Suchergebnisse

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.

Les œuvres des autres civilisations, les «arts premiers » d'hier à aujourd'hui, n'ont été véritablement confrontées en tant que telles aux œuvres d'art occidentales que depuis un siècle environ, jusqu'à être maintenant de plus en plus mises en scène (voir le futur Musée du Quai Branly, à Paris en 2004). Un recul nous est donc acquis qui permet désormais de ne plus les penser de façon exclusivement ethnologique ou bien esthétique.
Ces œuvres ouvrent clandestinement à chacun un passage vers un territoire de questionnement et donc de liberté, pour remettre en cause de façon toujours actuelle les définitions de l'Art que l'on aurait été tenté de croire définitivement admises.

Procuro neste texto, discutir o processo de avaliação na escola de modo geral e em específico, na disciplina de Artes, tendo como questões mobilizadoras: O que significa avaliar em Artes? É possível dar nota nesta disciplina? Se deixar de dar nota, estarei avaliando? Para buscar os caminhos destas difíceis respostas, inicio, a partir da minha participação no projeto "Escola Singular: ações plurais", um processo de estudo e reflexão teórica contribuindo sobremaneira para o modo como venho desenvolvendo minha prática no que se refere à disciplina de Artes.

1. Introduction: A Case for Copies -- 2. Apprentice Artists -- 3. Copies for the Colonies -- 4. Paintings-within-Paintings -- 5. Education and Entertainment. - 6. Copies in Public Collections. - 7. Protecting the Past. - 8. Cash for Copies. - 9. Conclusion: Sorting the Wheat from the Chaff. .

Résumé L'Afrique, qui n'a pas connu l'art moderne, donne à l'art contemporain sa pleine authenticité, et sa nécessité vraie. C'est à cette conclusion réjouissante que nous conduit une récente exposition, « Africa Remix ».

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.