Suchergebnisse

The book features an international group of artists, scholars, critics, architects, students, technicians and curators who discussed the transformations wrought by the Internet

"Art matters. It affects us in our daily lives, and is full of meanings which are valuable to all of us. A catalyst for social interactions, art may either cause public conflict and create dissensions, or facilitate mutual understanding and strengthen collective bonds. All of this is grounded in practices that develop and change along social, cultural, technological and economic lines. So how is art formed and produced? What are the relevant constraints and challenges that artists experience in the creative process? And what constitutes artistic agency? This collection of original contributions from international, interdisciplinary experts explores particular case studies to deeply analyse artistic practices. Comprising eleven chapters relating to different art forms, each chapter in this volume offers an original perspective conveying a deep understanding of artistic practices as arrays of specific activities in contemporary art worlds. This book will be important for both researchers and practitioners in the field. It will help artists to deepen their analytical abilities, enabling them to further their own creative practice. It will allow students and researchers to gain insights into processes of artistic creation and thus into the reproduction of art, as well as innovation in the arts"--

Continuum: Writings on Poetry as Artistic Practice reunites the most part of the essays and articles produced between 2007 and 2015 by poet and artist Alessandro De Francesco. It shows what De Francesco himself affirms at a point in the last text of the book: that an artist can also be a theorist, and that artistic practice and theoretical practice are difficult to distinguish in his work. This book is multilingual: each text was left in the language in which it was written. Therefore, it is predominantly in French, but Italian, English and German are also represented. In spite of poetry being at the center of Alessandro De Francesco's interests as a thinker, the texts contained in this book are very heterogeneous: poetic statements, essays, scientific articles, lectures, interviews; and yet they also show a deep continuity. Continuum stands for the author's uninterrupted commitment for poetry, for the numerous connections among the approached themes, and especially for the innovatory theoretical and political positions expressed here, from which all these writings originated.

During the 20th and early 21st centuries, there has been a significant intensification of the cultural interaction of Chinese and European musical art in the context of the East West. The European musical tradition, in particular opera, plays a huge cultural role in the modern artistic space of Eastern civilizations. A striking consequence of the fruitful creative interaction of Chinese and Western opera art is the formation of a fundamentally new genre, which is defined by the author as "Chinese opera of the European type".

In Plato's famous vision of the perfect state the free expressions of artists should be censored. It is common therefore to read Plato's political 'art theory' as a blueprint for totalitarian and fascist states. But is it not also possible and more productive to regard modern and contemporary art as a systematic investigation of 'Platonic questions'? One may, for example, regard the 19th century romantic interest in questions of the beautiful and the sublime as investigations into how aesthetic practices unleash and direct what Plato would call human erotic and spirited energies. Likewise, the move toward abstraction and the conceptual impulses in 20th century modernism can be seen as an attempt to escape the ontological conundrums of representative art first delineated in Plato's Republic, while artists of the so-called 'picture' and 'post-internet' generations have been reconsidering the ontological order of representation from within a very different media landscape. The event – in the form of paired conversations between artists and theorists – aims to not only ask whether Plato's thought can shed light on artistic practice today, but also how contemporary art may illuminate and complicate our understanding of Plato. Rosa Barba is an artist interested in film and the ways in which it articulates space. Composition, physicality of form, and plasticity are important aspects of this articulation, but Barba also interrogates the industry of cinema with respect to various forms of mise-en-scène as she takes them out of their contexts and restages them. Yngve Holen is a Norwegian-German artist whose work is made from the combination of materials and technologies that define today's industries and our everyday surroundings. Holen works in sculpture and research-based publishing in order to explore replaceability, boundaries, and the human body's imbrications in the culture of consumption. Matt Mullican is an American artist. He grew up in Santa Monica, New York, Caracas, Rome, and Santiago de Chile. He studied at ...

This essay presents and analyzes an exhibition on "Law's Pluralities." The exhibition was an integral part of the academic conference Law's Pluralities: Cultures/Narratives/Images/Genders that was held at the University of Giessen in 2015. It explains relevant curatorial decisions and discusses contemporary artistic positions involved in dealing with the pluralities of law and legal cultures. Further, the essay examines strategies for visualizing, interrogating, and subverting the law and legal practices. Some of the artworks documented in the exhibition challenge the increasing use of surveillance practices in public spaces and question the legal framework of these practices. These works make use of privacy legislation to open up surveillance systems' otherwise closed circuits to the public. Alternatively, they question their authority by reclaiming spaces under surveillance as stages for performative interventions. Still other works focus on the concrete, written nature of law, and propose alternative visualizations and readings of legal texts and symbols. The essay argues that artistic works represent powerful means for uncovering the pluralities of law as cultural constructions.

The point of departure for See and Seen text, website and exhibition) is the conventions of the Ideal Landscapes painted in Rome during the 17th century by artists such as Claude Lorrain and Nicolas Poussin. In 18th century England this translated into a particular gaze that became the fashion for how, and the parameters within which, the landscape was to be seen and that subsequently gave rise to landscaped parks, poetry and painting, and consequently had a significant role in shaping theories of the Picturesque. These ideas gathered currency outside Europe partly through the pathways opened by British colonialism, which still to a certain extent determine the Western notion of landscape and landscape architecture. This is part of a narrative relating to the popularity of landscape as a subject, that is also embedded in and produced by the discipline of art history and a model that I worked with in my art practice from the beginning of the 1990s. In See and Seen, the focus is on studies of landscape and landscape painting, for example through copying a painting by Claude Lorrain (1600-1682), Landscape with Rebekah Taking Leave of Her Father, 1640-41, and photographing a real view of an existing historical landscape seen from the United States Military Academy at West Point, in the Hudson Valley, New York. My method is to research the different historical accounts and the contexts of the representations of these landscapes. I am not so much interested in the accumulation of knowledge but in how I can put it to work in general to reproduce the landscapes through various artistic techniques and strategies. I adopt different roles when I approach the landscapes through mimicry the copyist, the tourist and the art- historian - used in See and Seen as routines for seeing. What are the implications for what is becoming a new kind of viewer of landscape today, and how could this be addressed in my work? These are two of the issues my research aims to open up. My way of working is a hybrid form that embraces both academic methods and art practice. I have approached my research through art practice and my art practice through research, with the understanding that in the process the material will undergo further changes. In See and Seen I find myself seeing my own art practice from the inside.

Cover -- Contents -- Acknowledgments -- Introduction: An Atlas of Ewa Partum's Artistic Practice -- Opening the Archive -- Horizontal Monograph -- Framing Ewa Partum's Artistic Practice -- Chapter 1 Existing Cartographies -- The Trajectory of the Redistribution of Ewa Partum's Practice -- The Genealogy of Ewa Partum's Artistic Practice: Text, Image, Body -- Ewa Partum and Conceptual Orthodoxy -- Negotiating Conceptual and Feminist Perspectives in Ewa Partum's Artistic Practice -- Chapter 2 Ewa Partum's Critical Engagement with Art Infrastructures -- Troubling Terminology: Art Infrastructures and the Socialist Art Institution -- Entering the Professional Art World -- Creating Art Infrastructures: the Galeria Adres (1972-77) -- Re‐entering the Professional Art World: Engaging with the Curatorial in the Context of Redistribution after 1989 -- Conclusion -- Chapter 3 Ewa Partum's Conceptual Art -- Conceptualism as a Circulating Idea -- Practicing Conceptualism -- Conclusion -- Chapter 4 Feminist Identifications in Ewa Partum's Artistic Practice -- Feminist Self-Identification (1980) -- Ewa Partum's Situated Feminism -- Indicating Victims and Oppressors: Feminist Pedagogy in Performances in Socialist Poland (1974-82) -- The Active Body: Rhetoric of Disinterestedness -- The Feminist Emigrant Body: Performances in West Berlin (1982-89) -- The Contemporary Gendered Economic Subject: The Delegated Performance Pearls (2006) -- Translating Ewa Partum's Feminist Art Globally -- Conclusion -- Chapter 5The Spaces of the Political: Ewa Partum's Works in the Public Space -- Public and Private Spheres in Partum's Work -- The Public Space - East and West -- Art in the Public Space in Socialist Europe -- The Production of the Public Space in West Berlin -- The Legality of Space (1971) -- Private Performance (1985) -- Conclusion.

This volume provides new, ground-breaking perspectives on the globally renowned work of the Tanztheater Wuppertal and its iconic founder and artistic director, Pina Bausch. The company's performances, how it developed its productions, the global transfer of its choreographic material and the reactions of audiences and critics are explained as complex, interdependent and reciprocal processes of translation. This is the first book to focus on the artistic research conducted for the Tanztheater's international coproductions and features extensive interviews with dancers, collaborators and spectators and provides first-hand ethnographic insights into the work process. By introducing the praxeology of translation as a key methodological concept for dance research, Gabriele Klein argues that Pina Bausch's lasting legacy is defined by an entanglement of temporalities that challenges the notion of contemporaneity.

Various forms of control play a central role in our lives. Yet the nature of control is a difficult conundrum to probe. Art practices help us to make sense of questions and paradoxes related to the intertwining of control and non-control by putting it on display.