The Contingent Object of Contemporary Art
... I chose the Flowers series that he started working on in 1964 and continued with for many years (Vanel et al., 2016). Art historian Martha Buskirk (2003) notes that the original image used in the artwork was taken by photographer Patricia Caulfield, who was not pleased when she discovered in 1965 that Warhol had stolen her photograph of hibiscus flowers (Buskirk, 2003). Caulfield took legal action against Warhol, but the case was settled out of court. ...
... I chose the Flowers series that he started working on in 1964 and continued with for many years (Vanel et al., 2016). Art historian Martha Buskirk (2003) notes that the original image used in the artwork was taken by photographer Patricia Caulfield, who was not pleased when she discovered in 1965 that Warhol had stolen her photograph of hibiscus flowers (Buskirk, 2003). Caulfield took legal action against Warhol, but the case was settled out of court. ...
This paper presents two case studies which tackle issues of authorship and sources of inspiration. To what extent can the sources of inspiration be used as a part of the creative process before there is a risk of copying? To enable an understanding of what defines an authentic work of art and how we all become authors, this paper looks into specific concepts, such as Walter Benjamin’s ‘aura’, David Joselit’s concept of ‘buzz’, and postmodernism, the time when reproduction became an accepted form of art. These themes are investigated in greater detail by analysing two related artistic case studies that were inspired by American artist AndyWarhol, the undeniable master of the art of copying. Case studies follow Warhol’s example by using repetition and borrowing images made by others as the basis of the creative process. The paper proposes that to be able to find answers the border between inspiration and copying needs to be crossed and the experience of copying lived in order to cultivate a deeper understanding of the topic. Sources of inspiration become an important part of the process and the traditional concept of single authorship might need to be replaced by ‘shared authorship’.
... Through "Bibelô", Tunga shuffles the traditional notions of reception of the artwork, once the spectator starts to know a sculpture only through a photographic record, inside an artwork-book full of stories that mix Tunga's biographical reality with his invented narratives. Resuming some of Martha Buskirk's (2003) arguments, the authorship, the appropriation and the technical reproducibility of the artwork herein transform into different contingencies typically found in the contemporary creative processes. ...
This article’s objective consists in the analysis of the contingencies that permeate
the creative process of the Brazilian visual artist Antônio José de Barros
Carvalho e Mello Mourão (1952-2016), internationally known as Tunga. The
artist works with different materials and artistic languages, such as: photography,
drawing, installations, performance art, painting, sculpture and
video. This article will investigate specifically the way Tunga visually explores
the thematises “time” and “body“ in some of his works, especially the artwork-
book entitled An “Eye for an Eye” (2007). We understand that by studying
the poetics of one of the most important Brazilian visual artist, we dialogue
with the critical debate of the global contemporary art. As a theoretical basis, we highlight the contributions of Yuriko Saito (2017) about the “aesthetic of the familiar” thematic.
... Según Martha Buskirk (2003), la obra escultórica de Janine Antoni bien podría derivar de un listado de acciones cotidianas y repetitivas que dan forma a cosas con las que nos relacionamos todos los días. De acuerdo con lo anterior, Antoni hace esculturas, lamiendo chocolate, frotando con agua figuras de jabón o, incluso, royendo chocolate o manteca. ...
El artículo aborda el concepto de gráfica contemporánea a partir de la revisión histórica de su significado original, así como su vínculo con la transdisciplina. Se tiene como objetivo, explorar cómo la gráfica contemporánea se desvincula de las convencionalidades de las bellas artes para coaccionar con otros medios y disciplinas en favor de un arte transdisciplinar. De manera más concreta, se planteará una tipología de la gráfica que incluya nuevas prácticas artísticas híbridas con el fin de ampliar la noción de gráfica en el campo del arte contemporáneo, así como su comprensión. Se aplicó una metodología dividida en los siguientes pasos: revisión de material bibliográfico; comparación analítica de casos de estudio; y, elaboración de una tipología que permite agrupar las variadas manifestaciones de la gráfica actual. Los resultados son destacados en la expansión del medio de la gráfica artística al integrarse con medios y actividades diversas, como el video, las caminatas o la sastrería, dando como resultado un distanciamiento de los convencionalismos de las bellas artes. La presente investigación sugiere que la gráfica contemporánea es un medio en constante transformación que plantea un horizonte vasto para la creatividad. A través de sus combinaciones e hibridaciones no sólo amplia la noción de gráfica actual, sino la forma del arte en general.
... 67 In his solo exhibition at the Paula Cooper Gallery in New York (1989), Robert Gober placed on a plinth a hand-cut and shaped paper bag filled with doughnuts which, in order to preserve their appearance, were subjected to rigorous conservation interventions, including "degreasing through repeated acetone baths and a final coating with a synthetic resin for preservation, followed by cinnamon for aroma and appearance." 68 The result was so good, the artifice so successful, reports curator Megan Fizell, that Ed Brzezinski, critic, curator and artist, hungry as he was, didn't notice that the bag was displayed and marked as a sculpture and ate one of the donuts. 69 The extraordinary effort to preserve the works makes one wonder why the artist didn't opt for making fresh doughnuts instead. ...
... Contemporary art presents a challenge to the preservation of artworks, a task considered to be one of the principal duties of the museum as a collecting institution. This issue is not new and has been addressed multiple times by academics and museum practitioners from different disciplines, such as art history and theory (e.g., Buskirk 2003;Dekker 2018), curatorial studies (e.g., Altshuler 2005;Graham 2014), cultural anthropology (e.g., Domínguez Rubio 2014) and conservation (Wharton 2005;Scholte and Wharton 2011). Building on this body of work, this essay proposes that this challenge originates in the object-based nature of art museums, and offers an approach that may help museums to adapt to the needs of contemporary art. ...
The immanent features of contemporary art, understood as a new paradigm of artistic practice, call for new approaches to the institutional collecting and all interrelated practices, including conservation. The identity of a contemporary artwork is distributed between physical objects and processes, and concepts and contexts, which shape an artwork throughout its career. These intangible agents often exist in, and thus might be transmitted only through, various kinds of documents. The resulting documentation does not only contain information about an artwork’s provenance, history, meanings and character but it hosts an important part of the artwork itself. As decisions about the future presentations of artworks, and hence their interpretations, are made on the basis of documentation, the latter not only shapes but also determines the future of contemporary artworks. Still, in today’s museum practice the documentation is often secondary when compared to physical objects and undervalued within the hierarchy of museum priorities. This essay traces emergent institutional attempts to link, both conceptually and practically, museum collections and collection-related documentation. Its aim is to demonstrate that these approaches, while initially developed to address needs differing from traditional conservation, can serve as sources of inspiration for the development of long-term preservation strategies for contemporary art.
... Other preponderant marks in contemporary art are: 1) the occupation of spaces, with a great interaction with architectural projects and large works, allowing people to enter and walk through the work of art and for the artistic object to leave the traditional places of exhibition, providing the exodus of museums and artistic galleries and the decentralization of art; 2) the encouragement of public interaction with the work of art, which is experienced and sometimes used by the public, who participate in the work of art and feel part of that artistic manifestation -especially when art leaves traditional prestigious spaces and becomes popular, democratizes, mixing with everyday life; 3) the questioning of authorship, originals and artistic schools, according to Hopkins (2000), since the concept of work of art becomes as or more important than the signature of authorship and the right to property of a given artist and the question of copies becomes less important, given the technical advent of mass production, especially from the use of photographs and other mechanical, electronic and digital techniques in the formation of contingent artistic objects, according to Buskirk (2003); and 4) social criticism, which portrays itself as art presents itself as a cultural manifestation that promotes social criticism, ethical issues and activism, as stated by Gonzáles and Posner (2006), due to the conceptual character it acquires -launching a questioning and causing a logopathic impact (rational and emotional impact) is as or more important than the means used to do so (Alberro & Stimson, 2000). 1 1 I would like to highlight two essential Brazilian figures in contemporary art -perhaps more revered abroad than in Brazilnamely, Hélio Oiticica and Cildo Meireles. Oiticica moves from neomodernist geometric painting to three-dimensional geometric objects that can be handled by the public, such as the Bólides series, and then the gigantic sculptures, such as the Penetráveis series, the Parangolés -the costumes usable by the public -, integrative and experiential spaces, such as the Cosmococa, and objects of a political nature, such as the famous Seja herói, seja marginal [Be hero, be a marginal]. ...
At first glance, relating philosophy and design does not seem trivial, but there are several elements that make it possible to develop such a hypothesis beyond the context of the philosophy of technology. In this article, the main objective is to explore some aspects of design in the world and in Brazil, emphasizing how much its bases dialogue with the principles of Gadamer’s philosophical hermeneutics. To do so, in the first section, I develop a bibliographical analysis of the history of design, exposing its roots in art and architecture, as well as the passage from affirmative design to the philosophy of design. In the second section, I discuss some studies on design and philosophy in order to support the formation of critical-speculative design from contemporary art, and later, to address the main hypothesis of the study, that is, that there is a very interesting gain in relating studies of Gadamerian hermeneutics in what I call philosophical-hermeneutical design, which allows thinking about the history, identity and ontological preconceptions of design and expand horizons of philosophical hermeneutics.
Keywords:
philosophy of design; philosophical-hermeneutical design; Hans-Georg Gadamer; ontological design; design history
... A arte contemporânea, conforme indica Volvey (2007), tem provocado o olhar geográfi co a decifrar experiências espaciais particulares que concernem dinâmicas corpo-perceptivas ainda pouco exploradas por essa ciência. Diversos no escopo de técnicas, abordagens, subcorrentes e modos de atuação, os artistas contemporâneos têm uma tênue unicidade referente a uma concepção de arte centrada na experiência do sujeito observador e na exploração das fronteiras expressivas de questões relacionadas à contingência e situacionalidade (Buskirk, 2003). Ela coaduna, portanto, com a constituição de um horizonte fértil para investigações geográfi co-artísticas. ...
O diálogo entre arte e Geografia Cultural têm propiciado um contexto fértil para a discussão acerca de espacialidades existenciais concernentes a engajamentos corporificados, sensoriais e afetivos. Nesse contexto, investiga-se como as dinâmicas corpo-perceptivas de instalações de arte contemporânea atuam na condição de lugares para os sujeitos que nelas imergem. Para tanto, foi realizada uma correlação entre quatro obras, duas no Instituto Inhotim de Arte Contemporânea em Brumadinho/MG e duas no Centre d’Arts et Nature du Domaine de Chaumont-sur-Loire na França. Embasado nas Geografias Criativas e na fenomenologia existencialista, procedeu-se por meio de análises pautadas em imersões corpo-perceptivas nas instalações selecionadas. Desse modo, realizaram-se trabalhos de campo que também resultaram em poemas e ilustrações utilizadas nesse ensaio. Compreendeu-se que obras de arte, particularmente instalações, não apenas estão em lugares, mas constituem lugares em si mesmas: lugares-obras. Na interconectividade sujeitos-lugar-obra, há um devir de significados que explicitam dimensões existenciais da realidade geográfica.
... Catalysis I (1970), in which Piper "impregnated her clothing with a concoction of vinegar, eggs, milk, and cod liver oil and then spent a week moving around New York in her smelly regalia." 7 The affective and visceral nature of the substance-particularly the potency of sour milk, upon which Piper's performance was so reliant-is never addressed in Hayes's book. While this seems like a missed opportunity within Hayes' study, it also underscores the inherent limitations of photography as a medium and its inability to convey details apprehended by all of the senses. ...
... Our analysis is guided by art history approaches as the 'iconology of materials' that deal with questions of materiality, i.e., considering material not only as a technical matter, but also as an aesthetic category (Wagner 2001;Buskirk 2005) 1 , in conjunction with discourses of the material turn within the humanities and social sciences, as well as with the approaches of new materialism (Bredekamp and Schäffner 2020;Coole and Frost 2010). Methodologically, this article will in particular tie in with the "material complicity" approach proposed by the art historian Petra Lange-Berndt (2015; for the following quotes: 12-18). ...
In order to consider the materiality of Victor Grippo’s artwork Energía de una papa (1972) more comprehensively than has thus far been the case, the specific characteristics of this case study are initially discussed against the background of the relationship between materiality and conceptual art. In a further step, the artwork’s agency is questioned, and it is regarded in the context of positions within new materialism. This is done by utilizing certain aspects of Karen Barad’s concept of “agential realism” in an examination of Grippo’s artwork. Our thesis is that while the Baradian approach is able to explain materiality within the functioning of the case study, the complex embedding of materiality and symbolic factors for the context of the art require an even broader perspective. Finally, the different layers of materiality—the material presence and the immaterial, less tangible aspects—are considered together in order to show their indispensable entanglement in generating the artwork’s meaning. It is not just the potato as food-as-art-material or the voltameter as a ready-made that must be our focus, but all the organic, non-human materials and the non-tangible elements involved in the artistic work, as well as the human being who sets the process in motion.
... En estas serigrafías se hace a un lado la mano del artista en el proceso de creación, la supervisión y hasta la firma. Se tratan de copias múltiples sin un original que, a pesar de ser mecánicas, tienen una autoría y técnica original, e incluso, un sistema de participación también original (Buskirk, ISSN-2448-5934 OJS La autoría, autenticidad y originalidad reformuladas, y su aplicación… Ensayo Fotografía: Blanca Cárdenas, 2019; cortesía: Nara Palace Site Historical Park, Heijokyu Izanai-kan Guidance Center, Sala de exhibición 3. ENERO-JUNIO 2021JANUARY-JUNE 20212003. El concepto de originalidad en las producciones de The Factory se ven reflejadas en los materiales y la técnica de un artista de acuerdo con una época o contexto, el cual " [puede] garantizar la veracidad de una obra como documento histórico o probatorio de su origen verdadero" (Weyer, 2010, p. 26), lo cual las convierte en obras múltiples y originales a su contexto. ...
Basado en la revisión de escritos de teóricos y conservadores, se propone reformular los conceptos de autoría, autenticidad y originalidad, promoviendo la ampliación de significados y alcances aplicables en instalaciones artísticas contemporáneas, incluso en aquellas realizadas con objetos orgánicos o materiales de fácil sustitución. En tales situaciones, ¿cómo debemos actuar como conservadores en casos en los que lo importante es la transmisión del significado, no así la materialidad del objeto? Para responder este cuestionamiento podríamos acudir a uno de los axiomas del arte conceptual, en donde la idea es arte, y la materialización, por tanto, es efímera, lo cual también pone en evidencia que la tarea del conservador contemporáneo no es como ni reside donde tradicionalmente se piensa. _____ Based on the review of writings by theorists and conservators, we propose a reformulation of the concepts of authorship, authenticity and originality, promoting the expansion of meanings and applicable scopes in contemporary art installations, even in those made with organic objects or easily replaceable materials. In such situations, how should we act as conservators in cases where the important thing is the transmission of meaning, not the materiality of the object?
In light of the increasing environmental challenges facing the world today, the importance of the arts as a means of raising awareness and interacting with these issues stands out, as contemporary arts have witnessed a major shift in methods and concepts, and the interaction between art and the environment has become an integral part of artworks, and the art of sculpture in particular has taken new paths beyond traditional boundaries, to become an effective means of promoting environmental awareness and interaction with the external environment. In the modern era, sculpture artists seek to go beyond visual aesthetics to create interactive works that respond to the surrounding environment, and adaptive sculpture is a new trend in sculpture that combines technological innovation and environmental awareness, this type of sculpture that uses smart technologies and sensors to interact with environmental changes to achieve a dynamic and continuous interaction between the artwork and the elements of nature, making it an effective tool to promote environmental awareness and interaction with the external environment. This type of sculpture reflects the ability of art to adapt to climate and technological changes and enhances the public's understanding of the importance of sustainability and interaction with the environment, providing the public with a unique sensory experience, which is achieved using interaction with environmental elements such as light, air, water, and others. It differs in content from previous environmental sculptures that focused on the theme and monument, as it conceptualizes and designs to create a space that interacts with the audience and the environment, based on the artist's imagination and various environmental factors, it gives the audience different visual feelings and psychological experiences, so designers should pay attention to the interaction between sculpture and the natural environment, as it can bring lasting artistic vitality to sculptural works, especially when taking the characteristics of the natural environment as a starting point and enriching the essence and significance of sculptures by using relevant elements in the environment. Problem of research: The research issue lies in answering the following questions: 1-How does adaptive sculpture affect environmental awareness and societal culture? 2-How does the public interact with adaptive sculpture and what impact does it have on their environmental behaviour? 3-What are the main technical challenges in designing and implementing adaptive sculpture and how can they be overcome? Research objectives: 1-Highlighting adaptive sculpture as an effective tool for environmental awareness and education among the public and motivating them to adopt environmentally friendly practices. 2-Highlighting the role of adaptive sculpture in contributing to the development of sustainable strategies to address contemporary environmental challenges. 3-Studying the environmental and positive impact of adaptive sculpture on the environment. Importance of research: 1-Emphasizing the role of adaptive sculpture in promoting innovation in the arts using advanced technology and smart materials. 2-Increasing social awareness about environmental issues, which enhances the role of art in society. 3-Highlighting the use of adaptive sculpture as a tool to present scientific and artistic concepts in an innovative way to develop effective strategies for using art as an educational and awareness tool. Research hypotheses: 1-Adaptive sculpture can promote environmental awareness among the public through interactive and stimulating experiences. 2-Adaptive sculpture can contribute to fostering artistic innovation by offering new and innovative experiences that combine art and technology.
في العصر الحديث يتزايد الوعي بأهمية البيئة واستدامتها، مما يؤدي إلى تطور مفاهيم فنية جديدة ترتكز على التفاعل بين الفن والبيئة، ويساهم هذا التفاعل في تعزيز الوعي البيئي، وتحسين التجارب الفنية، ودعم الأبحاث البيئية بطرق مبتكرة. ويعد فن النحت حلقة مهمة جداً في التنمية الحضرية وجزءاً مهماً من الفن البيئي فمن خلال دمج العناصر البيئية في النحت يمكن للفنانين لفت الانتباه إلى القضايا البيئية المُلحة مثل التغير المناخي، التلوث، واستدامة الموارد الطبيعية، لذلك من المهم تعزيز العلاقة بين المنحوتات والبيئة المحيطة بها، وكجزء من تطور الفن السائد يحاول هذا الشكل الإبداعي كسر الفجوة التاريخية بين الحياة والفن، فهناك علاقة حتمية بين النحت الفني العام وبيئة الفضاء، لذلك يجب أن يكون النحت منسقاً هيكلياً مع البيئة المحيطة به، حيث يمكن للفنانين استخدام المواد والتقنيات الحديثة لإنشاء منحوتات قابلة للتكيف مع البيئة المحيطة بها، فالنحت التكيفي هو اتجاه حديث يدمج الفن مع العلم والتكنولوجيا لإنشاء أعمال تتفاعل وتتكيف مع محيطها البيئي، ومن هنا جاءت مشكلة البحث:
1- كيفية تأثير النحت التكيفي على الوعي البيئي والثقافة المجتمعية؟
2- كيف يتفاعل الجمهور مع النحت التكيفي وما هو تأثيره على سلوكهم البيئي؟
3- ما هي التحديات التقنية الرئيسية في تصميم وتنفيذ النحت التكيفي وكيف يمكن التغلب عليها؟
Neste artigo, comparo as obras e os discursos de Adriana Varejão e Ernesto Neto, brasileiros pertencentes a uma bem sucedida geração de artistas da arte contemporânea. Indago pelas noções de passado, presente e futuro que se inscrevem nos seus trabalhos e como a temporalidade singular de suas obras se associa ao teor da missão que atribuem à arte. Minha hipótese é de que na passagem da arte moderna para a arte contemporânea, descartou-se a prerrogativa de a arte imaginar/fantasiar um só futuro, porém, manteve-se a pretensão de aproximá-la do espectador. A política de aproximação da arte, contudo, sofreu tal reviravolta que não se trata mais, tão somente, de despertar os sentimentos do espectador ou torná-lo um ser dotado de sensibilidade, mas, efetivamente, de convidá-lo à participação política.
Kavramsal Sanata yönelik yapılan değerlendirmelerde, temellerinin 20. yüzyılın başlarındaki öncü sanat hareketlerine dayandırıldığı ifade edilmektedir. Kavramsal sanatın bir sanat hareketi olma süreci, 1960 sonrasındaki ‘fikir’ odaklı oluşturulan sanat formlarını tanımlamak için kullanılmıştır. Bu sanat hareketini öncesindeki oluşumlardan ayıran en önemli noktanın ‘dil’ göstergesi olduğu söylenebilir. Kavramsal Sanatın yapısı incelendiğinde, modern sanatın yapısına eleştirel bir yaklaşım gözlemlenir. Bu eleştirel yaklaşımın temelinde ‘biçim-içerik’ sorunsalı gösterilebilir. Modern sanatın akılcılığı/mantığı merkeze alan anlayışı eleştiren kavramsalcılar, mantığın ötesinde sezgisel süreçlere odaklanırlar. Kavramsal Sanat ile özdeşleşen ‘dil’ olgusu, eser-izleyici etkileşiminde anlamın sınırlarını zorlayarak açık uçlu yorum alanını sanat alımlayıcısına sunar. Aynı zamanda bu durum, Kavramsal Sanatta anlamın yapıbozumuna zemin hazırlar. Esere odaklanan bireylerin ortaya koyduğu bu farklı bakış açıları eserin anlam potansiyelini güçlendirir. ‘Kavramsal Sanatta Anlamın Yapıbozumu’ başlıklı bu araştırmada, Kavramsal Sanatta üretilen eserlere kodlanan ‘dil’in içerdiği fikir/düşünce yapısının sanat alımlayıcıları tarafından farklı yorumlanma sürecinin ortaya çıkarttığı anlam belirsizliğinde yapıbozum kuramının potansiyeline yönelik değerlendirmelerin yapılması amaçlanmaktadır.
Desde o conceitualismo dos anos 1960 e 1970, assistimos a sucessivas transformações acerca do que seja um autor no campo da arte contemporânea. No centro desse processo reside a chamada “autoria conceitual”, que se caracteriza pela coexistência dos seguintes aspectos: uma obra de imanência projetiva ou propositiva; um sistema de notação expresso ou latente; e a existência de ocorrências materiais que se executam em conformidade com o enunciado notacional. Recorrendo a artistas como Antonio Lizárraga, Doris Salcedo, Maurizio Cattelan, Flávia Naves, Alison Knowles e Tania Bruguera, este artigo pretende pôr à prova a hipótese de que, em termos conceituais, existem ao menos três tipos ou figuras autorais na arte contemporânea: o projetista, o montador e o propositor.
Conversion to a museum is a common destiny of many cultural assets that cannot continue to serve their original functions. They are usually re‐functioned to provide public benefits in return for the expenditures made for their preservation. However, their architectural features may not always meet the expected results when functioning as a museum. The spatial limitations arising in such conversions are the main design gaps in the museumization projects. This article aims to address these gaps using a sample project of a museum on Sultan Mehmed the Conqueror converted from a medieval education structure.
Este texto apresenta uma reflexão sobre a produção artística que levanta a relevância na arte contemporânea dos processos mnemónicos traduzidos em obras que expressam relações complexas com o desaparecimento e a persistência das imagens, neste caso o trabalho que iremos rever foi realizado maioritariamente no período pandémico que modificou seus recursos que eram determinados pelo espaço íntimo e doméstico.
This chapter considers the different temporalities within the contemporary art museum and explores how externally funded research affords thicker care time to enable an engagement with works that challenge the structures, systems and temporalities of the museum. Drawing on the idea of a “timescape” introduced by the sociologist Barbara Adam, it considers the “timescapes” of conservation practice and thinking, of the museum and of artworks, and how these different and sometimes conflicting temporalities impact our practices of care.
Curatorial action is based on historical presuppositions. It is construed from the right to education and having a voice in civil society; however, at the same time it is based on the hierarchies as well as discriminatory exclusion and marginalisation mechanisms of Western modernity. Using Pierre Bourdieu‘s model of alliance building as a basis, the study presents curatorial practices that are suitable for breaking through hegemonic patterns and initiating transcultural exchange processes.
O objetivo deste artigo é analisar a recepção de duas manifestações artísticas contemporâneas – a exposição “Queermuseu” do Santander Cultural e a per-formance “La Bête” do artista Wagner Schwartz - que deram origem a debates amplamente divulgados pela mídia e pelas redes sociais. Enfoco a rejeição do grande público e os argumentos mobilizados nessa reação a fim de entender as justificativas de que dis-põem os atores para construir uma opinião sobre o valor das expressões submetidas à apreciação.
O artigo retoma o ensaio “A moldura” de Georg Simmel, publicado em 1902 no jornal berlinense Der Tag, com o propósito de examinar a noção de arte contemporânea a partir das categorias de todo e parte, heterodoxia e autonomia, distância e proximidade, enquadramento e ausência de limite inscritas no texto do autor. Diante das transformações do campo artístico, provocadas pelo desmantelamento dos cânones da arte, as ideias de Simmel parecem retrógradas, ultrapassadas e fadadas ao esquecimento. Em “A moldura”, ele ressalta a autonomia e o distanciamento da obra de arte, sua natureza desinteressada e sua entrega ao espectador como dádiva. Além disso, afirma que a moldura é um artefato indispensável à obra de arte tanto quanto um elemento constituinte de uma modalidade específica da visualidade, que fomenta um modo de ver contemplativo. Nada poderia ser mais avesso às atuais políticas de proximidade da arte com o seu entorno e de participação efetiva do espectador na obra ou processo artístico; tanto a moldura como a contemplação há muito foram questionadas, perdendo o seu sentido e valor. Argumenta-se, contudo, que as ideias centrais do escrito simmeliano são pertinentes, atuais e relevantes para se pensar questões sociológicas contemporâneas da arte, uma vez que é no jogo entre isolamento e distância do mundo, afastamento e proximidade, autonomia e heterodoxia que a arte – inclusive a contemporânea – se mantém, se apresenta e recria a si própria
Translation and Repetition: Rewriting (Un)original Literature offers a new and original perspective in Translation Studies, considering creative repetition from the perspective of the translator. This is done by analysing so-called "unoriginal literature" and thus expanding the definition of translation.
In Western thought, repetition has long been regarded as something negative, as a kind of cliché, stereotype or automatism that is the opposite of creation. On the other hand, in the eyes of many contemporary philosophers from Wittgenstein and Derrida to Deleuze and Guattari, repetition is more about difference. It involves rewriting stories initially told in other contexts so that they acquire a different perspective. In this sense, repeating is often a political act. Repetition is a creative impulse for the making of what is new. Repetition as iteration is understood in this book as an action that recognizes the creative and critical potential of copying.
The author analyses how our time understands originality and authorship differently from past eras, and how the new philosophical ways of approaching repetition imply a new way of understanding the concept of originality and authorship. Deconstructing these notions also implies subverting the traditional ways of approaching translation. This is vital reading for all courses on literary translation, comparative literature and literature in translation within translation studies and literature.
This article arises from a collaboration between an art historian and a curator in forming an exhibition of work by artist Sally Madge, drawn from a long-accumulated collection of artworks and related materials existing in her basement studio, thereafter housed in a storage container on the outskirts of Newcastle upon Tyne in the North of England. The text is located within evolving discourses on both the curatorial and educational ‘turns’ in exhibition making and knowledge production, and perceptions of the gallery as a place of shared social and self-determined generative engagement. Emphasising relational interconnectedness, the curation underlines a border-crossing collapsing of categories and hierarchies. The nature of Madge’s own practice and the liminal sites she worked in throughout her life reflect a parallel artistic, political and ecological concern for creatively crossing and defying borders and boundaries. What emerges is a dialogue between artist, curator and art historian on questions of transformation and re-representation through the relations between site, studio, archive and gallery.
In Contemporary Art, the material is not perceived as mere physical component but is closely connected to the concepts of the work, and the material itself can be presented as a concept. After the physical body became conceptualized as a material as the subject of “materiality” rose to prominence in the 1960s, the ways contemporary artists interact with material are becoming elusive. Such contingency is analyzed on the assumption that it is shown through “the materiality that is accompanied by the process” of the work. Through contemporary art that reveals ‘process’, the researcher focuses on the works of contemporary artists – Richard Serra, Francis Alÿs, and Janine Antoni, who deal with matter as a material based on the sense of the body and the body as matter. First, Marcel Duchamp’s <3 Standard Stoppages>(1914), one of the most prominent works in the history of art relating to “contingency”, is discussed with Richard Serra’s (1969). The concept of entropy and contingency provides basis for the argument of this paper. Next, the works of Francis Alÿs and Janine Antoni are analyzed. The three artists explore tension within a finite structure and the lapse of ephemerality. Through this analysis, the extensibility of the materiality in contemporary art displayed through various media will be scrutinized.
This article surveys poet David Antin’s ideas about photography at the turn of the 1970s. Then-new Chair of the Visual Arts Department at the University of California, San Diego, Antin shepherded the department’s now-landmark photography program while also experimenting with photography himself as a medium for his philosophy and poetry. Closely reading the cover of Antin’s poetry book Talking (1972), I consider how Antin used photography to represent “real space” — to Antin, the pulse and texture of thinking and talking, its shifts and pauses in response to internal and environmental stimuli. Setting Talking alongside Antin’s critical essays of the same years, I argue that Antin was working toward an art of conversation; specifically, an attention to artist-audience relationships. I also suggest that Antin’s interest in representing the conversational offered an influential theory of photography that Antin’s mentees Martha Rosler and Allan Sekula (among others) elaborated in their landmark “reinvention of documentary” of the late 1970s-early 1980s.
An examination of the omnipresent relations of power within the art world, focused on marketing strategies and the process of identification and differentiation in the perception of Jeffs Koons's artworks, reveals a complex interest in Jeff Koons's personality. It shows the relationships of Koons artworks with the economy and identifies them as products of big-business transactions. It also explains how the art world produces brand equity. Such artwork is chosen to serve as a symbol of opulence and as the locus of capital. Identification, differentiation, the elite, and art commodification are the main themes explored. This is a reflection on the state of the contemporary art world.
This book is an adaptation of the content of the homonymous doctoral thesis in Visual Arts by Mihai Vereștiuc (in 2012), at the Doctoral School of the "George Enescu" National University of Arts in Iași.
Proponho a leitura dos campos da arte e do design não como estruturas circunscritas, definidas histórica e conceitualmente, apenas com uma fronteira mutável, mas sim como um grande campo de matéria informada em sobreposição e mutação frequente, que vai da arte ao design passando por campos de complexidade diversos, raramente com fenômenos puros. O texto apresenta diferentes conceitos do fazer em Agamben, de matéria informada em Flusser, da dúvida sobre a autenticidade em Plutarco, e investiga uma possibilidade de conexão com o trabalho de José Damasceno. Argumenta contra os excessos classificatórios mas em favor de definições lógicas, que aprofundam as possibilidades de leitura de um campo complexo que nasce da sobreposição de possibilidades entre arte e design, e tenta tratar da ideia de fronteira como centro, como rede de complexidade e não somente interface limite. Apresenta uma analogia nascida dos geradores de partículas em softwares de modelagem tridimensional, e através de exemplos do meu trabalho, argumenta sobre possibilidades do dispositivo enquanto discurso e do projeto como produto artístico.
Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved.
This is an introduction to a provocative volume that revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators.
La investigación es una de las fortalezas que distinguen a la Universidad Autónoma del Estado de proyectos que impulsan el avance de diversas disciplinas, como es el caso de las artes visuales. Existen varios caminos o métodos, ya sea en el ámbito de las ciencias exactas o de las ciencias sociales, plantea al artista desarrollar una investigación, este se encuentra frente a varios obstáculos debido a las peculiaridades de su práctica profesional.
The art authentication system is the focus of solving the dispute over fake works of art itself. It is different from the trust mark, authenticity label or origin mark that Australia, New Zealand, the United States and Canada try to make for traditional handicrafts.
Site-specific installations are created for a specific location and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. The book provides an account of the paradoxical situation when site-specific installations are preserved and put on display in a museum context. A conceptual framework is offered for scholars and professionals to better understand the transformative nature of site-specific installations and to support museums’ decision-making in conserving and presenting these artworks over time. Besides, a number of case studies shed light on the diversity of artistic production and show the benefits of the model. New meanings of site-specific installations are generated with each new exhibit, while the artworks themselves may incite change of professional routines in the dynamic context of museums today.
O objetivo deste trabalho é olhar mais de perto as reações dos públicos à exposição Queermuseu, encerrada com um mês de antecedência à data prevista graças a protestos e mobilizações nas redes sociais. Partindo de tais reações, coloco em foco o contexto e condições políticas e sociais que cercaram tais reações com o objetivo de pensar a articulação entre arte e vida social que se desenha nos argumentos, valores e conjuntos de palavras acionadas nos discursos, contrários e a favor da exposição.
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