Suchergebnisse

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.

Even in new theories of nation, which claim that nations were invented in modern times by the intellectuals, we still find some foundations for making the difference between "real" & "artificial" nations. This binarism usually introduces the "People" nations of the modernist first-comers, & "Volk" nations of all the others, as in "The Federalist Papers" introduction of representative democracy, & in Herder's "Ideas on the Philosophy of the History of Mankind." In both cases, national art is treated as an artificial constructive pillar of the nation & nation state. Comparing the case of Slovenia (the nation-founding story of "Martin Krpan" by Fran Levstik from 1858) with the cases of Greece as "the Dream Nation" & of new African nations, the author concludes that nations are not fictitious inventions of the intellectuals but necessary products of history, & that in their production art had an important position due to its aesthetic function. This function makes it possible to bridge & to universalize on a territory without any certain grounds & limits, across the gap of any modernist binarism. 21 References. Adapted from the source document.

What will remain of Iranian Contemporary Art if Iran goes to war and everything is bombarded? Are the museums and art objects currently chosen to be preserved representative of Iranian Contemporary Art? How will our understanding of our own past be formed? Inside the Islamic Republic of Iran, national archives and private galleries were initiated, partially in order to preserve historical material, yet many documents are still excluded from preservation. In 1995, Jacques Derrida stated that " .the documents, which are not always discursive writings, are only kept and classified under the title of the archive by virtue of a privileged topology. They inhabit this uncommon place, this place of election where law and singularity intersect privilege."1 Iranian Contemporary Art suffers from a lack of institutional support and with that also from a lack of preservation of materials. Archives need authority, physical space, and shelter. The ideal archive should be transparent and at the same time concealed, it should be accessible and at the same time preserved. An Archive of that kind does not yet exist in Iran. This paper will build upon archival theory and examine the history and current state of the archive in Iran by analyzing the political, financial and social obstacles in the formation of an institutional or private organization dedicated to persevering materials and engaging in a discourse of the archive. The author proposes an archiving model for Iranian contemporary art based on extensive field research conducted in Iran in 2015-16.

"Australian governments at all levels have been engaged with arts and culture in many different forms since the beginning of European settlement. The way this has occurred is documented and analysed here, both from an historical and critical perspective. Changing understandings of culture and the significance of Indigenous Culture to Australia receive special attention. While the focus is primarily directed to Federal Government engagement, there is also consideration paid to both state and local government involvement. There is attention paid to the censorship of arts practice by governments as well as the direct interventions by politicians in arts practice. Different approaches to the arts by governments are also considered, as well as the development of a cultural policy. The impact of the recent pandemic is addressed and various research reports about the arts sector and its relationship with government are also noted. There is then a final discussion about some issues that governments could address in the future, that might ensure a more sustainable Australian arts sector. This book will be of particular interest to scholars of contemporary arts, arts management, cultural history, public policy and cultural policy"--