The altar sculpture of the Buddhist temple Tubten Shedrub Ling in Kyzyl has been studied. In 1992, His Holiness the Dalai Lama XIV pointed at and consecrated a site for a Buddhist temple in Tuva. ...Tubten Shedrub Ling, one of the largest Buddhist temples in Russia, was inaugurated in April 2023. The famous sculptor Dashi Namdakov made six monumental sculptures of Buddhist deities – Buddha Shakyamuni, Maitreya, White Tara, Green Tara, Kalachakra, and Vajrabhairava. The statues are made of modern composite material and covered with polychrome painting. The master created incredibly expressive cult images characterized by an organic fusion of the art traditions of Tibet, Nepal, Mongolia, Buryatia, and modern innovations. The study was performed using methods of stylistic, iconological and comparative analysis.
Reflexionar sobre la materialidad, las texturas, la experiencia táctil, los colores, el peso de la materia y su poética, se ha vuelto imprescindible para un considerable número de artistas. Explorar ...procesos y materiales de manera no convencional es esencial para generar resultados innovadores. También lo es relacionarse con otras disciplinas y culturas, pues nos brinda la oportunidad de conocer nuevos materiales y nos ofrece infinitas posibilidades para crear.
Nos enfrentamos a obras abiertas a una modificación constante, donde la experimentación y el proceso a lo largo de toda la elaboración, adquieren más importancia que la pieza acabada. Palpar la materia, interactuar con las herramientas, jugar, hacer, reflexionar, observar, deshacer y rehacer, constituyen una manera de abordar la práctica creativa desde la acción. Al mismo tiempo, el arte puede convertirse en el contexto idóneo para repensar las formas de producir, donde la elección de materiales respetuosos con el medio ambiente sea algo fundamental en un mundo preocupado por la sostenibilidad. Una estrategia de producción que establece un diálogo entre la práctica y el pensamiento, entre el procedimiento y el concepto, donde es esencial comprender y explorar los materiales, permitiéndoles que nos cautiven y estimulen nuestra imaginación
En 1978, le personnel du restaurant Muckamuck de Vancouvers’est joint au Service, Office, and Retail Workers’ Union of Canada pour contester des conditions de travail injustes. Sous la direction de ...travailleuses en majorité autochtones, la grève a permis de conjuguer les préoccupations des mouvements féministes, de justice ouvrière et de souveraineté autochtone. Cet article examine les œuvres de l’artiste Hunkpapa Lakota Dana Claxton, de l’artiste de la Première Nation Vuntut Gwitchin, Jeneen Frei Njootliet, et de l’organisation militante des femmes autochtones ReMatriate Collective qui traitent de la grève de 1978 pour explorer les intersections de la souveraineté autochtone, du travail et de la justice de genre dans les pratiques militantes passées et présentes. Cet article traite des manières par lesquelles ces artistes repensent la grève du Muckamuck par leurs engagements matériels avec les archives pour mettre en lumière les trajectoires de l’activisme des femmes autochtones au-delà de la conception linéaire du temps.
Lazy Sunday is the third work in THE ITALIAN JOB series. Started in 2014, straddling the distance between Italy and the United States, this series intends to highlight the hidden structures behind ...themes such as artistic legitimacy, virtuality, immaterial labour and 2.0 relationships between artists and curators. Lazy Sunday takes shape after an invitation to participate in a virtual residency within the spaces of the 12th Atelier of Casa degli Artisti in Milan. The artist accepts the invitation, overturning the assumptions of the residency: instead of participating at a distance, Vavarella transforms his point of view into an open space for the virtual participation of other people. The work consists of a 12-hour film made with a 360° camera and shot continuously on August 8 2021, on an ordinary day. Starting at 9:40 a.m., Emilio Vavarella filmed the events of one of his summer Sundays, recording his every activity, from waking up until the evening. The film has been shown in the space set up in the Casa degli Artisti, where visitors took on the point of view of the artist using a Virtual Reality headset.
This article explores the Sāmoan concept of
Vā fealoa’i
meaning ‘nurturing the space between people; and between people and nature’ and how it is embedded in my art practice, which reflects local, ...global and glocal considerations including a socially engaged, community outreach project involving Sāmoa’s third gender community that aims to highlight the specificity of their local experience with climate change, which is often neglected by governments and NGO’s. This article will also examine a textile exhibition entitled サ–モアのうた (
Sāmoa no uta
)
A Song About Sāmoa
(2019‑23) that explores the often hidden histories between Japan and the Pacific and specifically Sāmoa that goes beyond geopolitical boundaries as a man-made idea; and a video work, entitled
Smoke and Mirrors
(2023), which addresses environmental colonialism disguised as foreign diplomacy.
In 1952, Roald Dahl published Skin, a macabre short story about a man tattooed in his youth by the artist Chaïm Soutine. Soutine, now old and penniless, ends up sacrificed after showing his tattoo to ...art lovers eager to make a profit from it. Looking at some of the works and collections of tattooed skin around the world, reality seems to have since caught up with fiction. Two art projects have been directly inspired by Dahl’s story: Chaïm Soutine (2004) in England and Skin (2011) in the United States. They are based on the involvement of volunteers willing to offer their bodies to artists who use them as living canvases on which to ink their drawings. Through an analysis of this transition from literary narrative to genuine artistic projects, the aim of this article is to highlight the ethical and legal issues involved in exhibiting, conserving, buying and selling works whose medium is the human body.
This article discusses the urban art actions implemented during the pandemic in Brazil and their relationship with the decolonial turn in the arts. By examining examples such as the project Voices ...Against Racism and the CURA (Urban Art Circuit), which carried out numerous artistic-urban interventions in Brazilian cities involving Afro-descendant and Indigenous curators and artists, we propose a reflection on how urban spaces can enhance the city as a site of visibility and affirmation for marginalised groups and the political struggle in Latin American countries. With the closure of museums and other cultural institutions during the pandemic, cities became the epicentre of artistic and political expression. This coincided with the emergence of the decolonial movement in Brazilian arts and the social movements that fought against the obscurantist regime of the extreme-right government led by former President Jair Bolsonaro. While urban art has been traditionally analysed from the perspectives of art theories and cultural studies (e.g., through discussions on the divisions between the cult, the popular, and the mass), we argue that contemporary analyses require new parameters for an effective approach to this phenomenon, bringing together Latin-American studies and decolonial perspectives. Therefore, this study's primary objective is to significantly contribute to urban art studies by comprehensively understanding the city and its spaces of collectivisation as inherently transformative agents for fostering social change through artistic endeavours.
The aim of this article is to point out that attentional practices don’t simply overlap with control and action/reaction dynamics; they are also strictly connected to non-productivity, ...non-instrumentality, disinterestedness, contemplation as performative inactivity. Disinterested attention (a definition formulated by Bence Nanay) and free-floating attention help to better understand the apparently seamless and unproblematic transition from passive spectator to active participant/agent of contemporary art. If considering attention in relation to executive functions (planning and organizing our experience in the world we live in) could be persuasive, a self-evident definition of attention strictly considered as “selection for action” is less convincing, and the weakness of this connection becomes clear when goal-oriented attitude is pushed into the background. Attention is often researched into to improve our performances and to overcome the inevitable “blind spots”: experiencing art is about a different way of paying attention, that is fluctuating, “suspended,” fragmented.
