Background: Patients with capillary malformations (CMs) may undergo medical tattooing (MT) as an alternative to laser therapy. But little is known about treatment results and impact from the ...patients’ perspective. Objectives: In this cross-sectional digital survey study, we evaluated the patient-reported outcomes of MT for CMs. Methods: MT practices were identified via the Dutch Association of Skin Therapists and Google. These practices invited all their CM patients who had undergone MT between January 2011 and September 2021 to participate. Baseline and treatment characteristics, tattooing effectiveness, patient satisfaction with treatment outcomes, and complications were evaluated using a custom-made online survey. Quality of life was assessed with the Dermatology Life Quality Index (DLQI) questionnaire. Factors associated with treatment effectiveness and patient satisfaction were identified via bivariate analysis and ordinal logistic regression analysis. Results: Most of the 89 respondents were female (69%). Almost all CMs were located on the face (90%) and mainly (dark) red (74%). Nearly all patients had undergone laser therapy (91%). Median number of tattooing sessions was 5 (IQR: 4.0–8.0). Thirty-seven percent of the patients perceived >75% color reduction. Younger patients were more likely to obtain lower treatment effectiveness (OR 0.44, 95% CI: 0.20–0.97). Most patients (83%) were satisfied with treatment results. Patients with lighter (OR 0.30, 95% CI: 0.13–0.72), non-facial (OR 0.15, 95% CI: 0.03–0.89), and hypertrophic CMs (OR 0.30, 95% CI: 0.11–0.82) were less likely to be satisfied with treatment outcomes. Patients with lighter skin types were more satisfied (OR 2.89, 95% CI: 1.23–6.80). Complications included transient pain (23%), bleeding (3.4%), hypertrophic scarring (1.1%), hypopigmentation (1.1%), and a halo around the tattoo (1.1%). Conclusion: MT seems a valid alternative treatment in addition to laser therapy for CMs, with mild complications. Most patients are (very) satisfied with treatment results, while color reduction is incomplete. Hence, it seems appropriate to decide together with patients whether or not to use MT as primary treatment or secondary to laser therapy.
Background: Just as the number of tattooed people has increased in recent years, so has the number of adverse reactions in tattooed skin. Tattoo colourants contain numerous, partly unidentified ...substances, which have the potential to provoke adverse skin reactions like allergies or granulomatous reactions. Identification of the triggering substances is often difficult or even impossible. Methods: Ten patients with typical adverse reactions in tattooed skin were enrolled in the study. Skin punch biopsies were taken and the paraffin-embedded specimens were analysed by standard haematoxylin and eosin and anti-CD3 stainings. Tattoo colourants provided by patients and punch biopsies of patients were analysed with different chromatography and mass spectrometry methods and X-ray fluorescence. Blood samples of 2 patients were screened for angiotensin-converting enzyme (ACE) and soluble interleukin-2 receptor (sIL-2R). Results: Histology showed variable skin reactions such as eosinophilic infiltrate, granulomatous reactions, or pseudolymphoma. CD3+ T lymphocytes dominated the dermal cellular infiltrate. Most patients had adverse skin reactions in red tattoos (n = 7), followed by white tattoos (n = 2). The red tattooed skin areas predominantly contained Pigment Red (P.R.) 170, but also P.R. 266, Pigment Orange (P.O.) 13, P.O. 16, and Pigment Blue (P.B.) 15. The white colourant of 1 patient contained rutile titanium dioxide but also other metals like nickel and chromium and methyl dehydroabietate – known as the main ingredient of colophonium. None of the 2 patients showed increased levels of ACE and sIL-2R related to sarcoidosis. Seven of the study participants showed partial or complete remission after treatment with topical steroids, intralesional steroids, or topical tacrolimus. Conclusions: The combination of the methods presented might be a rational approach to identify the substances that trigger adverse reactions in tattoos. Such an approach might help make tattoo colourants safer in the future if such trigger substances could be omitted.
Este trabalho de investigação remete para um estudo de revisão de literatura, considerando a Body art na Perfomance descrita como uma simbologia do corpo, onde o artista é a expressão artística, e ao ...mesmo tempo objeto da obra que ele próprio representa. O fenómeno emergente da perfomance, como expressão artística surgiu a partir de um conjunto de ações individuais e coletivas, em que a simbologia e a expressividade do corpo se consubstanciam numa forma de arte, através das quais ocupam uma estrutura simbólica e uma função ao serviço do poder artístico. O corpo é considerado um interlocutor simbólico de relevância e destaque nas representações culturais e artísticas, cujo protagonismo incide em várias expressividades artísticas a nível contemporâneo, desde os primórdios da ritualidade mais ancestral. A performance afirma-se enquanto prática artística no confronto com as artes cénicas, as artes plásticas em geral, cujo ímpeto experimental se acentua a partir do modernismo e das vanguardas históricas. Notavelmente, quando falamos em arte da performance, happening ou live art, relacionamos o ritual a estes procedimentos artísticos, pois, como vimos, são “rituais estéticos”, tendo consciência de que, evidentemente, não estamos a falar de um ritual propriamente dito de várias experiências pessoais, mas sim de um valor artístico.
Among the artists who worked with the body between the end of 1960s and the beginning of the 1970s the case of the American artist Dennis Oppenheim (1938-2011) is particularly significant not only ...for the physical relationship established by him, in his artistic practice, between the body and the natural material par excellence, that is the earth, but also for his personal reflections on the role of photography inside his work. By developing some premises included in his Land Art works (which Rosalind Krauss leads back to a kind of “marking of site”), Oppenheim created a number of earth-body performances in which he experimented the physical possibilities of his own body, as well as a physical exchange with the living forces of nature, to the point that he understood the earth itself as an extension of his own skin. Although these actions were immortalized by photography, for the artist photography is and must remain a merely secondary element, a “residue” which serves only to communicate the artwork to the public. The deliberately “prosaic” – but at the same time strictly controlled - use by the artist of the photographs documenting his performances is an interesting case study of the problems and issues faced in those years, besides to the artists of Body Art, by the artist of Land Art and by the “dematerialized” side of Conceptual Art, that concern the possibilities and the limits of the use of photography in the documentation of ephemeral actions.
Resumo Este trabalho de investigação remete para um estudo de revisão de literatura, considerando a Body art na Perfomance descrita como uma simbologia do corpo, onde o artista é a expressão ...artística, e ao mesmo tempo objeto da obra que ele próprio representa. O fenómeno emergente da perfomance, como expressão artística surgiu a partir de um conjunto de ações individuais e coletivas, em que a simbologia e a expressividade do corpo se consubstanciam numa forma de arte, através das quais ocupam uma estrutura simbólica e uma função ao serviço do poder artístico. O corpo é considerado um interlocutor simbólico de relevância e destaque nas representações culturais e artísticas, cujo protagonismo incide em várias expressividades artísticas a nível contemporâneo, desde os primórdios da ritualidade mais ancestral. A performance afirma-se enquanto prática artística no confronto com as artes cénicas, as artes plásticas em geral, cujo ímpeto experimental se acentua a partir do modernismo e das vanguardas históricas. Notavelmente, quando falamos em arte da performance, happening ou live art, relacionamos o ritual a estes procedimentos artísticos, pois, como vimos, são “rituais estéticos”, tendo consciência de que, evidentemente, não estamos a falar de um ritual propriamente dito de varias experiências pessoais, mas sim de um valor artístico.
De sangre y raíces Adrián Panadero Luna
INDEX Revista de Arte Contemporáneo,
05/2024, Volume:
10, Issue:
17
Journal Article
Peer reviewed
Open access
La figura de la bruja, la hechicería y todo el universo que las rodea han ejercido una función estética en la Historia del Arte prácticamente desde los albores de la misma. De la demonización ...enmascarada de pedagogía y la erotización, el lenguaje iconográfico erigido alrededor de lo ritual-pagano se ha deconstruido y reapropiado, especialmente debido a los procesos creativos de mujeres artistas enmarcadas en el campo del body art y sus variantes del último tercio del siglo XX y el XXI. En el presente artículo se analizarán los casos de Ana Mendieta (1948-1985) y Pilar Albarracín (1968), diseccionando los elementos de sendas producciones que, como recurso para la elaboración de un discurso crítico-social, se sirven de lo ritual como recurso estético.
The article discusses how identity was negotiated by the intersectional Japanese artist Kusama Yayoi. I focus on her body-centred works of the 1960s to showcase how she addressed various aspects of ...identity during her time in the U.S., and how she expressed social critique by means of bodily performance. In this article I will analyse and interpret one photograph by the artist previously discussed in my master’s thesis, an image of the so-called Presidential Orgy, a series of happenings staged in Kusama’s studio in 1968. I apply the method of visual analysis and draw on a variety of sources, both literary and visual, to give insight into the historical background, since it is crucial not to look at Kusama’s artworks as isolated objects. Rather, we need to understand that rapid changes in the art world, as well as in gender relations, the rise of popular media, and major societal events like the changes in the aftermath of World War II on the one hand, and the ongoing Vietnam War on the other, were pivotal factors causing cultural upheavals that became important themes in Kusama’s art in the 1960s.
The presentations with distinctive national features in the opening ceremony of the 2008 Beijing Olympics have worked together to render to the world a unique and splendorous visual show. Notably, ...every part of the performance involved in this discussion is characterized by the extensive employment of traditional Chinese cultural elements. To be specific, the performance of the body art is connected to the making of a Chinese landscape painting, which overtly gives prominence to the mediality of the human body in the creation of the traditional national cultural images such as sun, mountain, river, cloud and the like - the very representative cultural symbols of Chinese nation. The famous Dunhuang dance in the section of the Silk Road is presented with a long green satin which is heavily vested with national cultural connotations. The pillars used as stage props are engraved with the images of loong - a symbol of auspiciousness in Chinese culture, for the loong embodies courage. The invention of the movable-type printing significantly involves the wisdom of the Chinese people, and Tai Chi performance evokes the harmonious spirit that the Chinese nation and people greatly value. The rendering of these images through creative ways has castcd the opening ceremony into a unique cultural text - as narrated in welldesigned artistic forms, it has presented the world with an extraordinary visual feast.
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