This article explores the relationship between art, politics, and memory. It works with Arendt's conception of works of art as preserving the public realm as spaces of appearance. Following Lyotard, it also argues that such an interpretation of works of art is too redemptive and pardons politics for forgetting the exclusions implicit in its representative models. The article proceeds to articulate the public realm as spaces of anamnesis whereby politics is opened to exteriority or what Lyotard has referred to as the Law. As an example of a space of anamnesis the article examines one specific artwork, namely Rachel Whiteread's Untitled Monument, which briefly occupied Trafalgar Square's fourth plinth. The argument concerns Whiteread's own interest in the theme of memory and how her sculpture interrupts the aestheticized politics of the spectacle and intimates a path for a politicized art that opens the subject to the immemorial.
"Art and the Global Economy analyzes major changes in the global art world that have emerged in the last twenty years including structural shifts in the global art market; the proliferation of international art fairs, biennials and blockbuster exhibitions; and the internationalization of the scope of contemporary art. John Zarobell explores the economic and social transformations in the cultural sphere, the results of greater access to information about art, exhibitions, and markets around the world, as well as the increasing interpenetration of formerly distinct geographical domains. By considering a variety of locations--both long-standing art capitals and up-and-coming centers of the future--Art and the Global Economy facilitates a deeper understanding of how globalization affects the domain of the visual arts in the twenty-first century"--Provided by publisher
Feminist motherhood is a surprisingly unexplored subject. In fact, feminism and motherhood have been often thought of as incompatible. Profound, provocative, and innovative, Feminist Art and the Maternal is the first work to critically examine the dilemmas and promises of representing feminist motherhood in contemporary art and visual culture. Andrea Liss skillfully incorporates theory with passionate personal reflections on the maternal, and in doing so she advances a fresh and necessary perspective on both feminism and art. Offering new research on works by well-known and emerging artists wh.
International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among ...
International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.
International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.
International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.
International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.
International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.
This thesis aims to point out primarily the layered meanings behind Taiping art. It will provide an overview of the art made by the Taipings, and thereafter show how different political parties in post-Taiping China have manipulated the images and values of the Taipings to their advantage. A discussion of each party's ideology will also be included. The contextual approach adopted by this thesis intends to illustrate the relationship between art and the Taiping Rebellion over time. The visual materials discussed in this thesis are the murals and wood engravings of the Taipings, a series of paintings made in 1886 as part of an imperial project and Shanghai lithographic illustrated publications in relation to the project, and the visual propaganda of Nationalists and Communists of the twentieth century which embody the two parties' own interpretations of Taiping history. In view of the complexity of the subject, this thesis is primarily an information collecting exercise, offering a wider academic perspective, and revealing the characteristics of the visual works related to the Taipings, so that there can be more interpretations of the nuances of the Taiping Rebellion in the study of Chinese art history. ; published_or_final_version ; Humanities ; Master ; Master of Philosophy
Enter : from landscape to lawscape -- Rhizomatic jurisprudence : terra firma and terra incognita -- Artwork : from object to hyperobject -- Case studies: the contested spaces -- Commons : being(s)-in-common -- Intellectual property law : commons and schizophrenic capitalism -- Ownership : possessed -- Exit : atmosphere
The wave of uprisings known as the "Arab Spring" that swept over the Middle East and North Africa from December 2010 to early 2013 left its imprint on the political and social life in the countries concerned. This transient moment also marked a change in various forms of artistic expressions. Street art, graffiti and calligraffiti are among the most striking forms of art that developed during this short period. Artists recorded and commented on events and the developments of the political situation. They drew upon their people's cultural memory to impart their messages and expressed dissension, civil disobedience and resistance by combining images and scripts. The present essay addresses questions pertaining to the fields of material culture, memory and heritage studies. It explores the materiality of visual art and the translation of political contestation into street art, graffiti and calligraffiti in Egypt. In my use of the term, materiality refers to the physical properties and texture of street art, graffiti and calligraffiti. It also denotes their intangible dimension, their meanings and their relations to people. Translation relates here to cultural contacts and to the interplay between texts, images and contexts from the vantage point of intermediality. The essay probes the ways political slogans were visualised, drawn and inscribed on the walls of the urban space in Cairo and then disseminated on a plethora of Internet platforms and social media. It posits that these media are helping to elaborate the cultural memory and intangible heritage of events from a very recent past. Key words: street art – graffiti – calligraffiti – "Arab Spring" – Egypt - materiality - translation – cultural memory - heritage. ; Engaged Ephemeral Art: Street Art and the Egyptian Spring.
