermo Pérez Villalta y, por último, en Enero de este año estuvo con nosotras la escultora vienesa Eva Lootz. Por otro lado, el soporte teórico del curso se ha planteado a modo de recorrido, que pretendía ser crítico y reflexivo, por los principales acontecimientos del panorama artístico del siglo XX. Es evidente que son los procesos de pensamiento que subyacen en cualquier hecho artístico, materializado en una obra de arte concreta, los encargados, en última instancia, de justificarlo. En este sentido, tan válida sería la obra de enfoque objetivo-racionalista (cubistas, puristas, suprematistas, neoplasticistas, constructivistas,. hasta los high-tech) como las aparentemente más subjetivas o irracionales (fauves, expresionistas, dadaístas, surralistas, organicistas, . incluso postmodernos y deconstruccionistas). Un segundo gran capítulo abordado en el curso ha sido el relativo a las denominadas vanguardias históricas, es decir, a todas las tendencias artísticas o -ismos acontecidos básicamente hasta mediados de los años treinta. Esta etapa supuso un enriquecimiento mutuo de los diferentes artistas y de sus respectivos lenguajes plásticos; el agruparse en asociaciones los llevó a reflejar sus conclusiones en manifiestos cuyo objetivo último era una auténtica transformación de la sociedad. Al buscar relaciones, en esta etapa postbélica, entre arte y arquitectura, no podemos dejar de mencionar el Guggenheim Museum de Wright del 1959, auténtica arquitectura escultórica, pero tampoco y en la misma línea, la iglesia de Notre-Dame-du-Haut (1950-1955) de Le Corbusier. Lo mismo sucede con la obra más emblemática de Louis I. Kahn, el Parlamento de Dhaka en Bangladesh (1962-83), con sus extraordinarios efectos de luz, o con el Ayuntamiento de Säynätsalo (1952) de Aalto, donde la poética del paisaje y los materiales convierten a la obra en algo diferente y distante de la "modernidad radical"; algo parecido a lo que sucede con Eero Saarinen, Hans Scharoun o Utzon. Se trata de una etapa en la que en las artes plásticas se experimenta una evolución del expresionismo abstracto (Escuela de N. York) al Informalismo europeo y a la abstracción post-pictórica, para desembocar después en el Op Art y el Arte Cinético, y todo ello habiendo desaparecido por completo la estrecha vinculación entre artistas que se produjo en las vanguardias históricas de los años veinte y quedando, sólo, un sustrato cultural común que sirve de alimento para cualquier manifestación artística. ; The origin of this written reflection is a doctoral course given at the ETSA of Seville from 1994 to today, Dr. professor. M.Cruz Aguilar and the author of this article, and charted the goal of finding relations affinity between the fine arts and architecture along the s.XX. It is necessary to clarify, before proceeding, which, in addition to our usual theoretical sessions, the course has been enriched all these years with the participation of numerous guests from various sources, most of them artists active and with his personal testimony us They have been illustrated in a consistent manner the evidence of these relationships art-architecture. Thus, among others, Enric Miralles and Juan Lacomba we visited separately in the biennium 1994-5, Juan Navarro Baldeweg did in 1998, in 1999 it was in our gatherings Guillermo Pérez Villalta and finally, in January this year was with us Viennese sculptor Eva Lootz. On the other hand, the theoretical support of the course has been raised as a tour, pretending to be critical and reflective, for the main events of the twentieth century art scene. Clearly they are the thought processes that underlie any artistic fact, materialized in a concrete work of art, managers, ultimately, to justify it. In this sense, the work would be as valid goal-rationalist approach (Cubist, purist, Suprematist, neoplasticists, constructivist, . to the high-tech) as the apparently subjective or irrational (Fauves, Expressionists, Dadaists, surralistas, organismic, . even postmodern and deconstructionist). A second great chapter addressed in the course has been on the so-called historical avant-garde, that is, to all artistic trends isms occurred or basically until the mid-thirties. This stage was a mutual enrichment of different artists and their respective artistic languages; The grouped in associations led them to reflect their findings manifest whose ultimate goal was a true transformation of society. When looking for relationships, in this postwar period, between art and architecture, we can not fail to mention the Guggenheim Museum Wright 1959, authentic sculptural architecture, but also in the same line, the church of Notre-Dame-du-Haut ( 1950-1955) of Le Corbusier. The same applies to the most emblematic work of Louis I. Kahn, the Parliament of Dhaka in Bangladesh (1962-1983), with its extraordinary light effects, or the City of Säynätsalo (1952) Aalto, where the poetic landscape and materials make the work into something different and distant from the "radical modernity"; something like what happens with Eero Saarinen, Hans Scharoun or Utzon. It is a stage in the visual arts an evolution of abstract expressionism (School of N. York) Informalismo European and post-painterly abstraction to then flow into the Op Art and Kinetic Art is experienced, and all it having disappeared completely close link between artists that occurred in the historical vanguards of the twenties and being only a common cultural substrate that serves as food for any art form.
La migraña es un trastorno muy frecuente que ha afectado a la humanidad desde hace varios milenios. Muchos científicos, políticos y artistas importantes la han padecido. Se hace un análisis de la relación entre la migraña y las obras de destacados pintores compositores y escritores de diferentes épocas, los aspectos de su vida y la influencia de las experiencias migrañosas en su obra; algunos de estos autores tenían conciencia de su enfermedad y la usaron como fuente de inspiración, mencionándola a veces en los títulos de sus obras. ; Migraine is a very common disorder that has affected mankind for several millennia. Many prominent scientists, politicians and artists have suffered from migraine. This is an analysis of the relationship between migraine and the works of art of outstanding painters, composers and writers of different times; some aspects of their lives, and the influence of migranous experiences in their works. Some of these authors were aware of their illness and they used it as a source of inspiration, and often they mentioned it in the titles of their Works.
Die Frage, was Gegenstand einer Verfügung nach Art. 5, Art. 25 und Art. 25a VwVG sein kann, ist auch mit Blick auf die Rechtsweggarantie nach Art. 29a BV zu beantworten, da die Verfügung bis heute das zentrale Anfechtungsobjekt ist, um den (gerichtlichen) Rechtsschutz zu ermöglichen. Entsprechend ist die Auslegung von Art. 29a BV mit derjenigen der Verfügung nach Art. 5, Art. 25 und Art. 25a VwVG zu harmonisieren (und vice versa). Der sachliche Anwendungsbereich von Art. 29a BV, der im Begriff «Rechtsstreitigkeiten» angelegt ist, erfasst Streitigkeiten aus Rechtsverhältnissen. Rechtsverhältnisse zeichnen sich in der Regel dadurch aus, dass Rechte oder Pflichten von Einzelpersonen vom Verfassungs-, Gesetz- oder Verordnungsgeber hinreichend präzis umschrieben werden, sodass diese von einer Verwaltungsbehörde im Anwendungsfall mittels Verfügung nach Art. 5, Art. 25 oder Art. 25a VwVG konkretisiert und einer gerichtlichen Kontrolle zugeführt werden können.
The relation of law and art is conventionally understood through a disciplinary divide that presents art as an instrument of legal practice and scholarship or, alternatively, presents law as potential context for artistic engagement. Moving beyond disciplinary definitions, in this article we explore how art and law, as modes of ordering and action in the world, often overlap in their respective desires to engage existing material orders. Whereas law's claim of producing order appears self-evident, we try to highlight, through a concept of legislative arts, the often-overlooked similar function of artistic practices. At the heart of what we refer to as legislative arts are practices that aim to challenge law's claim of authority in ordering social life through tactical combinations of elements of art and law. In examining a set of examples that include the Tamms Year Ten campaign to close a super-max prison in the United States, the work of Forensic Architecture and practices of passport forgery, we aim to highlight the possibility of manifesting social orders beyond an exclusive reliance upon state laws. Pointing to the potentials of such legislative arts practices, this article suggests that the material ordering quality of artistic and legal practices can, and perhaps should, be weaponized for challenging and remaking the world of unjust state laws.
Art=Text=Art: Works by Contemporary Artists Wednesday, August 17 to Sunday, October 16, 2011Joel and Lila Harnett Museum of Art On view in the Harnett Museum of Art, University of Richmond Museums, from August 17 to October 16, 2011, Art=Text=Art: Works by Contemporary Artists features 72 works created between 1960 and 2011, that include text or reference textual elements. Many of the works reflect developments in modern and contemporary art and critical theory, and relate to concurrent politics, history, and philosophy. Among the more than 40 artists included in the exhibition are Alice Aycock, Trisha Brown, Dan Flavin, Jane Hammond, Jasper Johns, Sol LeWitt, Ed Ruscha, Karen Schiff, Cy Twombly, John Waters, and Lawrence Weiner. Art=Text=Art was organized by the University of Richmond Museums and curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums, with Rachel Nackman, Curator of the Kramarsky Collection, New York. The exhibition and programs were made possible in part by the University of Richmond's Cultural Affairs Committee, and funds from the Louis S. Booth Arts Fund. The exhibition is accompanied by an online catalogue featuring images of all of the works in the exhibition, an essay by N. Elizabeth Schlatter, and entries contributed by University of Richmond alumni and students among other artists, writers, curators, and critics. It is free and accessible at www.artequalstext.com. Read the essay by N. Elizabeth Schlatter by choosing the download button. ; https://scholarship.richmond.edu/exhibition-catalogs/1001/thumbnail.jpg
Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.
Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.
Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.
Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.
