Photo Essay of Ilhabela Rivers Francisco Pereira Da Silva, Laelcio Pereira Da Silva, and Helena Beutel
Open rivers,
02/2022
Issue Twenty : Winter 2022
Journal Article
We are three people who draw on research and practice to create arts-based learning, engagement materials, and interventions with and for diverse audiences. We purposefully integrate and apply ...different artistic methods in non-artistic disciplines, such as ecology and environmental conservation, physics, climate science, and human health. We came to know each other and work together through a four-year project that was awarded to the lead author and focused on rivers in a fragmented world. Our project had local and global foci on rivers, and many of the activities, including those shared in this article, were designed with and for people in the United Kingdom but with a view that the ideas could be adapted and applied in other contexts.
Towards Anamnestic Art Fret, Jarosław
Performance research,
10/02/2020, Volume:
25, Issue:
6-7
Journal Article
Peer reviewed
Jaroslaw Fret has been the director of the Grotowski Institute since 2004. Magdalena Madra works there as Project Coordinator. The Grotowski Institute is a municipal institution that combines ...artistic research projects responding to the ideas laid down by Grotowski's creative practice with documenting and spreading knowledge about his achievements. The Institute's program includes broad international cooperation with theaters, cultural centers, independent theater groups and individual professionals.
Le présent article a pour thème un rouleau de « peintures talismaniques » (hekija-e 辟邪絵) passant pour avoir été produites dans la seconde moitié du xiie siècle, sous le règne de l’empereur retiré ...Go-Shirakawa 後白河 (1127-1192, r. 1155-1158), et transmises par la collection du temple bouddhiste Renge-ō-in 蓮華王院, plus connu sous le nom de Sanjūsan-gendō 三十三間堂. Ces peintures, actuellement conservées au Musée national de Nara, sont composées des cinq sections suivantes : le Dieu du châtiment céleste (Tenkeisei 天刑星), Sendan Kendatsuba 栴檀乾闥婆 (skt. Candana Gandharva), l’Insecte divin (Shinchū 神虫), Shōki (ch. Zhong Kui 鍾馗) et Bishamonten 毘沙門天 (skt. Vaiśravaṇa). Nous nous intéresserons plus particulièrement à l’interprétation longtemps admise selon laquelle ces différentes scènes de représentations de chimères, sortes de lions ailés bienfaisants (jp. hekija, ch. bixie 辟邪, littéralement : « qui expulse le mal, talismanique ») expulsant le mal, dépeignent de bonnes divinités éliminant de mauvais démons. Nous constaterons en effet que si l’on se penche sur les origines de ces bonnes divinités dépeintes dans chaque scène, il devient alors clair que ces dernières avaient elles aussi, à l’origine, une nature terrifiante de mauvais démons. Nous démontrerons ici que le thème principal de ces rouleaux n’est pas l’« expulsion du mal », mais une représentation du monde des démons possédant à la fois un bon et un mauvais côté, et pourquoi ces œuvres d’art devraient être également appelées « rouleaux dépeignant la Voie des enfers » (jigoku-zōshi 地獄草紙).
Decentrada (Artwork) Orasi, Tashya
Canadian art teacher,
01/2023, Volume:
19, Issue:
1
Journal Article
Decentrada (decentered) is an investigation into nuances of pathways, agency, choice and complexity in the graduate student journey. For Orasi, this work reflects the vibrancy of possibilities for ...learning that exist only in moments of decentering, where paths are changed, challenges are introduced, assumptions questioned and new meanings made. By revisiting a source of destabilization in her own educational journey she used several layers of paint, texture mediums, masking and the process of neurographica as metaphors to confront entanglements in my own academic trajectory, and the wayfinding through graduate studies that has been woven into her sense of self.
The Yangdeng Art Cooperatives, with a cumulative total of more than 37 artists and students, worked each year in collaboration with local villagers in the small rural village of the same name as the ...river, Yangdeng, in a remote rural area of Tongzi County in Guizhou Province. Organized and led by Professor Jiao Xingtao, this project, over many years, was begun to “reconstruct the continuity between art and life” through an emphasis on “artistic negotiation.” As such, it constitutes a socially engaged art initiative, locating this remote rural village sited on a river as the experimental art locus for approaching an independent but profoundly collaborative working method...
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