This paper identifies an aesthetic of deformation in contemporary porcelain sculptures by Hong Kong-born, New York-based artist Sin-ying Ho. A selection of these are discussed with reference to three ...historic case-studies in ceramic deformity: wares that have been malformed when fired due to negligence, lack of vigilance, or misfortune; wares that have transformed in the kiln due to allegedly mysterious powers; and the eighteenth-century fashion for chinoiserie as a style of the monstrous, deformed and obscene. With reference to these case-studies, it is argued that Sin-ying Ho’s ceramic sculptures represent deformity as something to be celebrated, endorsing an emancipatory narrative of diversity and open-minded tolerance.
Artykuł przedstawia postać niepełnosprawnego Hamleta jako punkt wyjścia do rozważań na temat ograniczonego dostępu osób o nietypowych ciałach do profesji aktorskiej. Przyjmując perspektywę ...współczesnych kulturowych studiów o niepełnosprawności, analizuje, w jaki sposób artyści z Wielkiej Brytanii i Stanów Zjednoczonych kwestionują zasadność tego rodzaju wykluczenia oraz krytykują popularną strategię obsadzania ról niepełnosprawnych postaci przez aktorów bez niepełnosprawności. Odwołując się do stosunkowo niedawnych wypowiedzi polskich praktyków teatru i filmu, autorka przygląda się również zaczątkom nowego podejścia do aktorów i aktorek niewpisujących się w cielesną „normę”, które po woli zaczyna rozwijać się na polskim gruncie.
The paper will refer only to one of period of Hallstatt, Middle Hallstatt, an important period of the first Iron Age – that form with Late Hallstatt a unity called by historian the protohistory of ...the Dacians – bringing important transformations recorded in the human beings’ habitat. The settlements and buildings of the entire Bronze Age reflect the continuation of migrations, though limited, by their sedentarization, but also the fortification of some settlements which became real centres of unions of tribes. The characteristic to the mentioned period is continuity (and then the ending) of the process of unification of the Thracian tribes, a process began in Early Hallstatt. The collision of tribes needed the amplification of settlements, but also of the fortifications and also, step by step, the extending of the Greek urbanism implemented in today’s Dobrogea by the Greeks who started colonies here, the Scythian-Greek incluences are to be found in the Late Hallstatt and in other areas on the nowadays territory of our country. The specificity of settlements and buildings of the cultures from the beginning of Hallstatt on the territory of our country will be studied in their evolution towards the next phase – of the second period of the Iron Age: Latène.
El siguiente trabajo propone pensar la relación entre la experiencia vital/mortal que implica un conflicto bélico y una visualidad propia de la guerra. Para eso se trabaja con una manera particular ...de vincularse con el campo de lo visible: la técnica del montaje. Es a partir de ésta última que podemos pensar a las imágenes que se abordarán en el presente artículo como una colisión de tiempos heterogéneos. Pensar la experiencia de la guerra es pensar una experiencia del desorden, por lo tanto el campo visual que la instituye y que a la vez ésta ayuda a configurar no puede ser lineal sino fragmentado, ensamblado, estallado. Esto no ocurre en una guerra en particular sino en la experiencia bélica per se. En nuestra cultura visual contemporánea sin embargo encontramos un tipo de imagen que fue utilizada para pensar estos conflictos y contestarlos: el meme, que aquí será puesto en diálogo con otras imágenes aparentemente inconexas pero que forman parte de la genealogía de estas imágenes pobres (H Steyerl) que circulan por las redes sociales y se vuelven virales. Es decir, se abordarán grabados del siglo XIX de Francisco de Goya, los montajes brechtianos de la Segunda Guerra Mundial y los memes que circularon durante el conflicto armado en Siria en el cual intervinieron los Estados Unidos, para pensar no sólo el montaje como forma de conocer sino también como parte de una cultura visual de la guerra que nos permite entender que nuestras imágenes están cargadas de tiempo y en esa genealogía y temporalidad compleja además ganan potencia.
Contemporary psychologist Didier Anzieu249 speaks of five phases of the process of creation: creative emotion, gaining consciousness, transposition, elaboration, and exposure. Each of the five phases ...has a correspondent in the stages of development of visual-plastic educational activities, and the role of the teacher is essential in each of them. Starting from the five phases, we propose an approach pattern to the creative process, adapted and developed during the years of experience in pre-university educational environment, and refined throughout the research activity carried out in the university environment.
The Colour of History Szerszeń, Tomasz
Widok. Teorie i Praktyki Kultury Wizualnej,
2019
24
Journal Article
Recenzirano
Odprti dostop
Does History has its own colour? And what about the colour of disaster? Where does it meet with reflection on photography? This essay combines considerations on the use of colours in Boris ...Mikhailov’s photography and their historiosophical role in reflection on the decline of the Soviet Union and the years of transformation, with the question about “Chernobyl effect” in Soviet and post-Soviet society, especially in the context of political visibility / invisibility of radiation.
Various art definitions are encountered from past to present. Apart from that, there are also opinions that question the categorization of art history. One of these is the abstraction and ...identification thesis of Wilhelm Worringer, who puts all art creation under two concepts. One of the two concepts is the indoctrination of 'abstraction', which Theodor Lipps put forward, in which all the works in art history are united in one affect, and the other is based on all the concepts of anti-naturalistic, abstract tendency. The other is the abstraction impulse on which all abstract tendencies of art are based. Empathy is an artistic orientation towards imitation of nature created by a perception of peace in harmony with nature. And, as Theodor Lipps argues, all art history is not gather under the concept of a single empathy. Abstraction is the expression of " thing-in-itself " in primitive and civilized communities. Woringer accepts the art of primitive and eastern nations as the first abstract art. Thus, with this thesis, he has changed both the beginning and the grouping of art history. However, there are no pre-Turks in the civilizations that Woringer regarded as Eastern peoples. This attract notice as a major shortcoming. However, the pre-Turks, who were a nomadic Central Asian civilization, had their existence as one of the first Eastern civilizations, whether by archaeological findings or by the records of Chinese civilization.
