Relevant bibliographies by topics / Alfredo Jaar

Academic literature on the topic 'Alfredo Jaar'

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Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Alfredo Jaar"

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Rondeau, James E. "1 + 1 + 1, 1987 by Alfredo Jaar." Art Institute of Chicago Museum Studies 25, no. 1 (1999): 58. http://dx.doi.org/10.2307/4112997.

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San Martín, Florencia, Rafael Melo, Caroline Alciones De Oliveira Leite, and Luiz Sérgio De Oliveira. "Temporalidade descolonial em The Kissinger Project de Alfredo Jaar." POIÉSIS 21, no. 35 (January 1, 2020): 193. http://dx.doi.org/10.22409/poiesis.v21i35.40436.

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A partir de uma análise em uma perspectiva descolonial da obra do artista chileno Alfredo Jaar, mais especificamente The Kissinger Project, Florencia San Martín revisita alguns fatos históricos relevantes para a América do Sul, entre as décadas de 1970 e 1980, quando os regimes ditatoriais militares dominavam os países da região. No processo, esses regimes contaram com a participação/intervenção estado-unidense, tendo Henry Kissinger, então secretário de Estado, como personalidade política mais proeminente na defesa dos interesses das corporações dos Estados Unidos. No entanto, como nos alerta San Martín, “o econômico, o político e o social operam em conexão um com o outro”. Neste sentido, a ditadura militar chilena tinha na “implementação do livre mercado” um fator destacado em sua agenda política. San Martín nos recorda ainda que, assim como a modernidade, também a descolonialidade é um projeto inacabado. (Resumo e palavras-chave elaborados pelos editores)
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Phillips, Patricia C., and Alfredo Jaar. "The Aesthetics of Witnessing: A Conversation with Alfredo Jaar." Art Journal 64, no. 3 (October 1, 2005): 6. http://dx.doi.org/10.2307/20068397.

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Phillips, Patricia C. "The Aesthetics of Witnessing: A Conversation with Alfredo Jaar." Art Journal 64, no. 3 (September 2005): 6–27. http://dx.doi.org/10.1080/00043249.2005.10792835.

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FERRADA SULLIVAN, JORGE ALBERTO. "VI SEMINARIO DE POÉTICAS CONTEMPORÁNEAS: LUZ, ARTE Y ACCIÓN. CONVERSACIONES CON JAAR. UNIVERSIDAD DE LOS LAGOS, DICIEMBRE 2020, PUERTO MONTT, CHILE." ARTSEDUCA, no. 31 (December 10, 2021): 299–301. http://dx.doi.org/10.6035/artseduca.6034.

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Organizado por la Universidad de Los Lagos y la Corporación Cultural de Puerto Montt, se llevó a cabo el pasado 3 de diciembre el VI Seminario de Poéticas “Luz, Arte y Acción. Conversaciones con Jaar”. En versión digital debido a la pandemia y con el artista, arquitecto, cineasta y Premio Nacional de Artes Plásticas 2013, Alfredo Jaar, como invitado especial, el encuentro estuvo a cargo del académico de ULagos, Dr. Jorge Ferrada y contó con la participación de Francisca Paris, directora de Balmaceda Arte Joven de Los Lagos.
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Couto, Maria de Fátima Morethy. "Alfredo Jaar e o desejo de inventar novos modelos de pensar o mundo: América x América Latina." ARS (São Paulo) 19, no. 42 (November 29, 2021): 590–624. http://dx.doi.org/10.11606/issn.2178-0447.ars.2021.191920.

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A partir do trabalho A Logo for America e de outros projetos de autoria do artista chileno Alfredo Jaar, este artigo visa refletir sobre os variados usos dos termos América e América Latina e suas múltiplas possibilidades de representação, enfatizando as conexões existentes entre divisões geopolíticas e interesses econômicos.
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Moriente, David. "Los dioses tienen sed: reflexión sobre Proyecto Ruanda de Alfredo Jaar." Aisthesis, no. 52 (December 2012): 221–35. http://dx.doi.org/10.4067/s0718-71812012000200011.

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Peláez, Sol. "Estudios sobre la felicidad: Alfredo Jaar y el estremecimiento del goce." Aisthesis. Revista Chilena de Investigaciones Estéticas, no. 65 (2019): 37–64. http://dx.doi.org/10.7764/aisth.65.2.

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Dremova, E. N. "The Problem of Representing Trauma and the Role of Art in Witnessing Unspeakable Experience." Art & Culture Studies, no. 3 (October 2021): 220–41. http://dx.doi.org/10.51678/2226-0072-2021-3-220-241.

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The article discusses approaches to the problem of traumatic experience and its representation, describes the discussions in trauma studies related to unpresentable and evidence, and the problems of the photographic image. The article reviews the theory of affect in connection with the analysis of the art of trauma. The author examines the meaning of dialogue and comes to the conclusion that art can become a place where it is possible to hear the voice of a wound, to share the pain of Another. The author analyzes the transitive role of art in the experience of the past on the example of conceptual artists — Doris Salcedo and Alfredo Jaar. Alfredo Jaar’s installations, which include documentary photographs, are analyzed from the point of view of the concept of punctum and correlate with the idea of affect.
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Peters, Tomás. "El concepto de ideología. Volumen 4: Postestructuralismo, postmodernismo y postmarxismo." Persona y Sociedad 25, no. 1 (April 1, 2011): 169. http://dx.doi.org/10.53689/pys.v25i1.211.

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En la reciente versión de la Bienal de Arte Contemporáneo de Liverpool, el artista chileno Alfredo Jaar presentó su más reciente trabajo: Marx Lounge. En una habitación pintada cuidadosamente de rojo, el artista puso a disposición de los visitantes una serie de archivos, publicaciones y manifiestos surgidos a partir del pensamiento político y filosófico de Karl Marx. Bajo la permanente amenaza de la crisis económica, Jaar insiste en la importancia de la interrogación crítica sobre la cultura contemporánea y el rol de la teoría política para cuestionar el sistema capitalista. Como en una sala de espera, los visitantes podían sentarse y reflexionar a partir de obras de Marx, Engels, Žižek, Rancière, Butler, Laclau, Mouffe y Jameson, entre otros, sobre el impacto y viabilidad del pensamiento marxista en el mundo contemporáneo.
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Dissertations / Theses on the topic "Alfredo Jaar"

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Kilcoyne, Janet. "A case for art as a socially engaged, politicising force, utilising the work of Alfredo Jaar." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3768/.

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My original contribution to knowledge is a framework constructed via the writings of Antonio Gramsci and Walter Benjamin for understanding what distinguishes art as a political object from art as a socially engaged, politicising force. The dominant understanding of art's reformative social agency raises two ethical problems that the thesis addresses. The first involves the artist's right to assume the authority to represent people and social conditions. The second involves an ethical aesthetic of tastefulness that engages with viewing as opposed to action. The framework I develop argues that art's functionalisms, for good or for ill, do not work with categories of art but are embedded in the politics of all cultural production. By disentangling art from the elitist paradigms enmeshed in concepts of artistic skill and art's own internal history of development, the thesis clarifies what separates art as political object from art as a socially engaged, politicising force. In the thesis, I argue for the advantages of the framework I develop via critical engagements with influential approaches such as those advocated by Clement Greenberg and Roland Barthes, artworks such as those produced by Judy Chicago and Art & Language, and theorists of art's social and political role such as those offered by Chantal Mouffe and Jacques Rancière. A key point made across the thesis is that political art is not necessarily politicising art, with the former being more interested in modifying the forms taken by art - what art is - and the latter asking how art can contribute to social and political change - what art does. Subsequently, the thesis outlines in detail the aforementioned framework inspired by Gramsci and Benjamin. This sets the scene for the second half of the thesis, which discusses the installations and interventions of Chilean artist Alfredo Jaar, whose practices are an exemplary case for illustrating the potential of the framework outlined above. As a self-professed Gramscian, Jaar works to actively participate in practical life as a constructor, organiser and 'permanent persuader' (Gramsci, 1971, p.10), through creating models for 'learning to think, for solving a problem' (Jaar, 2006, p.76). Moreover, as someone who is explicitly political in his practices, and who has been lauded worldwide for his works since the late 1970s, Jaar is a highly appropriate artist through which to highlight the challenges inherent to attempts to make the most of art's social and political potential. The chapters on Jaar consider, in turn, his Chilean works in the late 1970s and early 1980s, his photographic installations, and his explicitly political interventions. I argue that, while at times the work has embodied a politicising dynamic, more often than not the work has remained political and thus within more traditional understandings of art and of the artist. As such, the thesis offers a richer, more holistic approach to theorising art and discussing artistic practices compared to existing scholarship and criticism, and it also enables us to develop more nuanced analyses of artworks which are presented as political and potentially transformative than has hitherto been the case.
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Ferrada, Sullivan Jorge. "El cuerpo como arquitectura del sentido : (para una poética de la luz en la obra de Alfredo Jaar)." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/133800.

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Doctor en filosofía con mención en estética y teoría del arte
Esta investigación significó algo así como una puesta en común del cuerpo de la palabra, sostenido en la expresión del sentido que expone su permanente imposibilidad de cerrar la significancia del acontecimiento que lo revela. Su estado de reclamación no vendría a ser sino una suerte de distanciamiento a los sentidos originarios que provocó su aparición en el primer lector, en este caso quien reclama desde esta escritura. Agradezco que este texto se mire así mismo desde el borde, desde un horizonte que recordaría al náufrago que anhela el madero, en una estadía aparentemente sin retorno. Quizás su venida, su vuelta a la lectura, hace necesaria esta especie de “toque”, sensación justamente de rozar aquello que no cierra la posibilidad de pensarlo como un desciframiento de sus significaciones, sino volver a presentarlo como presencia del cuerpo de la escritura que se revela en mi propia sensación.
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Schwarz, Janien (Nien), and n. schwarz@ecu edu au. "Beyond Familiar Territory: Dissertation: De-centering the Centre (An analysis of visual strategies in the art of Robert Smithson, Alfredo Jaar and the Bark Petitions of Yirrkala); and Studio Report: A Sculptural Response to Mapping, Mining, and Consumption." The Australian National University. Sculpture and Art Theory, 1999. http://thesis.anu.edu.au./public/adt-ANU20010703.110608.

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Dissertation: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. The Dissertation is a comparative analysis of selected works by Robert Smithson, Alfredo Jaar, and the Bark Petitions of the Yirrkala people in North East Arnhem Land. The focus is on how these artists have endeavoured to challenge urban audiences, disrupt the perceived hierarchy between centre and periphery, and bridge gaps between urban sites of mineral consumption and overlooked sites of mineral extraction. ¶"Beyond Familiar Territory" takes the form of this Dissertation (33%), and an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which, together with the Studio report, documents the outcome of the Studio Practice Component (67%). ¶ Report: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. To decentre the self-importance and perceived inclusiveness of urban centres by bridging gaps or facilitating insight between a centre of mineral extraction and production and a centre of mineral consumption. The Dissertation entails a comparative analysis of strategies used by Robert Smithson, Alfredo Jaar, and the Yirrkala Bark Petition painters, and analyses how these artists have perceived their relationships as mediators or facilitators between mining sites (and associated activities) and urban centres of consumption. ¶ "Beyond Familiar Territory" takes the form of an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which comprises the outcome of the Studio Practice Component (67%), together with a Dissertation (33%), and the Report which documents the nature of the course of study.
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Steinebach, Mario, Katharina Thehos, Christine Häckel-Riffler, Antje Brabandt, Michael Chlebusch, Nicole Leithold, Carina Linne, and Arne Werner. "TU-Spektrum 1/2008, Magazin der Technischen Universität Chemnitz." Universitätsbibliothek Chemnitz, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200800311.

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Schwarz, Janien (Nien). "Beyond Familiar Territory: Dissertation: De-centering the Centre (An analysis of visual strategies in the art of Robert Smithson, Alfredo Jaar and the Bark Petitions of Yirrkala); and Studio Report: A Sculptural Response to Mapping, Mining, and Consumption." Phd thesis, 1999. http://hdl.handle.net/1885/49354.

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Dissertation: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. The Dissertation is a comparative analysis of selected works by Robert Smithson, Alfredo Jaar, and the Bark Petitions of the Yirrkala people in North East Arnhem Land. The focus is on how these artists have endeavoured to challenge urban audiences, disrupt the perceived hierarchy between centre and periphery, and bridge gaps between urban sites of mineral consumption and overlooked sites of mineral extraction. ¶ "Beyond Familiar Territory" takes the form of this Dissertation (33%), and an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which, together with the Studio report, documents the outcome of the Studio Practice Component (67%).¶ ...
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Cordeiro, Cordeiro Maria da Conceição Torres 1958. "O processo criativo da pintura num contexto cultural híbrido : imaginários ancestrais e criativos." Doctoral thesis, 2017. http://hdl.handle.net/10451/34115.

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The need to go deeper into the thinking about Painting has led us to the study of works which display features of differentiated cultures and pieces resulting from the career paths of artists in the global world. In a world, which has, for long been the result of contaminations, it is at the beginning of the 20th century that the outcome of travels, of cultures’ intersections, finds a strong materialization through the artistic avant-gardes, with movements like the Cubism or Dadaism. The European Ethnographic Museums, home of an endless source of identity pieces from the peoples of Africa, Oceania and the Americas, will bring about, both in the artistic field and in terms of theoretical conception, a new look at art. Along with an ethnocentric study of works external to European culture, it is with Carl Einstein that emerges an analysis focused on African sculpture and opposed to the evolutionary theory, which highlights the formal and primeval characteristics of the works. This analysis is the foundation of Carl Einstein’s approach to cubism. Considering the identification of non-western peoples with primitive people, we try to present a perspective on this concept, in order to accept primitive as a state of rupture, as a human component. Transposing the artistic avant-gardes and the concept of primitivism to Portugal, we notice that its influence was shown to be closer to art and to popular culture. With the theories of multiculturalism, interculturality and globalization we come to realize that the miscegenation of non-western peoples with European cultures will cause the proliferation of hybrid territories, identified by Homi Bhabha, Néstor García Canclini and Arjun Appadurai. Hybrid territories are fertile in artistic production, the outcome of the activity of artists who travel the global world, in a state of conflict and appeasement between their origins and the cultures that they absorb. The processes of photomontage and montage are expressed by the thought of Georges Didi-Huberman, based on Aby Warburg, for the simultaneous development of thought and knowledge by montage. This knowledge encompasses the study of Dadaist photomontage, the painting of Hannah Höch, the combine of Robert Rauschenberg and the assemblages of Allan Kaprow, within a framework of formal hybridity. With Allan Kaprow and Sigmar Polke impurity is assumed, which characterizes hybrid territories. From formal hybrid we move to conceptual hybridity with Damien Hirst, in a dual reading of his work. Antoni Muntadas, Luís Felipe Noé and Alfredo Jaar, analysed by García Canclini, dig deeper into questions of cultural hybridity, then extended to the works of Shahzia Sikander, Shirin Neshat, Ghada Amer, Shirazeh Houshiary, Arif Özakça and Barry Reigate, in a meeting with inter-spaces, with inter-times, with interstitial spaces and with spaces in between
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Books on the topic "Alfredo Jaar"

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Grynsztejn, Madeleine. Alfredo Jaar. La Jolla, Calif: La Jolla Museum of Contemporary Art, 1990.

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Alfredo, Jaar, Drake Willie Avon 1946-, Anderson Gallery, Virginia Museum of Fine Arts., and Museum of Contemporary Art (Chicago, Ill.), eds. Alfredo Jaar: Geography=war. Richmond, VA: Anderson Gallery, Virginia Commonwealth University, 1991.

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Alfredo, Jaar, ed. Alfredo Jaar: Gritos y susurros. Providencia, Santiago, Chile: Editorial Contrapunto, 2010.

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Jaar, Alfredo. Alfredo Jaar: Lament of the images. [Cambridge, Mass.?: List Visual Arts Center, Massachusetts Institute of Technology, 1999.

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Nicole, Schweizer, and Musée cantonal des beaux-arts Lausanne., eds. Alfredo Jaar: La politique des images. Zürich: JRP/Ringier, 2007.

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Jaar, Alfredo. Alfredo Jaar: Studies on happiness 1979-1981. Barcelona: ACTAR, 1999.

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1965-, De Cecco Emanuela, and Fondazione Antonio Ratti, eds. Alfredo Jaar: The aesthetics of resistance = estetica della resistenza. Barcelona: Actar, 2005.

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Jaar, Alfredo. Alfredo Jaar: The fire this time : public interventions 1979-2005. Milano: Charta, 2005.

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Jane, Jacob Mary, and Princethal Nancy, eds. Alfredo Jaar: The fire this time : public interventions 1979-2005. Milano: Charta, 2005.

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Jaar, Alfredo. Alfredo Jaar: 29 jan-27 mars, 1994, Fotografiska museet i Moderna museet. [Stockholm: Moderna Museet, 1994.

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Book chapters on the topic "Alfredo Jaar"

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González, Jennifer A. "Alfredo Jaar:." In I Stand in My Place With My Own Day Here, 213–15. Duke University Press, 2019. http://dx.doi.org/10.2307/j.ctv11smkw6.53.

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"Alfredo Jaar: Dialectic of Sight." In I Stand in My Place With My Own Day Here, 213–15. Duke University Press, 2020. http://dx.doi.org/10.1515/9781478009115-043.

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"1989: Alfredo Jaar, They Loved It So Much, the Revolution." In A Brief History of the Masses, 119–90. Columbia University Press, 2008. http://dx.doi.org/10.7312/jons14526-004.

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BRÜCKLE, WOLFGANG. "The Trouble with Atrocity Photography in Gerhard Richter, Robert Morris and Alfredo Jaar, or, Art on the Brink of Failure." In Pictorial Cultures and Political Iconographies, edited by Udo J. Hebel and Christoph Wagner. Berlin, New York: DE GRUYTER, 2011. http://dx.doi.org/10.1515/9783110237863.355.

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Marchart, Oliver. "Für eine neue Heteronomieästhetik Überlegungen zu Kunst, Politik und Stadtraum im Anschluss an Jacques Rancière, Dan Graham, Alfredo Jaar und Colectivo Situaciones." In Vom Publicum, edited by Dietmar Kammerer. Bielefeld: transcript Verlag, 2012. http://dx.doi.org/10.14361/transcript.9783839416730.161.

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Conference papers on the topic "Alfredo Jaar"

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Maddonni, Alejandra Viviana. "Formas del tiempo y la memoria en el arte contemporáneo latinoamericano." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5875.

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A lo largo de la historia del arte, el espacio y el tiempo se han abordado como categorías separadas. En efecto, la concepción moderna definió al tiempo como el ámbito donde las cosas suceden y al espacio donde las cosas están. En este esquema, el tiempo es progresivo, posible de medir en términos de sucesos que se presentan con un patrón homogéneo. El proyecto de la modernidad, en su implacable búsqueda de certezas, ha necesitado de esta escisión y otras -como la separación forma – contenido- , a fin de borrar toda incertidumbre e inestabilidad. De este modo algunas categorías de análisis han quedado fuera de la mirada moderna, aún hasta nuestros días. El cuerpo, lo monstruoso, el misterio, el tiempo detenido, la intensidad, la experiencia, lo complejo, lo múltiple, lo suspendido, lo no lineal y lo sugerido son sólo algunas de las dimensiones con las que la contemporaneidad teje la trama de sus obras. El arte contemporáneo reconfigura la temporalidad. El tiempo y el espacio unidos se construyen con la obra, son la obra. Permite nuevos modos de percepción y nos ofrece otro modo de ver el mundo a través de operaciones cognitivas complejas. A través del análisis crítico de un conjunto de artistas latinoamericanos, este texto intenta generar un entramado de vínculos y tensiones entre sus producciones visuales, sus poéticas y los modos contemporáneos del tiempo, la materialidad y el contexto. Los artistas seleccionados Ana Mendieta (Cuba), Graciela Sacco (Argentina), Lucy Argueta (Honduras), Jorge Macchi (Argentina), Alfredo Jaar (Chile) y Regina Galindo (Guatemala) han trabajado en buena parte de su producción con el cuerpo. Presente o ausente. Único o múltiple. Como tema, soporte, forma y contenido. Como posicionamiento cultural, social y político. Como devenir temporal, memoria y territorio en disputa permanente.http://dx.doi.org/10.4995/ANIAV.2017.5875
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González-García, Ricardo. "‘Arte agonista’ como dispositivo transformador del hegemónico orden simbólico." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10512.

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Siguiendo las premisas de Chantal Mouffe, se plantea aquí la posibilidad de un arte crítico –denominado “agonista”–, que pueda ser útil para visibilizar los problemas sociales y concienciar a la población de estar en su derecho de ejercer una razón pública o democracia radical. Dentro de las patologías hiperexpresivas que acarrea el orden simbólico hegemónico que impone el sistema capitalista, el malestar que ante ello pueda haber en la cultura y sus espacios de representación, nos conduce a reflexionar sobre cómo este tipo de arte puede distinguirse de lo que Franco Berardi denomina como “ruido blanco”, para que su mensaje pueda ser recibido por el espectador. Si se analiza cómo funciona este “esquizofrénico” sistema de excesivos flujos semióticos, para muchos de los cuales no tenemos capacidad de interpretación, podemos comprobar que guarda una contradicción intrínseca que, según Deleuze, se halla íntimamente unida al psicoanálisis, lo cual establece una conjunción entre producción “deseante” y producción de enunciados como mecánica que acaba activando los flujos económicos que lo sostienen. Esta circunstancia de sobrecarga infocrática en la que el sistema basa su poder, afecta también a la producción cultural, sus códigos o los mensajes que lanza, extendiendo una red soportada en la mercantilización que también repercute en lo institucional o viceversa. Saber en qué medida somos cómplices de esta situación es un primer paso para luego distinguir cómo cierto tipo de arte escapa de esa red y, a través de lo emocional ya como única fisura por la que “colarse”, llega al espectador con otro tipo de consignas que puedan llegar a hacer que se conciencie de situaciones de desigualdad provocadas por el mismo sistema. Hacer hincapié en esta posibilidad es volver a la idea de “intelectualidad orgánica”, desarrollada por Gramsci, para aplicarla al territorio del arte y hacer ver cómo este espacio de representación es uno de los pocos que aún posee capacidad para vincularse orgánicamente con la comunidad y transformar el hegemónico orden simbólico impuesto por el sistema neoliberal, en función de devolver al pueblo su autonomía y poder de decisión sobre las cuestiones sociales que lo conciernen. Según esta razón, existe toda una línea artística, de Joseph Beuys a Alfredo Jaar por ejemplo, comprometida con este tipo de concienciación; practicas artísticas que, en su conjunto, se adecúan a la idea de este “arte agonista” que aquí se explica.
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