Suchergebnisse

There are 13 nationalities currently dwelling within the boundaries of the Xinjiang Uygur Autonomous Region (XUAR), China's most westerly and largest unit at provincial level. The most populous nationality is the Uygur, a Turkic people, who at the end of 1982 numbered about 5,986,800 out of Xinjiang's total population of 13,159,000. Others include the Han, at 5,287,000 people, the Kazakhs (913,900), the Hui (575,500), the Mongolians (117,200), the Kirghiz (114,200), the Xibo (27,500), and Tajiks (27,100).

There are 13 nationalities currently dwelling within the boundaries of the Xinjiang Uygur Autonomous Region (XUAR). The most populous nationality is the Uygur, a Turcic people. The article focusses on the performing arts (song, dance, balladry, song opera and musical plays) of the Uygurs. Continuing influence of Islam among the Uygurs. Cultural policy of the CCP (Chinese Communist Party) and the Chinese government in respect of national minorities. (DÜI-Sen)

The historiographical article looks at "1945" as a turning point, inquiring whether the end of both the Second World War and National Socialism also implied a radical break for art history in Germany. In evaluating both contemporary perspectives (like Herbert von Einem's opening lecture of the First German Art Historians Meeting in 1948) and recent historiographical studies, the paper questions the concept of "Stunde Null" or "hour zero," and intends to challenge the established paradigm of rupture and discontinuity. Arguing for a more nuanced and holistic understanding of the transformation processes in the postwar situation, three major reasons are identified why simplistic categorizations often prevail: (1) a very narrow definition of the art historian in the history of art history, (2) the disjunction between the humanities and the larger political context, which allow the individual to imagine himself/herself untainted and uncompromised by ideology, and (3) the high degree of continuity, in particular if compared to the radical changes that took place in 1933. The article thus resumes that the idea of "turning points" deserves further differentiation, and calls for the integration of the political dimension into historiography. Essentially, the challenge remains to distinguish between factual processes, false or fraudulent labelling, and symbolic gestures.

The following dissertation will focus on the social role of art curators within our society along with the evolution of the concept of "Museum" since the beginning of the 20th century. This research paper is based on my experience as an art curator and production assistant for the company Cinq Etoiles Production on exhibitions such as Pernod Ricard's art campaign MINDSET, Médecins du Monde's Mise Au Poing exhibition or Vichy Portrait(s). This internship gave me insights into the organization of a cultural and artistic show, its mission and the skills and the resources required to conduct it successfully. Indeed, evolving in the field of exhibitions' organization and especially photography made me reflect upon the way people "use" museums and exhibitions and to what extend Art is essential for society. More than presenting the work of artists for their aesthetical values, an exhibition can raise awareness about issues, open debates on different subjects and enables us to project ourselves forwards. Besides, museums serve as vectors of knowledge about our history, or culture and other values and identities. Therefore, I began to realize that the most important changes in society were due to artists and intellectuals who promoted open-mindedness, multiculturalism, and alternative thinking. I wanted to understand how museums that were long reserved for a small fraction of our society became able to address larger audience and educate the public opinion. We will see during this research that just like any significant evolution of society, the democratization of art and culture under all its forms had to overcome many obstacles over the decades. We will also reflect upon the concept of "Museums" as art laboratory and places of social interactions, why it should be politically-engaged and how to involve the community in the process to achieve change within our society.

The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communication, and virtuality. Conclusions. The interaction of visual art forms and interactive technologies is a combination of artistic manifestations with visualization and programming, so, unlike the processes of classical education, this art practice, in addition to the artist, requires group work of specialists in various fields. Artists working in new forms of visual art play the role of "director" of the project, embodying their own artistic ideas in collaboration with other participants. The actualization of the art of new media is manifested primarily through the expansion of artistic creativity and the creation of multimedia projects that combine VR, AR technology, animation, and traditional shaping and drawing. Therefore, modern visual arts are becoming a powerful tool and communicative tool of modern culture. Today, Ukrainian artists are actively using visual images as central elements of visual culture. Since modern cultural communication significantly influences the formation, providing the composition and translation of cultural values, with the help of visual images artists are able to more accurately express the idea of the work, to make it understandable to the maximum number of viewers.

This study presents the changing situation of the Roma in the second half of the twentieth century. The authors examine the effects of the policies of the Hungarian state towards minorities by analyzing legal regulations, policy documents, archival sources and sociological surveys. The book offers theoretical background to one of the most burning issues in east Europe.

In the first phase (1945-61), the authors show the efforts of forced assimilation by the communist state. The second phase (1961-89) began with the party resolution denying nationality status to the Roma. The prevailing thought was that Gypsy culture was a culture of poverty that must be eliminated. Forced assimilation through labor activities continued. In the 1970s Roma intellectuals began an emancipatory movement, and its legacy can still be felt. The third phase (1989-2010) brought about some freedoms and rights for the Roma, with large sums spent on various Roma-related programs. Despite these efforts, the situation on the ground did not improve. Segregation and marginalization continues, and is rampant.

"This book examines how renewed forms of artistic activism were developed in the wake of the neoliberal repression since the 1980s. The volume shows the diverse ways in which artists have sought to confront systemic crises around the globe, searching for new and enduring forms of building communities and reimagining the political horizon. The authors engage in a dialogue with these artistic efforts and their histories - in particular the earlier artistic activism that was developed during the civil rights era in the 1960s and 70s - providing valuable historical insight and new conceptual reflection on the future of aesthetic resilience. This book will be of interest to scholars in contemporary art, history of art, film and literary studies, protest movements, and social movements"--

This article explores the challenge of incorporating longer historical time frames into a social semiotic understanding of meaning-making. We focus on museums as complex, multimodal assemblages, and trace the distinct trajectory of museums and their development in China. We illustrate the key differentiating stages of museums in China, and focus on the contemporary Chengdu Tianfu Art Museum (hereby TAM), as a case study exemplifying the intertwined nature of history in aspects of contemporary museum practice. We argue that history is inherently intersected in the making of materiality and meaning, and demonstrate through illustrative Spatial Discourse Analysis how this intersection is materialized in the design and use of TAM. Our analysis shows that TAM is both continuous with, and different from, prior museum practices. In doing so, we reveal connections between semiotic change and social change, and demonstrate that history and materiality cannot be divorced from the politics of representation.

This report focuses on the contemporary rotational art collection in Parliament House that is intended for the use of Members and Senators in their offices and suites. The design of Parliament House by architects Mitchell/Giurgola and Thorpe (MGT) incorporated a revolutionary Art and Craft Program of purchases and commissions which was to add meaning and a conceptual theme to the building in order to express the unique democracy and identity of Australia. Chapter one highlights this as well as the inaugural formation of an Art Advisory Committee (AAC) which was to guide the Art and Craft Program. It also highlights the facilitation and creation of the collection in terms of acquisition policies. The easy execution of a fulfilled and representative art collection was encumbered due to government initiated budget cuts to the Parliament House construction in 1986. These cuts effected the contemporary art collection greatly, which is discussed in chapter two. In the interim period between the 1986 budget cuts and 1994 few acquisitions were made in relation to the contemporary art collection and the Art Section was run merely as a service to parliamentarians, offering the art which was purchased between 1983 and 1986. In 1994, however, Senator the Hon. Michael Beahan, President of the Senate, reactivated an art acquisitions policy and a new Art Advisory Committee which is detailed in chapter three. In June 2003 the Presiding Officers commissioned previous Director of the National Gallery of Australia, Ms. Betty Churcher to complete a review of Art Section operations as well as the structure and content of the collection. This is examined in chapter four. Church er subsequently created new guidelines for acquisitions which were to update the art collection. She identified long and short term priority areas which were to be focused on. She also introduced a proposal for an Art Advisory Consultant who was to work with the Director, Art Services and submit proposals to an AAC. In order to gauge an understanding of the relevance and history of the Parliament House Art Collection (PHAC) it was useful to ascertain parliamentarian's views and knowledge of the intention for art in Parliament House. From researching committees and parliamentary debates it is evident that there is a lack of knowledge regarding the original intention for the PHAC; lack of knowledge · about the original conceptual basis for the art and craft in parliament House; that many parliamentarians supported a reactivation of an acquisitions program, which had not occurred since the 1986 budget cuts; there is a lack of awareness of the original intention for the PHAC to support living artists; and therefore the art trends and practises of the time in which the building is in; andthat awareness by a few parliamentarians on the contemporary nature of the PHAC. These are examined further in chapter five. The content of the PHAC at the time of this report, as well as the acquisitions procedure is examined in chapter six. The architect's original aims and intention for the art program, as well as documents written by the Parliament House Construction Authority (PHCA) and subsequent reviews have aided several conclusions and recommendations in terms of the content of the PHAC; public awareness of the PHAC; and also general overarching aims for the PHAC. What can be ascertained is that the PHAC is intended to be contemporaneous with the time in which it is in, and therefore is intended to reflect the art trends and practices current at that time. This conclusion was resolved through the subsequent investigation of original stateme'nt s by the architects as well as art section staff and the Churcher review. Previous problem have related to the effects of the budget cuts. Potential problems could present themselves in the form of lack of awareness of the collection by the parliamentarians. There is also a need for more public awareness of the collection, in order to promote more research; scholarly investigation; maintain the integrity of the collection; and realise its potential. It is one of the few collections in the world composed solely of Australian artists (or by artists who have resided in Australia for an extended period of their creative work) and needs to be maintained continually to keep the context of the collection intact. This is highlighted in statements by current and previous art section staff as well as throughout original documents which highlight the need for greater public awareness and promotion. In regards to recommendations for priority acquisition areas of the contemporary rotational art collection it is evident that Middle Eastern, Asian and North African artists have to be added to the composition in order to reflect Australia's multicultural society. It is also essential that more energy is spent on acquiring female artists work in order to rectify the current imbalance. There is also a need to purchase New Media art in .order to reflect current artistic trends of art in Australia, which was an original aim of the architects. New Media art must not merely be accessioned into the collection because it is of that medium, but instead because it is relevant to the context of Parliament House.