Suchergebnisse

The Association for Modern and Contemporary Art of the Arab world, Iran, and Turkey (AMCA) is a private, non-profit, non-political, international academic organization. Our goals include initiating the much-deserved recognition of a neglected and misrepresented field, and to open up institutional spaces for discussion, research and study. We seek to connect artists, scholars and others from around the world by sponsoring conferences, holding meetings, and exchanging information via a newsletter and website.

This book offers a compelling perspective on the striking similarity of art and commerce in contemporary culture. Combining the history and theory of art with theories of contemporary culture and marketing, Maria A. Slowinska chooses three angles (space, object/experience, persona) to bridge present and past, aesthetic appearance and theoretical discourse, and traditional divisions between art and commerce. Beyond both pessimistic and celebratory rhetorics, »Art/Commerce« illuminates contemporary phenomena in which the aestheticization of commerce and the commercialization of aesthetics converge.

This book offers a compelling perspective on the striking similarity of art and commerce in contemporary culture. Combining the history and theory of art with theories of contemporary culture and marketing, Maria A. Slowinska chooses three angles (space, object/experience, persona) to bridge present and past, aesthetic appearance and theoretical discourse, and traditional divisions between art and commerce. Beyond both pessimistic and celebratory rhetorics, »Art/Commerce« illuminates contemporary phenomena in which the aestheticization of commerce and the commercialization of aesthetics converge.

The ones who can call themselves contemporary are only those who do not allow themselves to be blinded by the lights of the century, and so manage to get a glimpse of the shadows in those lights, of their intimate obscurity." Giorgio Agamben With the death of the notion of nationalism and the decay in the belief in democracy through parliamentary and political representation; and with the calls for reform of the tainted nationalist Arab regimes amidst the recent disconcerting upheavals in the Arab world, Palestinians strive to build their national state and shape its political and cultural identity. This essay investigates how contemporary art practices have dealt with the political shift from the liberation movement to the post-Oslo schizophrenic reality. It investigates "the political" in art practices between a persisting Israeli colonialism, on one hand, and a neoliberal postcolonial state-building project on the other. Nonetheless, the text will not explain the historical shifts in forms, styles, markets, aesthetics and finances; rather it will suggest some rough divisions that help to categories the "the political" in contemporary art practices within the author's familiar knowledge and networks. These abstract divisions do not suggest that artists are confined to only one of these categories in their practices rather than moving between them within the history of their art production

While historians have analyzed and discussed the fragmentation of life in transatlantic societies by focusing on economics, law, or politics, we propose that a focus on biomedicine in the period since 1970 adds important perspectives on the shifting public role of science and of medicine. Biomedicine (the convergence of biological research and of medicine within the life sciences) moved to the center of public debates after the end of the Cold War. The papers in this special issue highlight how it became a prism through which societies, governments, and states renegotiated the roles of the medical and scientific professions, the opportunities, risks, and limits associated with scientific research and medical technologies, the responsibilities of individuals and of the professions in making life-or-death decisions, and important norms shaping the lives of individuals, families, and communities. Historians have analyzed and discussed the impact of market-oriented governing rationalities and of shifting discourses about the societal roles of individuals by focusing on politics, economics, or law. The contributors to this special issue propose to expand the focus towards biomedicine in order to include developments that otherwise would remain distinct from evolving narratives in recent contemporary history.

The purpose of the research is to identify the place of contemporary choreography in the art of choreography on the stages of Ukrainian ballet theatres. Research methodology. Methods of analysis, problematic and chronological, art history, and theoretical generalisation are applied. Scientific novelty. A retrospective analysis of choreographic activity in the field of contemporary choreography in Ukraine over the past thirty years has been conducted. Conclusions. Contemporary dance on the Ukrainian ballet stage, both in the repertoire of opera and ballet theatres and in the activities of individual ballet companies that are not associated with stationary premises, should be considered in the context of global trends in the development of modern and postmodern choreography, the basic principles of which were formed outside Ukraine. These trends were born and developed in the European and American dance space, came to the national dance soil as a result of artistic expansion, took root and acquired specific features. Contemporary dance occupies an insignificant place in the choreographic work of Ukrainian choreographers. Ballet performances created in the aesthetics of contemporary dance styles make up only a small part of the repertoire of academic ballet theatres. It is worth increasing the number of such performances staged by domestic and foreign choreographers, which will help expand the performing range of companies, integrate Ukrainian ballet theatre into the global cultural space, and increase the competitiveness of ballet theatres within the country (compared to, for example, drama theatres, which are much more responsive to the aesthetic demands of the public) and on the international stage. The modern direction of ballet theatre is actively developed in the activities of the only professional contemporary dance company in Ukraine, whose popularity is constantly growing, the Kyiv Modern Ballet, facilitated by the chief choreographer R. Poklitaru and his students and followers.
Key words: contemporary dance, choreographic art, Ukrainian choreography, ballet theatre, dance.

Bringing together fifteen scholars of art and culture, this collection addresses visual and material cultural histories of settler colonialism, enslavement, and racialized diasporas in the contested white settler state of Canada, offering new perspectives for decolonial and anti-racist scholarship on art, archives, and creative practice.

AbstractThis essay identifies two approaches to theorizing the relationship between financialization and contemporary art. The first departs from an analysis of how market logics in non-financial spheres are being transformed to facilitate financial circulation; the other considers valuation practices in financial markets (and those related to derivative instruments in particular) from a socio-cultural perspective. According to the first approach, the contemporary art market is in theory a hostile environment for financialization, although new practices are emerging that are increasing its integration with the financial sphere. The second approach identifies socio-cultural similarities between the logics by which value is extracted, amplified, and distributed through derivative instruments and contemporary art. The two approaches present a discrepancy: on the one hand, contemporary art functions as an impediment to outright financialization because of market opacity; on the other, contemporary art represents a socio-cultural analog to derivative instruments. The essay concludes by setting out the terms for a more holistic understanding of contemporary art's relationship to financialization, which would enable an integration of its economic and socio-cultural dimensions.

Cover Page -- Title Page -- Copyright Page -- Contents -- List of Tables -- Preface -- Acknowledgments -- Notes on Sources -- Introduction -- Chapter 1: Video Art -- Chapter 2: Experiential Art -- Chapter 3: Art Investment Funds -- Conclusion -- Postscript to the Paperback Edition -- Appendix A: Record Prices for Video Art at Auction, December 2009 -- Appendix B: The Film and Video Collections of Tate and the Whitney Museum of American Art -- Appendix C: Art Investment Fund Universe -- Notes -- Selected Bibliography -- Index

The article does not cover in detail and exhaustively the processes of contemporary fine art. An attempt is made to present the individual trends and phenomena, analyzing their specifics and peculiarities. The development is made on the basic of theoretical analysis and explores the huge variety of forms of manifestation in art, focusing on some of them: kinetic art, op art, pop art, conceptual art, land art, anti-art, unconventional art, ready-made, happening and action, performance, installation, assemblage. The choice was dictated based on personal experience and interest of students studying contemporary art. Through the research it is aimed that the mentioned creative manifestations become more understandable and familiar, to awaken curiosity for new and deeper developments, and why not creative interpretations.