Relevant bibliographies by topics / Art and globalization – congresses

Academic literature on the topic 'Art and globalization – congresses'

Author: Grafiati
Published: 26 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Art and globalization – congresses.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Art and globalization – congresses"

1

Gregorić, Marina, Margareta Nađ, and Martina Gregorić. "Potential of Congress Tourism in the Republic of Croatia in Comparison to Neighboring Destinations." Acta Economica Et Turistica 2, no. 2 (December 1, 2016): 195–209. http://dx.doi.org/10.1515/aet-2016-0017.

Full text
Abstract:
AbstractThe phenomenon of globalization has led to the development of various selective forms of tourism. One of them is MICE tourism known in Croatia as a business form of tourism. Business tourism is still a relatively new concept and covers all aspects of business travel. The development of business travel has led to the development of congress tourism as a separate form of business tourism which is the focus of this paper. Congress tourism is a lucrative segment of the tourist offer that often takes place out of the tourist season. It requires quality congress facilities which can meet the needs of the participants and organizers of the congress. The main role of congress tourism is to gather participants from different countries and promote different products, services, training, education and many other fields of business while at the same time it promotes the hosting destination and its tourism attractions. The aim of this paper is to research and determine the current situation, supply and demand of the Croatian meetings and congress industry in comparison with the neighbouring destinations, the Republic of Slovenia and the Republic of Serbia. The study and comparison between three destinations imply changes that need to take place to improve the congress offer, to detect what the competitive position of the Republic of Croatia is, which marketing activities to improve so that the Republic of Croatia can become a competitive destination in the region and Europe. Congress tourism as a form of business tourism in Croatia is growing. The most prominent cities in this form of tourism are Zagreb, Dubrovnik and Opatija. The objectives pursued in Croatian congress offer are: the number of participants in congresses, strengthening the quality of congress offer and infrastructure, ensuring coordinated actions of stakeholders and increasing the recognition and awareness of Croatia as a congress destination. Since joining the EU, Slovenia has become an interesting destination for other members of the EU. Congress activity in Slovenia is booming, with a growing number of modern equipped convention venues with modern facilities for implementation of convention events. Slovenia has three major congress destinations; Ljubljana, Portorož and Bled that meet the conditions for organizing congresses. The Republic of Serbia with its tourism development strategy, presented business tourism as a potential selective form of tourism that can contribute to increasing tourist traffic of local and foreign tourists. Congress destinations that represent an ideal destination for congresses are: Belgrade, Novi Sad and Zlatibor. The application of sustainable development in the area of congress tourism plays an important role in form of preservation of resources and environmental protection. Therefore, congress tourism should be managed in a way to meet economic, social, ecological and aesthetic needs of a destination. Methodology used in this research paper consists of desk research, descriptive method, historical method, method of analysis, synthesis and comparative method. Beside secondary data analysis through literature review data are induced from Central Bureau of Statistics, the Institute for Tourism, Zagreb Tourist Board, Tourist Board of Opatija, The Dubrovnik Tourist Board, Serbian Convention Bureau and Research as well as from available published articles, books and internet data related to Slovenian business tourism. This research paper contributes to further scientific research and improvements needed in order to continuously develop and increase the size and quality of business tourism.
APA, Harvard, Vancouver, ISO, and other styles
2

Sabău, Nicolae. "„Sok szíves üdvözlettel régi barátos…”. Colegamenti di amicizia di Coriolan Petranu con storici magiari." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 107–26. http://dx.doi.org/10.24193/subbhistart.2020.06.

Full text
Abstract:
"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "
APA, Harvard, Vancouver, ISO, and other styles
3

Bolognini, Maurizio. "Globalization, art and the art system." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.

Full text
Abstract:
The author's research interests are: art, technology and democracy. On this latter subject he has published several essays and a book entitled Democrazia elettronica (Carocci, Rome, 2001). As an artist he has worked with digital technologies since the 1980s. One of his best-known works is Computer sigillati (Sealed Computers, 1992): more than 200 machines which are programmed to produce flows of random images and then left to work indefinitely, usually without monitors. His works have been exhibited widely in Europe and the USA. He has put on shows, presentations and performances in Paris, New York , Los Angeles, San Francisco, Sydney. His latest one-man shows include: Museo Laboratorio di Arte Contemporanea (Rome, 2003), WilliamsburgArt& Historical Center (New York, 2003), Museo di Arte ContemporaneaVilla Croce (Genoa, 2005). Latest books on his work: D. Scudero (ed.),Maurizio Bolognini: Installazioni, disegni, azioni (on/off line), (Lithos,2003); and S. Solimano (ed.), Maurizio Bolognini: Infinity out of Control(Neos, 2005). The text that follows was made available to the participants of the international symposion on "Globalization and Local Identity, " organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005, which the author was finally unable to attend.
APA, Harvard, Vancouver, ISO, and other styles
4

Esquivel, Patricia. "Art Narratives and Globalization." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 135–44. http://dx.doi.org/10.28937/1000106178.

Full text
Abstract:
Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.
APA, Harvard, Vancouver, ISO, and other styles
5

Sansi, Roger. "Art, anthropology, and globalization." Journal of the Royal Anthropological Institute 22, no. 1 (January 25, 2016): 204–6. http://dx.doi.org/10.1111/1467-9655.12341.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hallam, Huw. "Confronting Globalization." ARTMargins 3, no. 1 (February 2014): 87–101. http://dx.doi.org/10.1162/artm_r_00071.

Full text
Abstract:
This article reviews Pamela M. Lee's Forgetting the Art World (2012) and TJ Demos's Return to the Postcolony (2013). Reviewer examines the texts' shared concern with self-reflexive art practices that in different ways work to expose their own conditions of existence with respect to globalization. Both authors, according to the review, engage with art as a privileged medium that is capable of materializing knowledge about globalization and that thereby holds some potential to shape, mediate, or confront its trajectory. After appraising both the originality and limitations of Lee's and Demos's approaches, reviewer concludes with an outline of the core issues and challenges that globalization poses for art-historical methods.
APA, Harvard, Vancouver, ISO, and other styles
7

Browning, Barbara. "Global Dance and Globalization: Emerging Perspectives." Dance Research Journal 34, no. 2 (2002): 12–13. http://dx.doi.org/10.1017/s0149767700006811.

Full text
Abstract:
Listening to the work presented at the 2001 meeting of the Congress on Research in Dance, “Transmigratory Moves,” one could not help noticing that both established and emerging dance scholars were in the process of attempting to find a fuller and more accurate way of understanding the relationship between global political and economic forces and movement praxis. The following articles (all extended versions of work presented at the conference) exemplify different aspects of these new initiatives in our field. As Shanti Pillai points out in her piece, the term “globalization” has tended to provoke two kinds of responses: either panic over the global imposition of American corporate culture, or else celebration of cultural hybridity and the resilience of indigenous forms. Both of these responses can often present a reductive view of what are, in fact, highly complex phenomena. All three of the articles presented here attempt a more nuanced narrative of the effects of traveling choreographic and movement practices.
APA, Harvard, Vancouver, ISO, and other styles
8

Khandekar, Nisha. "GLOBALIZATION AND WARLI TRIBAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 116–21. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3718.

Full text
Abstract:
The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer- related.
APA, Harvard, Vancouver, ISO, and other styles
9

Prokopowicz, Dariusz, and Jan Rakowski. "REPORT ON THE 5TH CONGRESS OF MODERN ECONOMY ORGANIZED BY KPH OIG ON NOVEMBER 22, 2017: POSTULATED LEGISLATIVE CHANGES AND DRAFT LAWS." International Journal of Legal Studies ( IJOLS ) 2, no. 2 (December 29, 2017): 363–89. http://dx.doi.org/10.5604/01.3001.0012.2259.

Full text
Abstract:
As part of its activities, the Industrial and Commercial Congregation of the Polish Chamber of Commerce organizes periodically implemented meetings, conferences and congresses, during which debates regarding the need for systemic improvement of economic, normative, fiscal, etc. conditions are made to small and medium-sized companies in the trade sector operating in Poland. The main events integrating entrepreneurs, local government, economists, people of art and politicians organized periodically by the Industrial and Commercial Congregation of the Polish Chamber of Commerce include the Congresses of Polish Economy and the Congresses of Modern Economy. One of the last events of this type was organized by KPH OIG on November 22, 2017. The 5th Congress of Modern Economy. The issues discussed at the Congress debates continued the previous topics from the other KPH OIG congresses. Also draft laws and legislative changes were presented in the close connection with the legal regulations on the commercial business entities of the SME sector in Poland.
APA, Harvard, Vancouver, ISO, and other styles
10

Omarova, A. K., A. Zh Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 384, no. 2 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.

Full text
Abstract:
The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the reasons for the incorrect use of the category “genre” in the studies of the Kazakh kuy art were commented: in one case, it is correlated as a whole with the “kuy” phenomenon, in the other, it is used in relation to certain phenomena arising from the study of its internal distinctive nature. The “Triad of factors” – multivariance, cyclicity and locality – which formed the basis for conceptual generalizations of the famous musicologist T.B. Gafurbekov in the works revealing its system-forming nature in monodic culture is shown in conjunction with principles that reflect the genre specificity of instrumental music of the Kazakhs. The groups of macrovolume can include “Akzhelen”, “Kosbasar”, “Nauayi”, the microvolume barnch by Kurmangazy “Kisen ashkan”, “Kobіk shashkan”, “Turmeden kashkan” etc. The regional kuys with the same name by Kurmangazy, Dauletkerey, Dina “Zhiger” can be cited as an example. The situational kuys include “Kenes”, “16-zhyl” etc. As a final conclusion, the importance of considering the art of the Kazakh kuy in the system of monodic cultures and a new “clarification” of its inner nature is emphasized. From this point of view, the theoretical concept of T.B. Gafurbekov is updated as capable of forming a common scientific platform for studying the traditions of the Turkic-speaking peoples based on improvisation.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Art and globalization – congresses"

1

Bydler, Charlotte. "The global art world inc. : on the globalization of contemporary art /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4309.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Madani, Adnan. "Formations of the contemporary : Islam, globalization and art." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18894/.

Full text
Abstract:
This dissertation aims to describe a contemporary Muslim subjectivity as it is formed in response to globalization, universalism and secularism. The central theoretical focus is Jean-Luc Nancy’s deconstruction of Christianity, and its claim that secularism and globalization are connected to the internal form of monotheism. Where Nancy accords a special privilege to Christianity as the most autodeconstructive of the Abrahamic faiths, he also sees it losing its specific contours, as it becomes the naturalized form of the world through globalization. I set this thesis alongside narrative descriptions of my own experience as a cosmopolitan artist, theorist and traveller, to discover to what extent Nancy’s philosophy can satisfactorily account for a Muslim experience. Talal Asad’s examination of the complex genealogies of secularism, and his strong refusal of any necessary historical link between Christianity and modern secularism are contrasted with Nancy’s use of the term. Since both Asad and Nancy refer repeatedly if unsystematically to Wittgenstein, I show how his thinking on culture and religion informs the two very different thinkers. I proceed by examining four different histories of the idea of ‘universalism’ in contemporary philosophy: in the writings of Judith Butler on Hegel, Alain Badiou on Paul the Apostle, Akeel Bilgrami on Gandhi, and Louis Massignon on al-Hallaj. A recurrent motif within Christian universalism is Paul’s distinction between ‘circumcision of the heart’ and ‘circumcision of the flesh’, which I examine in Badiou’s philosophy and in the context of my own Muslim experience. I then examine the roots of a certain identity struggle in modern and contemporary art from Pakistan, linked to its emergence as a country founded in the name of Islam, but with the forms and traditions of 19th century European liberalism as well. Through a reading of one of my own art works as well as those of some of my contemporaries, I illustrate and expand on the nature of this conflicted identity. Finally, I suggest a rereading of Nancy that might incorporate Asad’s critique, and allows the possibility of rehabilitating ‘exoticism’ as a model of global encounter.
APA, Harvard, Vancouver, ISO, and other styles
3

Combs, Nicole E. "Postmodernism, Globalization and the Connections to Contemporary Chinese Art." Thesis, University of Oregon, 1999. http://hdl.handle.net/1794/22587.

Full text
Abstract:
149 pages
The reopening of China's economic and cultural doors in the 1970s provided the fundamental stage for development of a new art. The Chinese government focusing its efforts on economic development created policies that actually encouraged an awareness of global culture, tending to an environment conducive to artistic change. The 1980s supplied artists with an introduction to, or reintroduction to Western art theory and practice. Many artists continued to work in traditional style and technique, but others, under the influence of non-Chinese modern art, began infusing their works with a dramatically different feel inspired by the changing society. As a dialogue between global culture and China, Chinese contemporary artists are creating a discourse on the transformation taking place within their society over the past two decades. It is therefore important to look at their art as a "registering apparatus" and realize that its production stems from a reaction to the postmodern, global culture.
APA, Harvard, Vancouver, ISO, and other styles
4

Yoo, Ahyoung. "To Be Two Places at Once: Technology, Globalization and Contemporary Korean Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500618781488661.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Rapp, Karen M. ""Not the romantic west" : site-specific art, globalization, and contemporary landscapes /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hancox, Simone. "Global art in an age of global performance : complicity and critique." Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612580.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Perkins, Morgan. "Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Milton-Smith, Melissa. "A conversation on globalisation and digital art." University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.

Full text
Abstract:
Globalisation is one of the most important cultural phenomena of our times and yet, one of the least understood. In popular and critical discourse there has been a struggle to articulate its human affects. The tendency to focus upon macro accounts can leave gaps in our understanding of its micro experiences.1 1 As Jonathon Xavier Inda and Renato Rosaldo argue there is a strong pattern of thinking about globalisation 'principally in terms of very large-scale economic, political, or cultural processes'. (See: Jonathon Xavier Inda and Renato Rosaldo (Eds.), The Anthropology of Globalisation: A Reader, Malden, Blackwell Publishing, 2002, p. 5.) In this thesis, I will describe globalisation as a dynamic matrix of flows. I will argue that globalisation's spatial, temporal, and kinetic re-arrangements have particular impacts upon bodies and consciousnesses, creating contingent and often unquantifiable flows. I will introduce digital art as a unique platform of articulation: a style borne of globalisation's oeuvre, and technically well-equipped to converse with and emulate its affects. By exploring digital art through an historical lens I aim to show how it continues dialogues established by earlier art forms. I will claim that digital art has the capacity to re-centre globalisation around the individual, through sensory and experiential forms that encourage subjective and affective encounters. By approaching it in this way, I will move away from universal theorems in favour of particular accounts. Through exploring a wide array of digital artworks, I will discuss how digital art can capture fleeting experiences and individual expressions. I will closely examine its unique tools of articulation to include: immersive, interactive, haptic, and responsive technologies, and analyse the theories and ideas that they converse with. Through this iterative process, I aim to explore how digital art can both facilitate and generate new articulations of globalisation, as an experiential phenomenon.
APA, Harvard, Vancouver, ISO, and other styles
9

Koh, Bee Kim. "Coming into Intelligibility: Decolonizing Singapore Art, Practice and Curriculum in Post-colonial Globalization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397669338.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bassene, Reine. "L'art contemporain africain : enjeux et perspectives face à l'émergence du marché de l'art globalisé." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2046/document.

Full text
Abstract:
L’art contemporain africain a fait son entrée dans le système globalisé, d’abord par les manifestations artistiques, ensuite dans les maisons de vente. Depuis les années post-indépendances, une nouvelle vision de l’art contemporain africain a émergé avec l’avènement des discours postcoloniaux. Ces idées inédites ont entraîné une lecture différente de l’esthétique contemporaine africaine avec l’appui de certains commissaires d’exposition. Parallèlement, une vision de l’artiste « authentique » subsiste dans les manifestations et donne de l’artiste africain une image qui peut paraître quelques fois figée. Les artistes contemporains africains se retrouvent aujourd’hui dans une situation conflictuelle ; ils doivent soit se rapprocher des centres d’impulsion artistiques c’est-à-dire du marché de l’art occidental ou rester sur le continent africain et tenter par des initiatives diverses et variées d’intégrer un marché qui reste encore en occident. Les zones périphériques arrivent cependant peu à peu à se muter en centres d’impulsion mais restent pour le moment modestes.Avec l’avènement des nouvelles technologies, des opportunités s’offrent aux artistes des périphéries en termes d’usages mais aussi en tant que medium. Leur application pousse à la réflexion, et à une tentative de compréhension des enjeux qui se profilent pour l’art contemporain africain et des perspectives qu’il faudra entrevoir à travers le paradigme des postcoloniales studies et à travers l’avènement des technologies de l’information et des communication. Est-il possible de proposer de nouvelles approches pour promouvoir la diffusion de l’art contemporain africain à travers les dispositifs socio-techniques disponibles mais aussi à travers la gestion de l’information. ? Dans une première partie, cette thèse tente de montrer la diversité des arts de l’Afrique pour en comprendre la complexité aujourd’hui. Puis en analysant les liens qu’elle a eus avec l’occident, d’en comprendre l’histoire.Dans une seconde partie la place de l’identité de l’artiste africain mais aussi son positionnement puis les initiatives qui sont menées sur le continent permettront de mieux appréhender les enjeux et perspectives qui dans la troisième partie, permettront d’avoir un point de vue global sur ce qui régit aujourd’hui l’art contemporain africain
The contemporary African art has made its entry into the globalized system, first through artistic exhibitions then in the auction houses. Since the 1960s’ a new vision of contemporary African art has emerged with the postcolonial discourse. These ideas have led to a different reading of the contemporary African aesthetic with the support of some curators. Meanwhile, a vision of the “authentic” artist remains in many European and American exhibitions. African artist give an image that can sometimes seem fossilized The contemporary African artists today find themselves in a situation, which can be source of conflicts. They can get close to the artistic centers pulse which means the Western art market or stay on the African continent and try by different initiatives to include a market which is still outlying areas like western countriesThe other areas however gradually mutate into centers pulse but remain modest for the time being. With the advent of new technologies, opportunities exist for artists from the third world in terms of use but also as media. Their application pushes the reflection, and then attempt to understand the challenges that lies ahead for contemporary African art and perspectives that will glimpse through the paradigm of postcolonial studies and through the advent of technologies of information and communication. Is it possible to suggest new approaches to promote the dissemination of contemporary African art through socio-technical devices available but also through information management? The first part, this thesis attempts to show the diversity of the arts of Africa to understand it’s complexity today. Then by analyzing the relationship it has with the West, to understand it’s history.The second part tries to understand the identity of the African artist but also its positioning and initiatives that are carried out on the continent will better understand the challenges and opportunities.The third part will give a point of view overall which today governs contemporary African art
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Art and globalization – congresses"

1

Bhavanishanker, Shastri, and Vanasthalī Vidyāpīṭha. Dept. of Visual Arts., eds. Globalization & art. Newai, Rajasthan: Navjeewan Publication, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Comité international d'histoire de l'art and International Congress of the History of Art (32nd : 2008 : Melbourne, Vic.), eds. Crossing cultures: Conflict, migration and convergence : the proceedings of the 32nd International Congress in the History of Art. Carlton, Vic: Miegunyah Press, Melbourne University Publishing, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

International Conference on Systems Research, Informatics and Cybernetics (14th 2002 Baden-Baden, Germany). Sustainable development and global community: The art of harmonious living ... Windsor, Ont: International Institute for Advanced Studies in Systems Research and Cybernetics, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

editor, Jezierska Anna 1981, Szewczyk Aleksandra 1979 editor, and Śliwowska Anna 1972 editor, eds. Historia sztuki w dobie globalizacji: Materiały IV Środkowoeuropejskiego Forum Doktorantów Historii Sztuki, Wrocław 5-8 listopada 2009 = Art history in the age of globalization : materials of 4th Central-European Forum for Doctoral Students of Art History, Wroclaw 5-8 November 2009. Wrocław: Oficyna Wydawnicza Atut - Wrocławskie Wydawnictwo Oświatowe, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Moureau, Nathalie, and Jean-Noël Bret. L'art, l'argent et la mondialisation. Paris: L'Harmattan, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bassing-Kontopidis, Antonie, Charlotte Matter, and Filine Wagner. Into the wild: Kunst und Architektur im globalen Kontext = art and architecture in a global context. München: Edition Metzel, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Finland), Nykytaiteen museo (Helsinki, and ARS 01 Exhibition (2001 : Helsinki, Finland), eds. Unfolding perspectives: Three days of lectures and discussions at the ARS 01 Exhibition. Helsinki: KIASMA, Museum of Contemporary Art, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Seminário Internacional Arte, Crítica e Mundialização (2004 Universidade de São Paulo. Museu de Arte Contemporânea). Arte, crítica e mundialização. São Paulo: ABCA-Associação Brasileira de Críticos de Arte, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Seminário Internacional Arte, Crítica e Mundialização (2004 Universidade de São Paulo. Museu de Arte Contemporânea). Arte, crítica e mundialização. São Paulo: ABCA-Associação Brasileira de Críticos de Arte, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

kunstsenter, Henie-Onstad, ed. (Re)staging the art museum. [Høvikodden, Norway]: Henie Onstad Art Centre, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Art and globalization – congresses"

1

Lakshminarayanan, Ashwini. "Globalization and Gandhāran art." In Globalization and Transculturality from Antiquity to the Pre-Modern World, 226–44. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003096269-16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dombrowski, André. "Impressionism and Globalization." In Historical Narratives of Global Modern Art, 19–30. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003247678-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"Anti-Globalization." In Art and Politics. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755603947.ch-007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Jones, Caroline A. "Globalism/Globalization." In Art and Globalization, 129–37. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-013.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jones, Caroline A. "GLOBALISM/GLOBALIZATION." In Art and Globalization, 129–37. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp91q.15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kac, Eduardo. "11. Bio Art." In Beyond Globalization, 189–206. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813551944-012.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Tomii, Reiko. "Contemporary art, “contemporaneity,” and world art history." In Art and Globalization, 171–75. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-023.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Tomii, Reiko. "CONTEMPORARY ART, “CONTEMPORANEITY,” AND WORLD ART HISTORY." In Art and Globalization, 171–75. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp91q.25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Leitzel, Karl Eric. "Letter on globalization." In Art and Globalization, 138–39. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-014.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Araeen, Rasheed. "Letter on globalization." In Art and Globalization, 140–41. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-015.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Art and globalization – congresses"

1

Haro-Garcia, Noemí de, M. Comas-Lopez, Kajetan Piotr Hincz, Mirela Mazalu, and G. M. Sacha. "Soft Skills assessment in Art and Globalization." In TEEM'18: Sixth International Conference on Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284179.3284215.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Yanchuk, T. P. "Art and problems of globalization of culture." In PARTICULARITIES OF ART’S INFLUENCE ON PERSONALITY DEVELOPMENT. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-402-3-21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sung, Jooeun. "MAPO ART MADANG, MAPO ART TANK." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.01.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Fellahi, Nadjla. "Globalization and the Rise of Individualism in Algeria from an Architectural." In 7th International Students Science Congress. Izmir International guest Students Association, 2023. http://dx.doi.org/10.52460/issc.2023.003.

Full text
Abstract:
In an increasingly globalized world, where boundaries are blurred and connections strengthened, the field of architecture finds itself deeply influenced by this phenomenon. Algeria, like many other regions, has undergone urban and architectural transformations in recent decades, making the study of globalization's impacts on architecture a crucial endeavour. This qualitative research aims to evaluate the specific influences of globalization on the architectural landscape of Batna City in Algeria. Utilizing secondary data and observations, this study investigates the rise of individualism and detached houses in Batna City, which have witnessed notable architectural variations in recent decades. By analysing the underlying reasons behind the production of detached house samples and their connection with the rise of individualism, this research sheds light on the intersecting economic, political, and cultural forces of globalization that shape the built environment in Batna. The findings of this study reveal that globalization, along with economic and political shifts, urban expansion, and technological advancements, has contributed to the proliferation of individualism in Batna. It becomes evident that individualism is not a recent phenomenon but rather a trend that emerged shortly after independence and deepened in the post-2000s era. The manifestation of individualism is highly influenced by the forces of globalization and the media's portrayal of Western culture. This research holds significance for the field of architecture in Algeria, providing valuable insights into the impacts of globalization on architectural trends and the built environment. By understanding these influences, architects and policymakers can better navigate the challenges and opportunities presented by globalization, ensuring the continued development of culturally sensitive and contextually relevant architectural designs.
APA, Harvard, Vancouver, ISO, and other styles
5

Fellahi, Nadjla. "Globalization and the Rise of Individualism in Algeria from an Architectural." In 7th International Students Science Congress. Izmir International guest Students Association, 2023. http://dx.doi.org/10.52460/issc.2023.003.

Full text
Abstract:
In an increasingly globalized world, where boundaries are blurred and connections strengthened, the field of architecture finds itself deeply influenced by this phenomenon. Algeria, like many other regions, has undergone urban and architectural transformations in recent decades, making the study of globalization's impacts on architecture a crucial endeavour. This qualitative research aims to evaluate the specific influences of globalization on the architectural landscape of Batna City in Algeria. Utilizing secondary data and observations, this study investigates the rise of individualism and detached houses in Batna City, which have witnessed notable architectural variations in recent decades. By analysing the underlying reasons behind the production of detached house samples and their connection with the rise of individualism, this research sheds light on the intersecting economic, political, and cultural forces of globalization that shape the built environment in Batna. The findings of this study reveal that globalization, along with economic and political shifts, urban expansion, and technological advancements, has contributed to the proliferation of individualism in Batna. It becomes evident that individualism is not a recent phenomenon but rather a trend that emerged shortly after independence and deepened in the post-2000s era. The manifestation of individualism is highly influenced by the forces of globalization and the media's portrayal of Western culture. This research holds significance for the field of architecture in Algeria, providing valuable insights into the impacts of globalization on architectural trends and the built environment. By understanding these influences, architects and policymakers can better navigate the challenges and opportunities presented by globalization, ensuring the continued development of culturally sensitive and contextually relevant architectural designs.
APA, Harvard, Vancouver, ISO, and other styles
6

Guerrero Balarezo, Maria Laura, and Kayvan Karimi. "Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6069.

Full text
Abstract:
Cities face several challenges regarding public space and urban regeneration. Some of them are the depersonalization and lack of interest of citizens in their own city, privatization, gentrification, technologization and gender-insecurity. Public spaces lose their character as articulator and generator of human relations, while neighborhoods lose their role as the basic unity of community and urban identity. Nowadays, many bottom-up strategies have arisen as expressions of neighborhood’s inhabitant’s will, producing cultural diversity and civic engagement, with a placemaking effect. Urban art is one of them. Social and economic products of urban art have been studied, but the spatial manifestation and impact have been largely absent from the discourse of urban morphology. Spatial conditions are representational of social practices like art, by structuring patterns of movement, encounter and separation in the city (Cartiere &amp; Zebracki, 2016). This study aims to discover the spatial relation between urban art displays and the network of public spaces, and whether this pattern has a role in neighborhood regeneration. To identify these relations in Shoreditch, London, Space Syntax analysis and spatial clustering were used, combined with a survey of geographically located public urban art (extracted from social networks data). Also, the spatial patterns of land prices and land uses from 1995 to 2016 were examined. Research showed that various types of artwork have a strong relation with certain spatial network characteristics and visibility of locations from each other. Economic and use outcomes were also related to the development of the art pattern through the years.
APA, Harvard, Vancouver, ISO, and other styles
7

Kulikova, S. V. "The essence of sociocultural activity in the context of globalization processes." In CURRENT TRENDS IN ART AND CULTURE. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-427-6-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Utari Anggita, Hendri, Utari Anggita Shanti, Zulfi Hendri, and Akbar Andrian Syah. "Revitalizing Reyog Kendang Tulungagung in the Globalization Age." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Chegusova, Z. A. "To the problem of national and cultural identity research in the age of globalization." In CURRENT TRENDS IN ART AND CULTURE. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-427-6-12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Chang, Yujin. "SIMPLE LIFE (CHANG UCCHIN MUSEUM OF ART)." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.02.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Art and globalization – congresses"

1

Galenson, David. The Globalization of Advanced Art in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, May 2008. http://dx.doi.org/10.3386/w14005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Turns and Directions: Changes in the Arts of Central America's Spanish-Speaking Nations and Panama during and after the 1950s. Inter-American Development Bank, August 2010. http://dx.doi.org/10.18235/0005958.

Full text
Abstract:
Featuring 27 pieces from the art collections of the IDB and the Organization of American States, it is one of several smaller exhibits on Latin American art from the second half of the 20th century, and forms part of an ambitious project, ¿About Change,¿ organized by the World Bank Art Program, in association with the IDB Cultural Center and other institutions. The main exhibition, which will open in 2011, focuses on the arts produced in Latin America and the Caribbean during the last decade through the works of artists 35 years of age or younger, exploring the changes that have resulted from economic globalization and information technology. This new IDB exhibition is designed to help create a context against which the changes observed over the last ten years can be gauged.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Art and globalization – congresses' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography