Addendum
The Art bulletin (New York, N.Y.),
01/2021, Letnik:
103, Številka:
1
Journal Article
Recenzirano
We recognize that the coeditors’ note for the issue published in September 2020 could have been misunderstood. Any equivalence between the movement of people and the movement of objects was never ...intended. We apologize if the note minimizes the horrors of human suffering. We remain steadfast in our commitment to diversity and inclusivity. And we continue to welcome and encourage the submissions that address race and art history.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Antologin Teoretiska tillämpningar i konstvetenskap demonstrerar, presenterar och problematiserar tillämpningen av semiotisk teori på konstvetenskapliga studieobjekt. Den centrala ambitionen är att ...diskutera och exemplifiera de specifika frågor och problem som semiotikens möte med just konstvetenskapliga studieobjekt ger upphov till. Till dessa hör frågor om visuell kommunikation och visuella koder, materialitet och medialitet så som i andra sammanhang förbisedda aspekter av tecknet, samt tecknets och därmed tolkningens historicitet. Antologins sex kapitel inkluderar studier av samtida modefotografi och skulptur, pre- och postindustriella möbler, 1600- och 1800-talets oljemåleri och 1800-talets pressbild.
Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II’s Congo Colony and the state sites of Mobutu Sese Seko’s totalitarian ...Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, delight, seduce, and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa’s post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908–13). Congo Style combines Sacks’s practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context.
In Picturing Casablanca , Susan Ossman probes the shape and
texture of mass images in Casablanca, from posters, films, and
videotapes to elections, staged political spectacles, and changing
rituals. ...In a fluid style that blends ethnographic narrative,
cultural reportage, and the author's firsthand experiences, Ossman
sketches a radically new vision of Casablanca as a place where
social practices, traditions, and structures of power are in flux.
Ossman guides the reader through the labyrinthine byways of the
city, where state bureaucracy and state power, the media and its
portrayal of the outside world, and people's everyday lives are all
on view. She demonstrates how images not only reflect but inform
and alter daily experience. In the Arab League Park, teenagers use
fashion and flirting to attract potential mates, defying
traditional rules of conduct. Wedding ceremonies are transformed by
the ubiquitous video camera, which becomes the event's most
important spectator. Political leaders are molded by the state's
adept manipulation of visual media. From Madonna videos and the
TV's transformation of social time, to changing gender roles and
new ways of producing and disseminating information, the Morocco
that Ossman reveals is a telling commentary on the consequences of
colonial planning, the influence of modern media, and the rituals
of power and representation enacted by the state.
esistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western ...Balkans – a region marked by the dark side of political governances that have remained “democratic" in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens. Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development": a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization." The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic. Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies" in Southeastern Europe.
The keyword of ecology today stands like no other paradigmatic for the perception of urgency, action and commitment. The demands for commitment as a new attitude are negotiated both in the practice ...of art and validated in dealing with it. The entanglement between production and reception is complex and mutually charged, not least through the joint participation in a discourse that is less characterized by the specificity of the individual areas and more by interdisciplinary models of thought. So my short contribution does not want to understand »commitment« and »ecology« as terms of demarcation, but to discuss their paradigmatic potential in the sense of a challenge. The questions about the consequences of the "ecological imperative" for the self-understanding of culture and about the revisions of art historical models and curatorial practice seem more exciting than a normative codification. The pathetic tone that sounds in such a formulation is certainly one of the problems of a reflection that refers to larger contexts, even to planetary orders and geological epochs (»deep time«), and wants to create new world interpretations beyond the presence of humans. Art history can also be completely dazed by so many demands in the diligent reception of philosophical lines of thought. In the following, I would like to pick out individual »attitudes« in our subject, which I am convinced illustrate the challenges, opportunities and difficulties of art history as a discipline in the humanities. Art history shows itself both as a historical science and in dialogue with current artistic demands and strategies.
This daring, intensely personal book challenges both conventional
and feminist ideas about beauty by asking us to take pleasure in
beauty without shame, and to see and feel the erotic in everyday
...life. Bringing together her varied experiences as a poet, art
historian, bodybuilder, and noted performance artist, Joanna Frueh
shows us how to move beyond society's equation of youth with beauty
toward an aesthetic for the fully erotic human being. A lush
combination of autobiography, theory, photography, and poetry, this
book continues to develop the ideas about the erotic, beauty, older
women, sex, and pleasure that Frueh first addressed in Erotic
Faculties. Monster/Beauty examines these issues using a
provocative, often explicit, set of examples. Frueh admiringly
looks at the bodies and mindsets of midlife female bodybuilders,
rethinks the vampire, and revises our ideas about traditional
models of beauty, such as Aphrodite. Above all, she boldly brings
her personal experience into the text, weaving her reflections on
female sensuality with contemporary theory. These linked essays are
as much a performance as they are a discussion, breaking down the
barriers between the personal and the academic, and the erotic and
the intellectual. Frueh writes passionately and beautifully, and
the result is a much-needed exploration of beauty myths and taboos.
This issue of the Bulletin of the Chilean Museum of Pre-Columbian Art includes twelve works on art and shamanism, making use of a variety of tools, methodologies, and concepts. Next, the global use ...of the word shaman, shamanic practice and its applications to archaeology are considered, and an attempt is made to clarify the relationship between art and shamanism. Then, each of the articles collected in this volume of the Bulletin is briefly commented on. Happily, after overcoming various challenges, including the pandemic and a change in the Editorial Team, this volume coincides with the Shamanism exhibition, Visions out of time, held at the Chilean Museum of Pre-Columbian Art. The actions that fall within the shamanic sphere are diverse and variable. Each culture applies a name in the language that corresponds to it. Thus we find behique , mara'akame , machi, and many others. The term shaman offers us the opportunity to use a single word to refer to the ritual activities that lead to the ecstatic state; a category that encompasses the diversity of practitioners who share a series of characteristics, some of which will be listed below. Shamanism occurs in small-scale societies, with low hierarchical manifestations. Consequently, and from a certain point of view, it would not be correct to call complex societies with clear evidence of hierarchies such as those of Chavín, Moche, Wari or Tiwanaku shamanic. However, it might be advantageous to identify shamanic elements in the art of these cultures, in efforts to clarify certain aspects of the iconography that might otherwise remain obscure.
EDITORIAL Riesco, Benjamín Ballester
Boletín del Museo Chileno de Arte Precolombino,
01/2023, Letnik:
28, Številka:
1
Journal Article
After a long wait of more than three years as a result of the Covid-19 pandemic, the change of the Chief Curator of the Chilean Museum of Pre-Columbian Art and the renewal of the Editorial Team of ...its Bulletin, the special issue on Art and Shamanism. An ambitious project that initially contemplated 19 manuscripts and that, little by little, matured until it took its final form, made up of 12 articles that are the result of research on the relationship between shamanism and artistic manifestations throughout the American continent and the Iberian Peninsula. As a whole, the published writings express in an extraordinary way the state of the art, the current debates and the new investigations on an anthropological problem as old as it is current, since shamanism is still present, in one way or another,neo or following the ancestral traditions.
The article presents a certain dialectic of art, the dialectic developed on the basis of such concepts as essence, potentiality, completeness, sense and phenomenon. The completeness of art is hereby ...understood as the maximum actualisation of its potential, the pretence of art would be therefore something, in which the potentiality of art isn’t elaborated on. What would be the sense of art then? It would be the process of certain actualisation of art potentiality. The history of art then presents itself as the amplitude whose extents are drawn by the level of the actualisation of that potentiality; from the pretence of art to the appearance of immanence, the epiphanic experience of the omni-completeness. This might have been the most maximalist vision of art, which can be found, for example, in Schiller, Schelling, Heidegger or Chögyam Trungpa.We can also imagine a different variant of dialectic of art, in which its story would have unfolded in form of a spiral. The history of art would then have been driven by the need for the realisation of its telos. It would have been the achievement of complete sense of art inherent to its concept, which may be derived from Hegel’s aesthetics.Can this spiral and this amplitude be intersecting? And if so, how could this affect understanding of art? It seems that the dialectic form of spiral provides art with the terminological integrity, the possibility of its nominal creation, whereas the form of amplitude reinforces art as the epiphany of omni-completeness. Finally, the art would be the form of energy flow on the certain horizon, horizon of art; the form of flow into its condensation points of completeness; and the moments of transparency of this eternal flow…
