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
The focus on concepts of power and domination in societal structures has characterized sociology since its beginnings. Max Webers definition of power as "imposing ones will on others" is still relevant to explaining processes in the arts, whether their production, imagination, communication, distribution, critique or consumption. Domination in the arts is exercised by internal and external rulers through institutionalized social structures and through beliefs about their legitimacy, achieved by defining and shaping art tastes. The complexity of how the arts relate to power arises from the complexity of the policies of artistic production, distribution and consumptionpolicies which serve to facilitate or hinder an aesthetic object from reaching its intended public. Curators, critics and collectors employ a variety of forms of cultural and artistic communication to mirror and shape the dominant social, economic and political conditions. Arts and Power: Policies in and by the Arts brings together diverse voices who position the societal functions of art in fields of domination and power, of structure and agencywhether they are used to impose hegemonic, totalitarian or unjust goals or to pursue social purposes fostering equal rights and grassroots democracy. The contributions in this volume are exploratory steps towards what we believe can be a more systematic, empirically and theoretically founded sociological debate on the arts and power. And they are an invitation to take further steps. The editors Prof. Dr. Lisa Gaupp, Professor of Cultural Institutions Studies at the Department of Cultural Management and Gender Studies (IKM) at the mdw University of Music and Performing Arts Vienna Hon. Prof. Dr. Alenka Barber-Kersovan, Honorary Professor of Sociology of Music at the Institute of Sociology and Cultural Organization at Leuphana University of Luneburg Prof. Dr. Volker Kirchberg, Professor of Sociology of the Arts at the Institute of Sociology and Cultural Organization at Leuphana University of Luneburg
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.
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.
I. Some Observations on the History of Aesthetics and on the Manner in which Heidegger Has Tried to Retrieve Some of its Essential Moments -- § 1. Introduction. Aesthetics: The Discipline and the Name -- I. The Classical Conceptions of Beauty and Art -- II. Modern Aesthetics -- III. Hegel -- IV. The Century after Hegel -- II. Heidegger's "On the Origin of the Work of Art" -- I. Introductory Reflections. — The Historical Context of the Lectures. — Their Subject Matter and Method -- II. The Thing and The Work -- III. Art Work and Truth -- IV. Truth and Art -- V. On the Essence of Art. Its Coming-to-Presence and Its Abidance -- Notes.
In a period of social and political volatility, the art world and the art market cannot remain untouched (Tefaf Art Market Report, 2017: 10). Changes, some of which are radical, have been noticed, bringing a new balance to the art world. This balance is characterized by many different notions, and one of those notions, that even manages to create new perceptions to what we knew so far, is the institution of the international art fair. But what do really art fairs do? This paper, the title of which has been inspired by Maria Lind's curated Eleventh Gwangju Biennale (GB11), under the title The Eighth Climate (What does art do)? (ArtReview Asia, 2016), will start with a general introduction to the history of art fairs and how they formed to what they are today. It will then examine critically the relation of art fairs to contemporary society through three main extensions: society, politics and the art market. In order to answer this question, we will focus on a specific example as a case study: Art Dubai, an emerging art fair developed within an interesting social and political framework, that brought a fresh air and new standards in the art market of Dubai in the past twelve years. It managed to put the city to the spotlight of the international art map while aiming to become a bridge in discourse for the East and the West (Shannon, 2013: 260). With a critical examination of the long list of educational and non-profit activities supporting Art Dubai's social goals, we will observe the political extensions that have been vital to its operation as well as the financial elements that generated new aspects on the local art market. This analysis is aimed at finding a series of possible answers for our research question In the conclusion, the updated image of the institution of the art fair will be presented, within social, political and financial extents, as a reflection of the case study in relation to the theoretical framework of the research.