The aim of the article is to outline a logical sequence of events that led to radicalism in the art of the 19th and 20th centuries by studying the connections between art, life (reality), and science ...and technology. From the mid-nineteenth century through the 1970s, art acquired a unique quality: it rapidly radicalised, creating a number of alternative art practices, such as impressionism, abstractionism, cubism, ready-made, etc. Before that, except for random individual phenomena, art for centuries was just changing styles: Baroque, Rococo, Classicism. Results. The article identifies the cause for the revolutionary avant-garde trends in art and the reason for the end of the revolutionary era. It presents a view based on art’s relations with life in competition with science and technology that had different effects on art, ranging from influentially adaptive to revolutionary rebellious. The scientific significance of this study is its innovative approach to the consideration of factors of the emergence and development of avant-garde trends in the art of the 19th and 20th centuries. The rational study and comparable analyses of events in science/ technology and art in relation to life (reality) offers an inventive and coherent reason for the appearance and disappearance of avant-guard art. Conclusions. This article identifies the cause for the revolutionary avant-garde trends in art and the reason for the end of the revolutionary era. It presents a unique view based on art’s relations with life in competition with science and technology and shows how an inadvertent battle of art for life (reality) with photography, film and television triumphed in the twentieth century and broke the very possibility of further revolutionary changes.
Мета статті — через вивчення зв’язків між мистецтвом, життям (реальністю) та наукою й технікою окреслити логічну послідовність подій, які призвели до радикалізму в мистецтві ХІХ–ХХ ст. З середини ХІХ ст. до 1970-х років мистецтво набуло унікальних рис: воно швидко радикалізувалося, створюючи низку альтернативних мистецьких практик, таких як імпресіонізм, абстракціонізм, кубізм, реді-мейд тощо. До цього часу, за винятком випадкових окремих явищ, мистецтво століттями тільки змінювало різні стилі: бароко, рококо, класицизм. Результати дослідження. У статті визначено підстави виникнення революційних авангардних течій у мистецтві та обумовлено причину закінчення революційної епохи. Стаття представляє погляд, заснований на взаємозв’язках мистецтва з життям в умовах конкуренції з наукою та технологіями, які чинили різний вплив на мистецтво (від впливово-адаптивного до революційно-бунтарського). Наукове значення дослідження полягає в новаторському підході до розгляду чинників виникнення та розвитку авангардних течій у мистецтві ХІХ-ХХ ст. Раціональне дослідження та порівняльний аналіз подій у науці/техніці та мистецтві у зв’язку з життям (реальністю) пропонує винахідливу та послідовну причину появи та зникнення авангардного мистецтва. Висновки. У процесі дослідження виявлено, яким чином ненавмисна боротьба мистецтва за життя (реальність) із фотографією, кіно та телебаченням здобула перемогу в ХХ ст. і зламала саму можливість подальших революційних змін.
Xiao Lu Laia Manonelles Moner
Revista Brasileira de Estudos da Presença,
04/2023, Letnik:
13, Številka:
2
Journal Article
Odprti dostop
At the opening of the iconic exhibition China/Avant-Garde (1989, Beijing), the artist Xiao Lu fired two shots at her installation Dialogue and handed the gun to the artist Tang Song, who would later ...become her boyfriend. From that moment on, the artworld attributed the piece to Tang Song and Xiao Lu. Two decades after the event, Xiao Lu disputed the unique authorship of the artwork in a fictional memoir, Dialogue (2010). In this text, she presented a historiography of her art, reflecting on the performance and challenging Tang Song’s appropriation of the work. This article explores Xiao Lu’s re-writing of the official history of art and its patriarchal foundations through a feminist lens. It engages with complementary, contradictory, and contrasting readings of Xiao Lu's art and offers a new approach that addresses both the therapeutic and political dimensions of the artist's autobiographical account.
What is there to see in invisible artworks, empty books or blank screens? How do formal absences generate meaning? Constructing an argument by way of montage, the book is an annotated inventory of ...textual, visual, and conceptual figures of absence. Spanning across media, they reveal a creative tradition that uses absence not as a negative aesthetic category, but as a productive state of radical indeterminacy, with politics and poetics of its own.
RESUMO Este texto reflete sobre algumas propostas experimentais produzidas nos anos 1970 e início de 1980 pelo artista Paulo Herkenhoff (1949), que recorreu aos jornais para criar ações efêmeras e ...performáticas, de conotação sociopolítica, em que recodifica imagens fotográficas e manchetes encontradas nesses periódicos por meio de interferências sobre esse material. A partir dos textos publicados na imprensa, o texto discorre, ainda, sobre o posicionamento da crítica de arte diante dessas proposições reveladoras da ousadia criativa e do senso crítico do artista, ao ironizar, de maneira desafiadora e bem-humorada, a falta de liberdade, a repressão militar e a interferência da censura na mídia e nas artes, atuando muitas vezes com a presença do público, posicionado diante da câmera de videoteipe.
In this article the current attempt to (prefiguratively) transform the Utrecht-based exhibition space Casco into an institution of the commons is introduced and discussed. Focusing on this shift ...where commoning is conceptualized as both a working method and as a long-term horizon, the article analyses Casco’s aim to put into practice a commonist aesthetic as an art institution. The article identifies how Casco uses the current (economic, social and climatic) crisis to perform a commonist alternative to neoliberal capitalism. The article discusses different readings of related institutional projects. Some critics find such projects to be arty recuperations of potentially subversive strategies of resistance; others argue that the horizontal strategies of commoning risk being assimilated too easily by neoliberal capitalism, which uses them to re-launch itself, with the result that the commons end up forming the basis of new capitalist growth. Although the creatively playful experiments at Casco in many ways are characterised by paradoxical and contrasting tactics of resistance, the article argues that they constitute an important suggestion on how art can be used to point out alternative ways of inhabiting the world in a present situation characterized by ideological breakdown and crises.
The article is devoted to the issues of experimental art formats which are considered by the author as an alternative way of understanding reality and conducting qualitative research. This approach ...is based on the author’s experience in doing qualitative research in different spheres, as well as teaching qualitative sociology at several universities. The contemporary world is always changing and makes many challenges, including big challenges in the field of sociology: it requires changing the ways of teaching sociology, doing research, and presenting data. On the one hand, we can observe the increasing demand for diversification of the methods of data presentation, because the different target audiences need diverted formats of data. On the other hand, through the creative presentation of research data, it is possible to quicker and more accessibly disseminate information about deprived groups of people that are now invisible and whose voices are not heard. Experimental art forms generate the possibilities for hearing their voices. The first part of the article provides a short description of the foundations of the approach. It explains the peculiar features of teaching experimental art format within the courses on qualitative sociology. The second part provides the examples of the experimental student’s projects which findings are presented in a creative manner.The essay may be of interest to teachers delivering courses on qualitative sociology, social psychology, creative writing, as well as to those who are looking for the non-standard research approaches and innovative thinking.
Bu araştırmada, Deneysel Sanat Atölyesi dersinde, farklı sanat disiplinlerinde öğrenimini tamamlamış öğrencilerin (lisansüstü) Anadolu Kültürü’nün önemli figürlerinden biri olan Yunus Emre’nin ...evrensel fikirlerini görsel sanatların diliyle nasıl yorumladığını ortaya koymak amaçlanmıştır. Bu amaç doğrultusunda yerel içerikten hareketle sanatsal üretim sürecinin nasıl gerçekleştiği, farklı disiplinlerde çalışan katılımcıların görsel ifade sürecinde nasıl etkileşim kurduğu, alanına özgü araç, gereç ve malzemenin nasıl kullanıldığı ve yerel içeriğin farklı disiplinlerin etkileşimi konusunda rolünün ne olduğu sorularına yanıt aranmıştır. Nitel araştırmanın durum çalışması deseni ile yürütülen araştırma derslere davet edilen 5 konuk sanatçı ve 12 öğrencinin katılımıyla gerçekleştirilmiştir. Araştırmada gözlem, yarı yapılandırılmış görüşme, araştırmacı ve katılımcı günlükleri, katılımcı çalışmaları ve ders video kayıtlarıyla toplanan veriler tümevarımsal analiz ile çözümlenmiştir. Araştırmada katılımcıların uygulama sürecinde kendi alanlarından yola çıktıkları, temayı deneyimleriyle ilişkilendirerek deneysel araştırmalarla çalıştıkları diğer yandan da deneysel çalışmayı simge kullanımına ve malzemeye indirgedikleri ortaya çıkmıştır. Katılımcıların uygulama sürecinde kendi alanının kalıplarının dışına çıkmakta zorlandıkları görülmüştür. Yeni bir şey söyleme, yeni olanı arama çabasının, katılımcıları estetik sorgulamaya yönlendirdiği, diğer yandan da bu durumun onların uygulamaya başlamalarını zorlaştırdığı ortaya çıkmıştır. Araştırmada disiplinlerarası bir içerikle katılımcıların malzeme ve teknik kullanımında denemelere olanak tanınması sonucunda farklı perspektifler geliştirmeye katkı sağlandığı söylenebilir. Ayrıca araştırmanın çeşitli sanatçı ve sanat yapımlarıyla karşılaşmalar yaratarak katılımcıları sanatın anlamı üzerine yeniden düşünme, estetik değeri sorgulama, sanat tarihi bilgisini sınama gibi konular üzerinde düşünmeye ve araştırmaya davet ettiği söylenebilir.
In this research, it is aimed to reveal how students from different art disciplines (graduate) interpret the universal ideas of Yunus Emre, one of the important figures of Anatolian Culture, with the language of visual arts, in the Experimental Art Workshop course.To this end, answers were sought to the questions of how the art-making process takes place, how the participants from different disciplines interact in the visual expression process, how they use the tools, equipments and materials specific to their own discipline and what role the local content plays in the interaction of different disciplines. The researcher conducted the study using the observation-based case study design, one of the qualitative research designs, with the participation 5 guest artists invited to the classes and 12 graduate students. In the study, the data collected through observations, semi-structured interviews, researcher and participant diaries, participant works and lecture video recordings were analyzed by using inductive analysis. As a result, it was revealed that the participants set out from their own fields during the application process, associated the theme with their experience, on the other hand, that they reduced the experimental work to the use of symbols and materials. It was observed that the participants had difficulty in going beyond the patterns of their own field during the application process. It was also observed that the effort to say something new and to search for the new led the participants to question aesthetics, while making it difficult for them to start practicing. It can be said that the research contributed to the development of different perspectives as a result of allowing the participants to experiment in the use of materials and techniques with an interdisciplinary content. In addition, it can be said that the research invites the participants to think and research on issues such as rethinking the meaning of art, questioning the aesthetic value, testing the knowledge of art history, by creating encounters with various artists and art productions
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