Kunst/Fernsehen Krüger, Klaus; Weiß, Matthias; Hammes, Christian
2019
eBook
Die Entgrenzungsbestrebungen der Nachkriegsmoderne und der Einzug des Fernsehens in die Privathaushalte verlaufen ab 1960 nicht mehr parallel. Sie weisen entscheidende Be-rührungen und ...Verschränkungen auf, die ihr vermeintlich antagonistisches Verhältnis unterwandern. Ent-sprechend nutzte man das Medium nicht länger nur zur Berichterstattung über Kunst, sondern nahm es verstärkt als Schauplatz und Gegenstand künstlerischen Arbeitens wahr. Der Band fragt nach dem sich stetig wandelnden Stellenwert des Fernsehens als Ort künstlerischer Intervention. Im Blickpunkt stehen Auseinandersetzungen mit fernseh-typischen Formaten, die fasziniert oder kritisch anerkennen, dass die Gegenwart nicht ohne die Bild- und Erzählsprache des Fernsehens und seine sozialen Funktionen zu denken ist. Neben Beispielen aus Video und Performance Art versammelt der Band auch solche der Performing Arts, weil sich namhafte Komponisten und Theatermacher ebenfalls darum bemühten, für ihre Kunst eine dem Fernsehen angemessene Form zu finden.
This paper details how diffractive analysis, a practice-based research methodology combining methods from art practice, art history and cultural studies, can be used to understand the role of bodily ...experience and affect in the work of contemporary video artists.
Eva Rocha Jacobs, Fredrika
Woman's art journal,
09/2018, Letnik:
39, Številka:
2
Journal Article
Recenzirano
Born during what are frequently referred to as Brazil's anos de chumbo, or "years of lead," artist Eva Rocha (b. 1967) speaks unflinchingly of her memories of an era beset with the fears of ...unexplained disappearance and the anxieties of unknowing. Works including two 2015 mixed media installations which respectively project videos of four and sixteen female nudes cramped into travel trunks and packing crates, resonate similarly with those memories. Rocha chooses her materials with care, and preferred materials acquired without monetary transaction. For much of her life, materials produced expressly for the making of works of art were hard to find and too costly to acquire. Her life experiences vibrate through her mixed-media and sculptural installations and canvases on which stirring, seemingly simple images are created with a single thread.
A Western observation has been made that the Baltic states are viewed by other geographic and political realms as "limitrophe" (i.e., situated in between Europe and Russia); since Lithuania, Latvia, ...and Estonia exist in such a realm, they are more likely to be involved in creative discourses related to inclusion vs. exclusion, infiltration, and resistance-as the curator notes in his curatorial statement.1 The event appears to consciously avoid frames, parameters, and preconceived notions as a way to promote an amorphous path to subjectivity. Estonian artist Kris Lemsalu presented her sculptural installation So Let Us Melt And Make No Noise (2017), in which a skeletal figure (presumably "Death") is suspended in midair, perched atop a fishing boat in trendy attire, playing keyboard above a sea of blue balloons. ...this chapter, there were three performances at the nearby venue Kanuti Ģildi SAAL (a.k.a. Kanuti Guild Hall); Jamila Johnson-Small (her alias: "Last Yearz Interesting Negro") presented a final performance here incorporating dance, poetics, thumping sound, and image-impacting its audience with a trance-like yet confrontational approach. The practice of Ben Burgis and Ksenia Pedan is intriguing; their punk installation of askew metal objects, furniture pieces, carefully orchestrated archeological specimens, and mannequin body parts that have been altered-warped, irregular, sullied-was a refreshing detour from the rest of the chapter; their work serves as a provocative entry into fictive realms and provides a stage for peripheral performance, introspection, or escape.
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"Performance Photography. Live Art in the Age of its Reproduction" by Burcu Dogramaci examines the relationship between ephemeral art, its storage and its reproduction in analogue and digital media ...from the 1960s to the present day. The emergence of new aesthetic practices (performance art, action art, happenings etc.) was accompanied by a focus on the media used for their recording. Photography and video have shaped the reception of temporary works until today. This book explores the multi-dimensional relationship between live art and recording media from a systematic and exemplary perspective. Das Buch untersucht das Verhältnis von ephemerer Kunst, ihrer Speicherung und Reproduktion in analogen und digitalen Medien von den 1960er Jahren bis zur Gegenwart. Mit der Herausbildung neuer ästhetischer Praktiken (Performance Art, Aktionskunst, Happening etc.) kam der Status ihrer medialen Aufzeichnung in den Blick. Fotografie und Video prägen die Rezeption eigentlich vergänglicher Arbeiten bis in die Gegenwart. Sie vertreten die Aktionen, die für das Publikum nicht mehr leiblich erfahrbar sind, und entreißen sie ihrer Zeitgebundenheit. Das Konzept des anachronistischen ,,Nachlebens" (Aby Warburg) kann helfen, Hierarchien zwischen dem Ereignis und seiner Reproduktion in produktiver Weise zu befragen. Das Buch nimmt sich der Aufgabe an, das vieldimensionale und komplizierte Verhältnis zwischen den transitorischen Formen der Kunst und ihrer medialen Aufzeichnung in systematischer und exemplarischer Perspektive zu untersuchen.
Recently, scholars in a variety of disciplines-including philosophy, film and media studies, and literary studies-have become interested in the aesthetics, definition, and ontology of the screenplay. ...To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art-more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks.
En este artículo se exploran distintas modalidades de escritura experimental en Latinoamérica, desde la perspectiva de la función que ejercen los medios y tecnologías en el proceso compositivo. A ...pesar de la heterogeneidad de estilos, se hace hincapié en ciertas constantes y en sus implicaciones discursivas debido a que proponen un cambio de paradigma estético y cultural que rompe con las expectativas tradicionales de lo que se entiende por texto, poema, autor y lector. Dentro de esta línea creativa se sitúan escrituras como IP Poetry de Gustavo Romano, la biopoesía de Eduardo Kac, las instalaciones e intervenciones poéticas de José Aburto, así como otros modos de escritura poética como la performativa o la videopoesía..
This article examines recent video works by Renée Green, alongside previous works, in the context of the solo exhibition Spacing, which took place at Lumiar Cité in Lisbon in 2016. It begins and ends ...with a focus on the recent Walking in NYL (2016), and Begin Again, Begin Again (2015), respectively, and in between analyses these works' intimate connections to the earlier Come Closer (2008), Endless Dreams and Water Between (2009), Excess (2009), and Climates and Paradoxes (2005). The article discusses Green's ongoing engagements with the colonial, anti- and post-colonial collective histories of Lusophone geographies, from the perspective of the artist's own affective trajectories between North and South America, Europe and Africa. The analysis is woven around the works' poetic examination of history, memory, utopia, desire, language and landscape, whether architectural, urban or natural; the inhabitation of and dislocation between times, spaces and places. It highlights the back-and-forth temporality and desire at play in between Green's various works.
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