Review(s) of: Gallipoli: The scale of our war, Authors: Christopher Pugsley, Michael Keith and Puawai Cairns, Published by: Te Papa Press, Wellington, 2022, 236pp, $34.99.
In Resonant Matter, Lutz Koepnick considers contemporary sound and installation art as a unique laboratory of hospitality amid inhospitable times. Inspired by Ragnar Kjartansson’s nine-channel video ...installation The Visitors (2012), the book explores resonance—the ability of objects to be affected by the vibrations of other objects—as a model of art’s fleeting promise to make us coexist with things strange and other. In a series of nuanced readings, Koepnick follows the echoes of distant, unexpected, and unheard sounds in twenty-first century art to reflect on the attachments we pursue to sustain our lives and the walls we need to tear down to secure possible futures. The book’s nine chapters approach The Visitors from ever-different conceptual angles while bringing it into dialogue with the work of other artists and musicians such as Lawrence Abu Hamdan, Guillermo Galindo, Mischa Kuball, Philipp Lachenmann, AlvienLucier, Teresa Margolles, Carsten Nicolai, Camille Norment, Susan Philipsz, David Rothenberg, Juliana Snapper, and Tanya Tagaq. With this book, Koepnick situates resonance as a vital concept of contemporary art criticism and sound studies. His analysis encourages us not only to expand our understanding of the role of sound in art, of sound art, but to attune our critical encounter with art to art’s own resonant thinking.
The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, ...a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories.
In this article, author and artist Meena Murugesan analyzes their creative process and research in the making of Dravidian Futurities, a multi-channel video installation with live performance. ...Methodologies of auto-ethnography, visual aesthetics, embodied movement practices, Tamil historiographies, queer futurities, caste analysis, and poetics are applied to treat the issues at hand. Dravidian Futurities draws connections between communities of South Indian and Sri Lankan Shudra and Dalit caste backgrounds, Dravidian, and Afro-Indian peoples, depending on the historical era examined. As someone of the Shudra caste, the author draws connections between agriculture, land, and earth, as being rooted in Shudra identities, and in opposition to brahminical systems. Therefore, the movement forms of somatics, improvisation, and nature-based embodiment practices are investigated as possible embodied inroads to grapple with caste within brahminized bharatanatyam. Notions of futurity and place-making are unearthed from the depths of the Indian Ocean with a hypothetical sunken landmass called Lemuria or Kumari Kandam that might have once connected South India, Sri Lanka, and Madagascar. Dravidian Futurities also dreams into existence this speculative landmass as a possible utopia we might co-build, similar to that which Dalit mystic saint Guru Ravidas imagined five hundred years ago with Begumpura (“land without sorrow”) as a casteless, stateless utopia.
Space Installation Nall, Suzanne
School Arts,
11/2020, Letnik:
120, Številka:
3
Journal Article, Trade Publication Article
An art installation involved the painting of beach balls. The installation was a joint project of the Cincinnati Public Schools district and was inspired by the sculptural installations of artist ...Yayoi Kusama.
The first multidisciplinary analysis of one of the most
impactful and popular contemporary artworks of recent
years.
In 1999, a short video of a solitary boy kicking an empty bottle
up a hill in ...Mexico City became the first instalment of
Children's Games , a series of works by artist Francis Alÿs
(b. Antwerp, 1959). The ongoing project, which now numbers around
thirty-five works, has gradually given shape to an extensive
collection of videos of children at play. For almost twenty-five
years, Alÿs and his collaborators Félix Blume, Julien Devaux, and
Rafael Ortega have been travelling around the world to document the
distinctive ways in which children interact with each other and
their physical environment. They have gone from remote villages in
the Democratic Republic of the Congo, Afghanistan, Venezuela, and
Nepal to the mountains of Switzerland and metropoles like Hong Kong
and Paris, but have also visited the war-torn city of Mosul in
Iraq, the border between Mexico and the United States, and the
strait of Gibraltar that divides Africa and Europe. The resulting
images are standing proof of the seriousness of play and of
children's stunning powers of resilience in the face of
conflict.
This volume provides a multidisciplinary perspective to the many
layers of Children's Games . It includes an interview with
Francis Alÿs and Rafael Ortega, a series of essays by well-known
scholars and art critics, curatorial statements, and a logbook
related to the presentation of Children's Games at the
Venice Biennale of 2022.
Contributors: Francis Alÿs (artist), Gerard-Jan Claes
(filmmaker, artistic director of Sabzian), Tim Ingold
(anthropologist, University of Aberdeen), Zeynep Kubat (art
historian, curator and writer), Karen Lang (art historian, Royal
Society of Arts), Rafael Ortega (artist), Rodrigo Perez de Arce
(architect, Pontificia Universidad Católica de Chile), Juan Martín
Pérez García (Network for the Rights of Children in Mexico
(REDIM)), Giulio Piovesan (journalist and photographer), John
Potter (media education, University College London), Virginia Roy
(curator at the University Museum of Contemporary Art of the
National Autonomous University of Mexico), Stéphane Symons
(professor of philosophy, KU Leuven), Hilde Teerlinck (Han Nefkens
Foundation /curator of the Belgian Pavilion at the Venice Art
Biennale 2022).
Ebook available in Open Access. This publication is GPRC-labeled
(Guaranteed Peer-Reviewed Content).
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