Over the century from 1895 to 1999, we can measure the impact of biennials on themselves, and on the emergence of increasingly social forms of contemporary art. I argue that in their inheritance from ...world’s (and national) fairs, biennials were engines for the transfer of fairs’ “festal apparatus” to the centre of contemporary art itself. In particular, I will review the historical case of the collaborative group Oreste in the 1999 Venice Biennale, in which “relational art” (introduced in 1993 by one of the “Aperto” curators, Nicolas Bourriaud) was further tested in the biennial context. Marking the shift from boat transport, xerox machines, and snail mail to novel infrastructures called email, listservs, and the “World Wide Web,” the Oreste collective created a transnational network bringing over 100 artists to Venice, and connecting virtually with more than 500 artists world-wide. This little-known group had no stylistic coherence or “ism” to proclaim; instead, they had a loose aesthetic agenda celebrating events, networks, and increasingly social forms of art, often staged in “Spazio Oreste.” This they claimed from the edge of the Central pavilion where the traditional nationalist building had been punctured in 1952 for a terrace garden designed by Carlo Scarpa, symbolically marking the rehabilitation of edifice and event after the years of fascism. We can understand something crucial about twenty-first century biennial culture, by examining how local artists created a global network to localize an “artway of thinking” at the millennial turn.
This essay frames the Last Words' script and how an audience participates in the performance to create meaning and enhance relational aesthetics. I use a second-person narrative to focus on the ...audience, both as the subject and the play's content, and to demonstrate the performance indeterminacy of the experience. I present the author as an equal audience member rather than from an authoritarian perspective (Gesuato) to help consider how an audience participates in making meaning. Finally, through Last Words, I posit the structure I used to create the script can be applied to various epistolatory documents.
This essay explores the proposition of the relational aesthetics of audience participation in Kirt Shineman's performance Last Words. I describe my own participation in the performance as a modest ...trickster and question the possibility of moving beyond this modest intervention to truly test the limits of audience interactivity.
A conceptual framework for looking and listening operates within aesthetic and affective moments when crafting objects. Assembling and modifying Sea Balls into arranged composition is my craft ...process that I use to access a state of mind play. Each found and modified object represents a key theoretical framework that I connect and re-organize in relation to each other to produce new ways of perceiving. Considerations of Massumi, Fish and Jameson’s (2002) notion of perception and how I experience affect through embodiment in the moment of re-crafting and re-assembling items is central to the practice. Emergent ideas occur through re-crafting found objects in conjunction with broader considerations of relational aesthetics.
Estetik metinlerin kullanılması ve yaratılması yoluyla estetik deneyimler edinmenin sosyal bilgiler içeriğiyle daha derin etkileşimler başlatacağı düşünüldüğünden bu araştırmanın problemini “Sosyal ...Bilgiler dersi öğretmenlerinin estetik metinleri nasıl işlevsel hale getirebilir?” sorusu oluşturmaktadır. Dolayısıyla bu araştırmanın amacı, estetik metinlerin Sosyal Bilgiler dersinde kullanım yollarını keşfetmek, dersin niteliğini artırmak, dersin kazanımlarını daha kalıcı bir şekilde gerçekleştirmek ve estetik deneyim aracılığıyla öğrencilerin hem psikolojik iyi oluşlarını hem de derse motivasyonlarını sağlamaktır. Bu araştırmada sosyal bilgiler dersini daha etkili hale getirmek hedeflendiğinden eylem araştırması yöntemi seçilmiştir. Bu araştırma da Sosyal Bilgiler derslerinin daha etkili hale gelmesi için bir geliştirme, dönüştürme sürecini hedeflemekte olduğu için amaçlı örnekleme kullanılarak çeşitli okullarda bilfiil görev yapmakta olan Sosyal Bilgiler öğretmenleri katılımcı olarak belirlenmiştir. Araştırmanın verileri 2022-2023 eğitim öğretim yılında muhtelif okullarda görev yapan 12 Sosyal Bilgiler öğretmeninin katıldığı eylem planı sürecinde toplanmıştır. Araştırmada kullanılan veri toplama araçları ön algı ve son algı formu, etkinlik değerlendirme rubriği, yarı yapılandırılmış görüşme formu ve araştırmacı günlüğü olarak sıralanabilir. Elde edilen veriler içerik analizi aracılığıyla çözümlenmiştir. Bu araştırmada Sosyal Bilgiler dersi öğretmenleriyle sanat etkinlikleri/estetik metinleri keşfetme yolculuğuna çıkılmıştır. Bu yolculukta yaşanan estetik deneyimlerin hem öğretmenlerin mesleki ve kişisel gelişimleri açısından hem de öğrencilerin bütüncül gelişimi bakımından etkili olacağı sonucuna varılmıştır.
El taller 'Cocinando letras' dentro del proyecto 'Sin perfil. El libro como experiencia diversa' realizado con la Fundación San Martín de Porres, recoge la experiencia artística de una propuesta ...inclusiva entre el alumnado de la Facultad de Bellas Artes de la Universidad Complutense de Madrid y un grupo de personas sin hogar en riesgo de exclusión social. La propuesta, inscrita en el proyecto Aprendizaje-Servicio UCM, contempla un programa de actividades basado en la realización de tipos móviles y en la composición tipográfica posterior; punto de partida para el análisis de la estética relacional surgida en torno a la 'mesa' como marco referencial en el que poder debatir las barreras sociales que giran alrededor del acto alimenticio. Fruto de esta experiencia artística es el libro arte textil 'Sin perfil', y la performance 'Sopa de letras' realizada durante el banquete final del evento.
In this paper, we attend to the everyday creative practices of residents of a riverbank settlement, kampung Ratmakan, in Yogyakarta, Indonesia, and the materials through which urban imaginaries are ...constructed. Building on Colin McFarlane's recent insight that while 'fragmentation' is a crucial term in the grammar of urban theory, the fragments themselves have received little attention, we inquire into how children mobilise material and temporal fragments to produce unique forms of public life and imaginaries of what is possible in the city. Through a collaborative art project conducted with residents of kampung Ratmakan, we contribute an empirical richness to McFarlane's calls for a politics of urban fragments. Using art practice as both a method of inquiry and means of co-producing knowledge, we document some of the ways in which a sensory politics is articulated through children's embodied modes of relating to their urban environment.
This paper examines an overlap between Simon Waters' theory of the 'performance ecosystem' and Nicolas Bourriaud's 'relational aesthetics'. Grounded on Tom Davis's prior synthesis of the two ideas, I ...examine the resourcefulness of relational aesthetics-a theory of contemporary art practice-when applied to the types of music that are routinely identified with Waters' model (and vice versa). I extend Davis's take by introducing two noteworthy critiques of relational aesthetics: Claire Bishop's 'Relational Aesthetics and Antagonism', and Georgina Born's work on social aesthetics and improvisation. To put these ideas into context, I examine two pieces that can be reasonably described as both 'relational artworks' and 'performance ecosystems': Martin Parker's 'Sonikebana' and Benny Nemer's 'I Don't Know Where Paradise Is'. I conclude by unpicking a key assertion made in Davis's synthesis, that a relational understanding of Waters' theory can help encourage artworks to manipulate the social worlds around them (presumably for the better). While I fundamentally agree with this notion from a rhetorical perspective, without an expanded level of critique, it can be difficult to see where this change takes place and who it materially benefits.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
'I am Tower of Hamlets, as I am in Tower of Hamlets, just like a lot of other people are' (2011-2012) was an artwork by Argentinian artist Amalia Pica, and involved a pink-granite sculpture touring ...around different homes in the London Borough of Tower Hamlets for one year. This paper offers a geographical investigation into the type of encounters and relations created by this artwork. Rather than assume the progressive role of such art encounters, the paper casts a critical eye on to the actual forms of association that they foster and the normative social logics they may perpetuate. In doing so, it suggests that while enchanted, 'meaningful' encounters did occur between participants and the sculpture, these occurred within a pre-existing art community, something which compounded problematic class boundaries. Thus, the paper utilises this artwork to identify how encounters can be meaningful whilst maintaining embedded social and cultural divisions. It concludes with a discussion on the relationship between art and the geographies of encounter.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
PDF
