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Toscano, Anna. "Scrittura e pittura come solchi". Balthazar, n.º 4 (13 de septiembre de 2022): 146–50. http://dx.doi.org/10.54103/balthazar/18513.
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La produzione artistica di Etel Adnan nel suo insieme, scrittura e pittura, è un santuario della memoria legato a paesi, lingua, culture, società diversissime. Le vite vissute da Adnan, donna e artista attivista e femminista, ruotano intorno all’esperienza di differenti luoghi e idiomi e creano un’arte legata a un corpo a corpo con la vita.
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Martin, Nadia. "Retratos cultivados". Index, revista de arte contemporáneo, n.º 10 (31 de diciembre de 2020): 126–42. http://dx.doi.org/10.26807/cav.vi10.382.
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El trabajo aborda la serie Retratos (2010-actualidad) que Luciana Paoletti realiza mediante el cultivo de los microorganismos capturados en los cuerpos de seres queridos, siguiendo el programa de "hacer visible lo invisible". Se analizan los desvíos que la artista realiza tanto de la disciplina científica como del concepto de bioarte. Se reflexiona, también, acerca de las tensiones que la serie entabla con la tradición moderna del retrato, a la que comenta. La pregunta central, es qué tipo de potencia referencial detentan estas imágenes respecto del "modelo vivo" representado. Mediante el concepto de simpoiesis aportado por Donna Haraway, se analiza la ruptura que esta artista realiza respecto la escala visual humana. Se concluye que, lejos de una relación de semejanza con el cuerpo al que refieren, entablan una relación metonímica, basada en el contacto y en el devenir-con. El cuerpo se muestra, así como territorio de una vida microbiológica a descubrir.
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Bergamaschi, Alessandra. "Do espaço cibernético à Guerra do Canaimés: imagens que ganham vida e a arte como armadilha". ARS (São Paulo) 19, n.º 43 (30 de diciembre de 2021): 68–115. http://dx.doi.org/10.11606/issn.2178-0447.ars.2021.190679.
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O artigo introduz algumas reflexões sobre os efeitos das interações cotidianas no ambiente cibernético, intensificadas durante a pandemia. Um deles é que a mediação constante da tecnologia na geração e arquivo de nossas memórias esteja diluindo as demarcações fixas entre seres humanos e máquinas. Propomos então um percurso especulativo através de teorias recentes, no campo da estética e da antropologia, que procuram dar conta dessas hibridizações, repensando radicalmente os dualismos centrais para o nosso pensamento (natureza e cultura, humano e não humano, masculino e feminino, o eu e o outro). Ao longo do artigo, serão abordados objetos díspares, como as perspectivas parciais da filósofa Donna Haraway e as armadilhas poéticas de Jaider Esbell, artista, ativista e escritor.
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Jiménez Carmona, Susana. "Historias fuera de rango: escuchas tramadas en la era de las extinciones (sobre Jana Winderen)". Boletín de Arte, n.º 40 (27 de noviembre de 2019): 159–66. http://dx.doi.org/10.24310/bolarte.2019.v0i40.5669.
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Este artículo se acerca a la práctica y el trabajo de Jana Winderen para reflexionar sobre el arte que implica a seres vivos no humanos como protagonistas. Esta artista ha centrado su trabajo principalmente en seres vivos a los que estamos sordos, sintiendo una predilección especial por las pequeñas criaturas marinas cuyas vidas se ven profundamente afectadas por la acción de los seres humanos. En diálogo con Ursula Le Guin, Donna Haraway, Thom van Dooren, Vinciane Despret y Rosi Braidotti, nos preguntamos si es posible acercarnos a estos otros seres vivos y sus mundosde maneras no predominantemente antropocéntricas y qué papel pueden pueden desempeñar las prácticas artísticastentando resistencias y posibilidades que hagan este mundo habitable para los seres humanos y no humanos.
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Víñez Sánchez, Antonia y Inmaculada Concepción Víñez Daza. "LA ‘DONNA ANGELICATA’ O LA DESHUMANIZACIÓN DE LA MUJER: APROXIMACIÓN AL CONCEPTO DE MUSA EN EL DOLCE STIL NOVO". RAUDEM. Revista de Estudios de las Mujeres 9 (21 de diciembre de 2021): 162–75. http://dx.doi.org/10.25115/raudem.v9i1.5528.
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En los albores del Humanismo, ya desde el “otoño de la Edad Media”, se diseña un concepto de musa cuya lectura es fuente de perfección, símbolo de belleza suprema e inalcanzable para el artista y causa de su sufrimiento constante. La imagen exterior se corresponde con un ideal de mujer espiritualizada al extremo, paradójicamente víctima de una divinización que la aparta definitivamente de cualquier dimensión humana. Este trabajo reflexiona sobre los inconvenientes de ser “musa” en la transición de la Baja Edad Media al Renacimiento, centrándose en el corpus de la escuela poética del Dolce Stil Novo.
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Souza, Humberto Da Cunha Alves de, Michel Alves Ferreira y Luiz Ernesto Merkle. ""We're all born naked and the rest is drag": técnicas e tecnologias da performance drag queen". Cadernos de Gênero e Tecnologia 15, n.º 46 (30 de diciembre de 2022): 19. http://dx.doi.org/10.3895/cgt.v15n46.13687.
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Este artigo descreve algumas das técnicas da performance drag queen. Ao montar-se, expressão que dá nome ao processo de transformação da expressão de gênero do corpo, o/a artista emprega diversos conhecimentos técnicos que tornam possível a ilusão de um gênero e revelam, a uma só vez, a produção/contingência performativa e tecnológica do próprio gênero. Nos utilizamos de uma metodologia descritiva das técnicas observadas em duas oficinas de maquiagem, combinada com alguns relatos/exemplos históricos de artistas que exerceram a arte drag e, por fim, de tutoriais mais visualizados no Youtube. O objetivo deste trabalho é descrever as técnicas da performance drag queen e, ao explorar este tema, argumentar que tais técnicas também são produtoras de um conhecimento que pode contribuir para uma abordagem mais crítica sobre as técnicas e tecnologias, em que a arte ou performance drag seja, ela própria, compreendida enquanto uma tecnologia de si/de gênero. Não se trata, absolutamente, de dar a estes conhecimentos status científico – como se esta integração fosse necessária para reconhecer estas práticas enquanto conhecimento e saber técnico e tecnológico, ou para fazer justiça social com tais performances, violentamente colocadas à margem da racionalidade e racialidade heteronormativas. O referencial teórico é a teoria da performatividade de gênero de Judith Butler, a noção de tecnologias de si de Michel Foucault, de tecnologias de gênero de Teresa de Lauretis e o mito do ciborgue de Donna Haraway.
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Almeida de Mello, Júlia. "Mediações poéticas sobre o corpo gordo de Elisa Queiroz e Fernanda Magalhães". ouvirOUver 13, n.º 1 (25 de mayo de 2017): 256. http://dx.doi.org/10.14393/ouv20-v13n1a2017-19.
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O presente artigo traz uma interseção entre o projeto poético das artistas brasileiras Elisa Queiroz e Fernanda Magalhães. Ambas possuem produções autorreferenciais que permitem reflexões acerca da corpulência. As artistas provocam os espectadores através de trabalhos feitos em diferentes suportes e superfícies e parecem tensionar as normas e padrões estéticos vigentes na sociedade contemporânea. Para a leitura dos projetos, são considerados os escritos de autores como Donna Haraway (2009), Chantal Mouffe (2007), Whitney Chadwick (2001) e André Rouillé (2005), que tratam de gênero, política e práticas artísticas como política. Os resultados revelam a possibilidade em realizar uma conversa entre as obras das artistas, partindo dos seus corpos para alinhavar discursos concernentes a identidade, gênero e poder.
ABSTRACT
This article provides an intersection between the poetic project from Brazilian artists Elisa Queiroz and Fernanda Magalhães. Both have self-referential productions that allow reflections about corpulence and seem to tighten standards and aesthetic standards prevailing in contemporary society. For the reading of the projects are considered the writings of authors such as Donna Haraway (2009), Chantal Mouffe (2007), Whitney Chadwick (2001) and Andre Rouillé (2005), dealing with gender, political and artistic practices as politics. The results reveal the possibility to hold a conversation between the artists works starting from their bodies to tack speeches concerning identity, gender and power.
KEYWORDS
Art, Elisa Queiroz, Fernanda Magalhães, body, gender.
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Ngongkum, Eunice. "Urban orature and resistance: The case of Donny Elwood". Tydskrif vir Letterkunde 54, n.º 2 (4 de septiembre de 2017): 61–73. http://dx.doi.org/10.17159/2309-9070/tvl.v.54i2.1229.
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From their very origins, contemporary African artistic creations have been works of resistance. Born from the struggle against colonialism, these works continued in this trajectory when independence failed to deliver on the aspiration of the masses. Today's artists follow in the footsteps of their predecessors; resisting all forms of social injustice, economic inequality and political oppression that bedevil the post-independence arena. Using resistance aesthetics as critical tool of analysis, this paper seeks to examine the concept of resistance in the music of Donny Elwood. It aims at showing that urban orature, to which category Elwood's music belongs, is one of those sites in the postcolonial context where the struggle for liberation from all forms of oppression is continuously waged. The paper argues that, with its emphasis on sense and rhythm, and not dance, Elwood's music effectively communicates the artist's protest against socio-political contradictions in the postcolonial space while sensitizing the masses on the need for change. The discursive perspectives in his art reside in the interface between social interactions in the urban milieu and urban orature (witnessed in the blend of musical varieties, instruments and message). These effectively register his social commitment as an urban artist.
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Marugán Ricart, Paola María. "El deseo de multiplicar la narrativa única del semiárido brasileño: una metodología del acompañamiento como práctica colectiva, feminista y descolonial". Pacha. Revista de Estudios Contemporáneos del Sur Global 3, n.º 9 (30 de noviembre de 2022): e210143. http://dx.doi.org/10.46652/pacha.v3i9.143.
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Este artículo está dedicado al análisis del proceso creativo de TERRANE, que la artista Ana Lira desarrolla en diálogo con Dona Lourdes da Silva, Dona Luzia Simões y Cláudia Oliveira, mujeres pedreiras (obreras) del Sertão do Pajeú, estado de Pernambuco, Nordeste, Brasil. Me propongo examinar la metodología del proceso de creación, así como la elaboración de uno de los libros de artista; con ello busco comprender de qué maneras la artista y las pedreiras, en su hacer poético-político colectivo, interpelan los imperativos del canon moderno-colonial del arte y producen una epistemología y una ética situadas en las condiciones múltiples de ese territorio. El análisis de este texto se ubica en la encrucijada de los estudios culturales y los feminismos descoloniales como un (no)campo de posibilidades teórico-creativas.
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Guimarães, Mariana De Souza. "Casas Invisíveis". Revista Concinnitas 21, n.º 39 (17 de diciembre de 2020): 254–65. http://dx.doi.org/10.12957/concinnitas.2020.50289.
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Esse ensaio visual tem como objetivo apresentar um recorte da produção da artista que desenvolve suas pesquisas plásticas e teóricas em artes visuais a partir da investigação do espaço doméstico como espaço de reinvenção e criação de novos mundos em tensionamento com a sustentação do desejo de criação na mulher artista, pesquisadora, mãe, dona de casa.
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Saez, Jean-Pierre. "Les artistes et le politique : nouvelle donne ?" L'Observatoire N° 38, n.º 1 (2011): 1. http://dx.doi.org/10.3917/lobs.038.0001.
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Poriss, Hilary. "Heroic Artists, Critical Abuse, and the Death of Maria Malibran". Journal of Musicology 40, n.º 1 (1 de enero de 2023): 103–30. http://dx.doi.org/10.1525/jm.2023.40.1.103.
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Maria Malibran (1808–36), the most famous opera star of her day, suffered a violent, protracted, and gory death. Although the story of her final days has been told time and again, this article offers a new reading, focusing on the abuse that she sustained as a child at the hands of her father, Manuel Garcia, and the subsequent trauma that followed her for the rest of her life. This rereading of Malibran’s death draws on the growing body of scholarship dedicated to understanding the daily life and contributions of performers, especially prima donnas. In reevaluating some of the key moments of her development as an artist and person, I nevertheless take a largely biographical approach, adding elements to her story while casting new light on other established narratives. In so doing, my aim is not only to correct long-standing assumptions surrounding the causes of her illnesses and death but also to illustrate that many of the pressures Malibran faced throughout her career reveal a set of burdens shared by many other prima donnas as well as some leading men. By exploring how Malibran responded to these pressures, I expand the picture of the conditions in which nineteenth-century prima donnas were trained and worked, and suggest that their heroism can be taken at face value, without the guise of mythical Romanticism.
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Kozii, Olha. "STUDYING THE ARTISTIC DETAIL (based on Donna Tartt’s novel «The Goldfinch»)". Academic Notes Series Pedagogical Science 1, n.º 192 (marzo de 2021): 80–84. http://dx.doi.org/10.36550/2415-7988-2021-1-192-80-84.
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«The Goldfinch» is a story of a boy and later an adult male Theodore Decker who accidentally obtains a masterpiece. The writer, as a surgeon, separates one second of expectation from the other, detail from detail. The reader is presented not just a frightened child but deep sorrow of the loss of the whole world. In the second chapter of the first part D. Tartt reveals herself as a skillful psychologist, skillfully accustoms herself to the inner state of the main character, with him she travels through the memories, tracks associative relationships he makes. The writer brilliantly follows all defense mechanisms of a man who is faced with the inevitability. The author uses gradation way of describing while stringing visual and auditory details, retards artistic time. The writing of D. Tartt is characterized by the unique skill in the detail describing. The role of artistic detail in the process of inner state depicting is investigated. The author touches upon the problem of the depicting of critical situation in the novel. The attention is paid to the writer’s skills in showing main character’s feelings, memoirs, thoughts, associative relations and human nocifensor in critical situations. It is admitted that in case of such temporal and space detail the most suitable way of analysis is «in succession to the author». Thus, in the novel The Goldfinch D.Tartt declares herself a talented master of words, subtle psychologist and philosopher. As a surgeon, the writer separates one second of expectation from the other, detail from detail. Therefore, the reader can observe not just a frightened child but deep sorrow of the loss of the whole world. This is achieved by the skillful combination of visual and auditory details that create convex emotionally saturated images filled with heartbeat of life. The author dowers the main character – both a teenager and an adult man – with the ability to see deep philosophical maxims in small details, to decipher the message from the artist, to understand the dialectical interpenetration of life and death. Because of such careful author's treatment to the artistic time and space the most appropriate way to study seems to be the analysis «in succession to the author».
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Goldstein, Tara. "The Bridge: The Political Possibilities of Intergenerational Verbatim Theater". Qualitative Inquiry 26, n.º 7 (15 de abril de 2019): 833–39. http://dx.doi.org/10.1177/1077800419843947.
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This article introduces the reader to the work of Australian verbatim theater artists Donna Jackson, Bindi Cole Chocka, and James Henry. It describes the artists’ remount of Vicki Reynolds’s verbatim play The Bridge, which tells the story of the collapse of the Melbourne West Gate Bridge in 1970. I discuss the remount of the play as an intergenerational verbatim theater project which not only tells an important story from Australian working-class history to new audiences who haven’t heard it before, but also deepens the story through additional research and music. I also discuss the play as a project that uses political truths from the past to do new political work in the present.
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Santos, Fernanda Mara Ferreira y Victor Hugo Neves de Oliveira. "AFROCENTRICIDADE NA OBRA TEATRAL “DONA MARIA DO DOCE”: ensino de arte e perspectivas antirracistas". CAOS – Revista Eletrônica de Ciências Sociais 1, n.º 26 (12 de junio de 2021): 71–89. http://dx.doi.org/10.46906/caos.n26.57855.p71-89.
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Este artigo busca compartilhar o processo de sistematização da obra teatral “Dona Maria do Doce” por meio da perspectiva afrocentrada. O espetáculo consiste em trabalho autoral relevante para minha trajetória estudantil e profissional. Utilizo a pesquisa bibliográfica apoiando-me na epistemologia de intelectuais negras(os). A fim de contribuir para os estudos em artes cênicas, apresento a obra “Dona Maria do Doce” como resultado de um processo criativo emancipatório, transformador em arte e educação, levando em consideração minhas vivências enquanto artista, estudante/educadora e mulher negra.
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Душкова, Мира. "Най-хубавият вкус е да живееш и твориш в родината. Писма на художничката Бронка Гюрова-Алшех до Донка и Константин Константинови". Poznańskie Studia Slawistyczne, n.º 19 (23 de febrero de 2021): 191–209. http://dx.doi.org/10.14746/pss.2020.19.9.
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The current article presents five letters from the Bulgarian artist Bronka Gyurova-Alcheh written in the period 1959–1968, addressed to the writer Konstantin Konstantinov and his sister – the artist Donka Konstantinova. The letters were found in the personal archive of Konstantinov, and bring to light interesting facts of the life in Buenos Aires of Bronka Gyurova, who emigrated from Bulgaria in 1951.
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Bernard, Catherine. "Out of Bounds: Confronting War Crimes and the Breakdown of Justice with Contemporary Art". Synthesis: an Anglophone Journal of Comparative Literary Studies, n.º 13 (19 de julio de 2021): 52. http://dx.doi.org/10.12681/syn.27561.
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Recent art has turned to judiciary and extra-judiciary practices, specifically in the context of international conflicts, in order to assert art’s political accountability and relevance to our capacity to historicise the present. The war in Iraq inspired works that directly address issues of representation and remediation, such as Marc Quinn’s Mirage (2008), in which the aesthetic experience opens onto an ambiguous experience of the breakdown of justice. Other works have chosen to turn carceral space itself into the site of a collective remembering that harnesses affect to a critical reflection on the administration of justice, on assent and dissent. This article will turn to key works by Marc Quinn and Trevor Paglen that confront extra-judiciary malpractices, but also to recent collective art projects involving an interdisciplinary take on the experience of imprisonment, such as Inside. Artists and Writers in Reading Prison (2016), in which artists of all backgrounds responded to Oscar Wilde’s De Profundis on the very premises of Wilde’s incarceration, as well as the work of 2019 Turner Prize co-recipient: Jordanian sound artist Lawrence Abu Hamdan whose recent works rely on testimonies from Syrian detainees and probe the political pragmatics of aural art. All these works have turned to the document—literary, visual, aural—to reflect on the process of experiential mediation. How does the experience of imprisonment, or extra-judiciary malpractices, come to the spectator? How are they read, heard, interpreted, remediated? The article ponders the remediation and displacement of aesthetic experience itself and the “response-ability”—following Donna Haraway’s coinage—of such a repoliticised embodied experience. It will assess the way by which such interdisciplinary works rethink the poetics of the documentary for an embodied intellection of justice—and injustice—in the present.
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Gollifer, Sue. "ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art: Donna J. Cox". Leonardo 52, n.º 4 (agosto de 2019): 342–44. http://dx.doi.org/10.1162/leon_a_01774.
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Horowitz, Risa. "Introduction: As if from nowhere… artists’ thoughts about research-creation". RACAR : Revue d'art canadienne 39, n.º 1 (14 de agosto de 2014): 25–27. http://dx.doi.org/10.7202/1026194ar.
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Cette section inaugurale de Pratiques met en valeur, du point de vue de la pratique et de la recherche-création, la réflexion des artistes quant à leurs processus de travail et leurs oeuvres. S’il est clair que les artistes travaillant dans les universités font face à des défis particuliers, liés aux demandes croissantes de la part des institutions universitaires d’articuler leurs cadres méthodologiques et l’application de ceux-ci dans leur travail, ils jouissent également de la possibilité d’approcher, de partager et de présenter d’innombrables manières le fruit de leurs investigations créatives réalisées dans le contexte de la recherche-création. Les contributeurs à cette section – Marlene MacCallum, David Morrish, Christof Migone, Donna Szoke, Barbara Meneley et Risa Horowitz – s’expriment ici sur leurs recherches et sur les approches méthodologiques qu’ils privilégient. Ils révèlent et articulent l’éventail de leurs démarches, ainsi que les diverses façons dont ils conçoivent les méthodes, les pratiques et les modes de dissémination, de documentation et d’exposition dont disposent les artistes pour la recherche-création.
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Tromble, Meredith. "Very Complex Matter: Collaborations in Art and Geobiology". Artnodes, n.º 20 (15 de diciembre de 2017): 67–75. http://dx.doi.org/10.7238/a.v0i20.3146.
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Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions to the Mars Curiosity science team, and for co-founding KeckCAVES at the University of California Davis, has also spent the past decade working in collaboration with artists. This paper addresses the relevance of these art/science collaborations to her scientific practice through an analysis of four of her projects: Collapse (suddenly falling down) with Sideshow Physical Theater; Dream Vortex with Meredith Tromble; Life Extreme with Philip Alden Benn; and The Vortex with Donna Sternberg and Meredith Tromble. The experiences gained by Sumner and her collaborators show that there are many different ways in which artists and scientists can learn from each other. Echoing throughout the collaborations is the realisation that turning ideas into form yields a result that can stimulate the next cycle of creativity.
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Galeano Rosa, Rodnie Gabriel. "La fotografía como medio dinamizador de las prácticas artísticas contemporáneas en Centroamérica." Fedro, revista de estética y teoría de las artes, n.º 21 (2021): 38–60. http://dx.doi.org/10.12795/fedro/2021.i21.03.
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El presente artículo contiene un conjunto de reflexiones que se encaminan a explorar e indagar algunos de los aportes estéticos y artísticos de la producción fotográfica a la práctica artística contemporánea de la región centroamericana. La fotografía como género artístico ha sido escasamente empleada por los artistas contemporáneos centroamericanos, sin embargo, la producción fotográfica de Luis González Palma, Victoria Cabezas, Cinthya Soto y Donna Conlon ha sido tan relevante y fundamental que ha logrado alterar y dinamizar el aparato productivo del arte en Centroamérica. Por tanto, demostrar la incidencia en el campo de la estética y del arte de los aportes del trabajo fotográfico de estos artistas es parte de los propósitos de este artículo. Finalmente, el artículo intenta advertir sobre los peligros que conlleva la estetización como proceso, sobre todo, de aquellas fotografías que intentan revelarse en expresión desenfrenada contra el sistema, pero que terminan siendo víctimas de los procesos de estetización que todo lo neutralizan.
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Azevedo, Lídia Michelle, Renata Nascimento da Silva y Zilda Martins. "DONA IVONE LARA VIVE:". Contemporânea Revista de Comunicação e Cultura 19, n.º 3 (2 de mayo de 2022): 213–28. http://dx.doi.org/10.9771/contemporanea.v19i3.45659.
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A reflexão proposta neste artigo incide sobre os conceitos de racismo, colorismo e representação, observados em debates de redes sociais, quando Jô Santana, diretor do espetáculo Dona Ivone Lara – O Musical, escolheu a cantora Fabiana Cozza para representar a Rainha do Samba. Serão analisados comentários publicados na página oficial da peça, no Facebook, e no perfil de Cozza, no Instagram. Também vão ser investigadas publicações e repercussões do perfil da cantora, referentes à carta de renúncia ao papel. A proposta é compreender de que modo a ideologia racista atua na prática social e nos discursos virtuais. O anúncio dos organizadores do espetáculo, solicitando candidatas para interpretar a Rainha do Samba, sem definir o critério de artistas negras de pele retinta, e o contraste de cor entre Cozza e D. Ivone Lara, tensionou os debates. Esse trabalho será guiado por três eixos de respostas ao anúncio. No primeiro, houve negação da necessidade de verossimilhança; no segundo, aceitação da identidade negra de Cozza, mas não aceite do convite; e no terceiro, questionamento em torno da identidade negra da cantora. Também será verificado o teor das discussões a respeito das relações raciais, se ganharam mais visibilidade, considerando a abrangência das redes sociais. Teoricamente, o estudo será ancorado em autores como Sueli Carneiro, Muniz Sodré, Teun Van Dijk, Stuart Hall, Alice Walker, Manuel Castells, dentre outros. A metodologia resulta de pesquisa empírica e bibliográfica, de natureza descritiva e qualitativa.
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De Santana Silva, Marilda Santanna. "O AFRONTAMENTO DE TÁSSIA REIS : NÃO TOLERAMOS MAIS O SEU XIU". Interfaces Científicas - Humanas e Sociais 8, n.º 3 (15 de abril de 2020): 93–100. http://dx.doi.org/10.17564/2316-3801.2020v8n3p93-100.
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O protagonismo da mulher negra na arte é algo ainda a ser estudo e questionado. A música é uma linguagem artística que nos oferece subsídios para um estudo desta natureza que pode fazer a diferença. Neste artigo se pretende destacar esta voz autoral carregada de subjetividade que ousa se insurgir numa Música popular brasileira plural, mas, nunca, democrática. Em especial, neste estudo, selecionamos uma artista jovem, negra e periférica, Tássia Reis. Com uma trajetória recente, mas, de bastante fôlego, a artista, nascida na periferia de São Paulo; além de cantautora e dona da marca de roupas “Xiu”, é uma militante feminista negra que reconhece que existem várias maneiras de silenciar as memórias de um povo, mantê-las subterrâneas, enquadradas, beirando ao esquecimento total, silenciando-as de vez. Assim, utilizar como aporte teórico o conceito de interseccionalidade de Crenhsaw (2015), de lugar de fala de Djamila Ribeiro (2017), vozes plurais de Adriana Cavarero (2011) é perceber como este apagamento vai se reconfigurando ao longo das décadas e do mercado da artista negra. Afinal, o pessoal é político. É o que se pretende com o presente trabalho.
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Muntian, Antonina. "INVESTIGATION OF AN ARTISTIC IMAGE OF A LITERARY WORK (DONNA TARTT’S NOVEL “A SECRET HISTORY”)". English and American Studies 1, n.º 16 (7 de septiembre de 2019): 172–79. http://dx.doi.org/10.15421/381924.
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The aim of the article is to research the artistic image of a literary work. In modern linguistics, interest to the study of artistic image is traditionally considered to be one of the conceptual. Modern psycholinguistics and literary studies direct their scientific potential into the realm of individualism and anthropocentrism, thus contributing to further “decoding” of the phenomenon of artistic image. It is the artistic image; its essence that reflects the forms of perception of reality by the author and its specific refraction. Artistic image has a variety of functions – not only purely aesthetic, but also value-semantic, communicative, psycho-emotional, educational, etc. It is also the symbolic aspect of the content of the artistic image that has various forms of manifestation at all levels of its structure: from the level of elementary sign and artistic reception to the level of archetypal, deep meaning of the work as a complex and holistic artistic world. Thus, the process of creating an artistic image is an act of individual dexterity, the desire to embody the aesthetic ideal, “to decode” the universal secrets of the artistic culture of mankind. The artistic image is a connecting link between the real world and its representation, the living “cell.” Artistic image is the projection of the inner world of the author, the realization of the creative “I-concept”, a personalized dimension of being. The basic structure of an artwork can be represented by a scheme: an expressive element – an artistic element – an image. Obviously, the hierarchical structure of the work does not end with this, because the work does not consist directly of images – the latter also forms certain structures and integrity within the scope of the work. Traditionally, such integrity is achieved with the help of the concepts of the plot and composition.
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Kurkjian, Beth. "Causing More Trouble Out There: Mark Russell on P.S. 122". TDR/The Drama Review 51, n.º 3 (septiembre de 2007): 46–79. http://dx.doi.org/10.1162/dram.2007.51.3.46.
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For 21 years, Mark Russell served as the Artistic Director of Performance Space 122 , the New York institution hailed as the mecca of downtown experimental art. Russell looks back on the nascent years of P.S. 122 , discussing his desire to “serve” the experimental performance community, often navigating the “ecology” on the artists' behalf and helping to further their careers. Artists' profiles, images by photographer Dona Ann McAdams, and Russell's short reflection on both the new direction of P.S. 122 and his own life give a multidimensional look at this East Village landmark and the impresario who put it on the artistic map of New York City.
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Anderson, Jonathan A. "Conceptual Art, Theology, and Re-Presentation". Religions 13, n.º 10 (18 de octubre de 2022): 984. http://dx.doi.org/10.3390/rel13100984.
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Within the vast and varied scholarship of contemporary art, the relations between conceptual art and religion generally have not received careful investigation. There are, however, potentially quite subtle and complicated interrelations in play here that warrant closer study. This article develops and expands such study, first, by clarifying how procedural and re-presentational ways of thinking function in conceptual art, and, second, by showing how these help us to identify six general “logics” within which the interrelations of conceptual art and religion might be reexamined in the histories of contemporary art, both critically and constructively. These six categories are helpful heuristic guides, but each must be substantiated through fine-grained investigations of particular artists and artworks, and each involves “religion” in ways that open into and require particular theological modes of questioning. Therefore, third, this article then turns to a case study of contemporary Belgian artist Kris Martin, focusing especially on For Whom (2012), a work featuring a readymade two-ton church bell that swings on the hour but without a clapper (and thus without sound). Martin’s work consistently re-presents Christian forms and artifacts in compromised states—vacant altarpieces, broken statuary, etc.—invoking histories of European secularization while also retrieving and reactivating theological questions and grammars within those histories. By clarifying these various points of reference, particularly in dialogue with John Donne (from whom Martin borrows his title), this study attends to one instance of a significant interfacing of conceptual art, religion, and theology.
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Artists and Authors, Multiple. "Manifestos in a Room / Manifestes dans une pièce". ti< 8, n.º 1 (6 de abril de 2019): 18–31. http://dx.doi.org/10.26522/ti.v8i1.2168.
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In Fall 2018, artist Heather Hart installs a rooftop in the largest room of the Rodman Hall Art Centre for her exhibition Northern Oracle. She asks the question: “What do you want to say? Shout it from the rooftop!”
Throughout history, thinkers, authors and artists have eloquently expressed their views on cultural and social phenomena in manifestoes. The function of a manifesto is to convince a public and encourage creative thinking.
Reflecting on Heather Hart’s exhibition, students in Visual Arts, Studies in Arts and Culture, and French Studies at Brock University transform the Studio Gallery into a “manifesto room” in which they create their own statements, be they poetic, absurd or political, in English or in French. In a space that is both radical and respectful, visitors are invited to experience the pleasurable effects of surprise.
A l’automne 2018, l’artiste Heather Hart installe le toit d’une maison dans la plus grande salle du Centre d’art de Rodman Hall pour son exposition Northern Oracle. Elle pose ainsi la question suivante : « Que veux-tu dire ? Crie-le sur le toit ! »
Au cours du temps, penseurs, auteurs et artistes ont éloquemment exprimé dans des manifestes leurs vues sur des phénomènes culturels et sociaux. Un manifeste a pour fonction de convaincre un public et d’encourager une pensée créative.
En réponse à l’artiste, des étudiant.e.s d’Arts visuels, Etudes en arts et cultures et Etudes en français transforment la galerie Studio en « pièce manifeste » dans laquelle elles/ils créent leurs propres déclarations, que celles-ci soient poétiques, absurdes ou politiques, en anglais ou en français. Dans un espace à la fois radical et respectueux, les visiteuses et visiteurs sont invité.e.s à faire l’expérience d’agréables effets de surprise.
Curators / Commissaires – Catherine Parayre and / et Donna Akrey
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Lewis, India. "8Visual Culture". Year's Work in Critical and Cultural Theory 27, n.º 1 (2019): 141–59. http://dx.doi.org/10.1093/ywcct/mbz008.
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Abstract This chapter addresses books published in the field of visual culture in 2018 and is divided into three sections: 1. Art and the Internet; 2. Art and Society, and 3. Artists and Their Environment. The books under review cover a broad range of subjects within their specialities, but reflect general trends in contemporary writing and study in the field of visual culture. The first section explores how art critics and those in the field are continuing to deal with visual culture’s relationship with the Internet and digital media (Daniel Birnbaum, Michelle Kuo, eds. More Than Real: Art in the Digital Age; Eva Respini, ed., Art in the Age of the Internet: 1989 to Today). The second section looks at books about art in the social sphere (Kim Snepvangers and Donna Mathewson Mitchell, eds., Beyond Community Engagement: Transforming Dialogues in Art, Education, and the Cultural Sphere; Ole Marius Hylland and Erling Bjurström, eds., Aesthetics and Politics: A Nordic Perspective on How Cultural Policy Negotiates the Agency of Music and Arts; Gary Alan Fine, Talking Art: The Culture of Practice and the Practice of Culture in MFA Education). The third and final section looks at how artists negotiate their environment, responding to and altering their surroundings (Sarah Lowndes, Contemporary Artists Working Outside the City: Creative Retreat; Gabriel N. Gee and Alison Vogelaar, eds., Changing Representations of Nature and the City: The 1960s–1970s and Their Legacies).
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Redavid, María Gaia. "La Compagnia della Morte". Revista Eviterna, n.º 8 (23 de septiembre de 2020): 203–17. http://dx.doi.org/10.24310/eviternare.vi8.9778.
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L’articolo si propone di ricostruire la storia della Compagnia della Morte, sfatando miti e leggende dietro la sua storia. La Compagnia della Morte per molto tempo è stata ritenuta un’accolita di pittori napoletani decisi a partecipare alle giornate della rivolta di Masaniello. Secondo il biografo napoletano Bernardo De Dominici la Compagnia della Morte sarebbe stata organizzata dal pittore Aniello Falcone e avrebbe contato tra le sue fila non pochi artisti napoletani desiderosi di partecipare alle giornate della rivolta. La banda nottetempo organizzava spedizioni punitive per la città di Napoli, a danno degli spagnoli che avevano abusato delle giovani donne napoletane. Fu davvero così? Si può parlare della nascita di una vera e propria pittura del dissenso? Per la prima volta viene indagato questo fenomeno dal punto di vista delle fonti storiche e delle memorie degli artisti.
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Carneiro, Iranilson de Sousa. "Trajetória de vida em música percussiva e educação integrada ao grupo Dona Zefinha". Research, Society and Development 11, n.º 13 (8 de octubre de 2022): e316111335376. http://dx.doi.org/10.33448/rsd-v11i13.35376.
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Este texto reflete sobre a relação entre música percussiva e educação por meio da apresentação e análise da biografia de um artista-professor (pedagogo) percussionista e baterista, integrante do Grupo ceno-musical Dona Zefinha (Itapipoca, Ceará, Brasil). O caminho metodológico deste estudo está guiado pela abordagem experiencial que proporciona a percepção do conhecimento de si, ao mesmo tempo que amplia a criação de saberes autorreferenciados, num contínuo movimento de autoformação, relacionado ao contexto sociocultural em que o sujeito se insere. Com todas as análises feitas sobre a referida trajetória artístico-educativa do autor deste texto, conclui-se que a perspectiva da autoformação fundamentada no viés autobiográfico, potencializou a atuação profissional do sujeito em foco, que emergiu e se aperfeiçoou junto com as práticas artísticas e educacionais cotidianas, como condição constitutiva da própria atuação; um processo reflexivo que se desenvolveu na prática e também sobre ela.
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Tereshkina, Daria. "The artistic world of the «Great Elegy to John Donne» by Joseph Brodsky". Уральский филологический вестник. Серия: Русская классика: динамика художественных систем, n.º 4 (2021): 127–40. http://dx.doi.org/10.26170/2306-7462_2021_04_08.
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Hul, Oleksandra y Artur Bracki. "FLORAL COMPONENT AS THE ENTRY OF VIRA VOVK’S SPIRITUALITY: SELF-IDENTIFICATION WITHIN THE CONTEXT OF HER CREATIVE WORK". LITERARY PROCESS: methodology, names, trends, n.º 17 (2021): 25–31. http://dx.doi.org/10.28925/2412-2475.2021.17.3.
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The article analyzes the life path of Vira Vovk and key images of her work with a special emphasis on the role of plant symbols, and the influence of sacred ideas on the artist and her faith in God. Attention in the article focuses on the self-identification of Vira Vovk as a purely Ukrainian poetess with her own life position. At the same time, the course of analysis of the author's biography and bibliography circles around her sincere love and devotion to Ukraine, in particular – the admiration of the beauty of her native land, the granting of special significance and symbolic meaning to floral dimension, which is clearly illustrated by examples of donna Vira's lyrical lines. The sacred level and divine beliefs are covered, on the one hand, on the examples of the artist's poetry, on the other – taken from the sphere of journalism about Vira Vovk, namely, from interviews with poetess within literary evenings, conferences, round tables. The article outlines significant instructions to the younger generation of writers: here we are talking about the use of Ukrainian images, plots, historical background of our Motherland, without the involvement of foreign motifs and style. We will try to reveal the secret of "lameness" of the Ukrainian text through the eyes of Vira Vovk and the role of the Ukrainian author's style in the context of the formation of a young writer. In addition to the purely literary level and the analysis of the emigration author's work, we also intent to show Vira Vovk as a sophisticated person, whose literary roots germinated deeply from the Ukrainian land, absorb the entire color of the Ukrainian mentality, world view and reveals in her work. The means of expressiveness outline the divine direction of her poetry: her faith, exclusive intuition, openness to people and purity of thought.
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Peperkamp, Monique. "Ecological Time: Natures that Matter to Activism and Art". APRIA Journal 3, n.º 2 (4 de marzo de 2021): 166–83. http://dx.doi.org/10.37198/apria.03.02.a18.
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The term 'Anthropocene' brings together a range of interrelated ecological catastrophes and relates human history to the time scales of the Earth. While dominant modes of thinking maintain technocratic notions of nature and time, art has (re)presented alternative proposals and practices that radically shift perception. To foreground and strengthen the power of art to challenge core cultural assumptions and motivate change, this text maps out the implications of philosophical positions often referred to by artists. I consider the ideas of Donna Haraway, Bruno Latour, Andreas Malm, Naomi Klein and T. J. Demos, and perform a more indepth inquiry of the aesthetics proposed by Timothy Morton. Two works of art are at the beginning and at the end of this inquiry: Progress vs. Regress (Progress II) and Nocturnal Gardening, both by Melanie Bonajo. A material sense of time appears to be pivotal for art as an agent of change.
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Hillary, Fiona. "A situated practice". Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (31 de agosto de 2018): 149–66. http://dx.doi.org/10.32891/jps.v3i2.1113.
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A situated practice explores one artist’s approach to navigating the shifts and changes inherent in the public space of the post-industrial city and suburbs of Melbourne, Australia. Collaborative, ephemeral, site-specific, relational works in three specific sites; Station Pier in Port Melbourne, automated pedestrian crossings throughout the city, and at the Western Treatment Plant, the sewerage facility on the western edge of Melbourne’s urban sprawl, explore everyday public sites to stake a claim for the imagination. Engaging with the work of critical theorists including Rosi Braidotti, Franco Bifo Berardi and Donna Haraway I am interested in how the abstraction of ordinary experiences and spaces allow artists and audience to co-constitute the possibility of something other, triggering fleeting transformative acts of imagination. Through this body of work, I am learning how to leave the marks of care for the future and ‘stay with the trouble.’ (Haraway, 2016, p.10).
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Chand, Krishan y H. Sankhyan. "Economic Analysis of Value Added Products from Lantana, Bamboo and Other Forest Trees for Rural Artisan". Journal of Non Timber Forest Products 23, n.º 2 (1 de junio de 2016): 79–84. http://dx.doi.org/10.54207/bsmps2000-2016-89zo01.
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Economic analysis of value added products from Lantana, Bamboo and other forest trees for rural artisan was carried out in Himachal Pradesh and in rural sector of Punjab, documented on the basis of informations gathered from the rural artisans adopting a multi-stage random sampling, selecting families engaged in forest based activities. Income generated per annum was categorized in four sections with framing of different activities through pre tested schedule on bamboo work Pattal & Donna making, Broom making, Mat making, Bat making, Chirpine product making in Himachal Pradesh and Mulberry basket, Rope making, bamboo work and broom making in Punjab. Economic analysis of wood based value added products revealed that Lantana camara, Bamboo species, Bauhinia vahlii, Phoenix spp. Curcuma angustifolia, Pinus roxburghii, Bombax ceiba, Morus alba, Elelliopsis binnata are recommended for adopting rural artisan activities. Study concludes that the species have the good potentials for value added products for the families of low economic group and professional background engaging in forest based activities in view of artisanal works more lucrative.
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Sugiera, Małgorzata. "Imiona Gai. Myśląc o końcu antropocenu". Prace Kulturoznawcze 22, n.º 1-2 (15 de enero de 2019): 15–30. http://dx.doi.org/10.19195/0860-6668.22.1-2.2.
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Gaïa’s names: Thinking about the end of AnthropoceneA debate about a new era in the history of the Earth has been under way for almost two decades, but it has focused merely on an adequate naming and scientifically verifiable dating of that period. What has been written about the Anthropocene lays bare specificity of methodologies and approaches of various research fields, but above all demonstrates locality and situatedness of knowledge produced within each of them. The article starts with recalling a few remedies to catastrophic after-effects of the techno-scientific progress proposed by Isabelle Stangers, Donna Haraway, and Bruno Latour, who refer to chthonic powers. Although they give these powers the same name Gaïa, each of them differently defines an open-ended and emergent system of symbiotic relationships which was described by the British physiologist James Lovelock in the late 1970s. Next, the article presents the most important concepts of the new era that compete with the term “Anthropocene”: Capitalocene Jason W. Moore, Necrocene Justin McBrien, and Plantatiocene Anna Lowenhaupt Tsing. Finally the article focuses on Donna Haraway’s idea of prospective and speculative fabulation Staying with Trouble, 2016. Haraway outlines a future after the Anthropocene, speculating about how to salvage naturecultural variability. She offers a radical redefinition of relationships between humans and others critters, biotic and abiotic agencies. She does not focus extensively, however, on holobionts in border area of biology and modern technologies which emerge in such contemporary projects as Species Series of an Corean artist Wonbin Yanga 2012, analysed in the paper.
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Moulton, Jacqueline Viola. "The Matter of Mapping Multispecies Entanglements of Mourning—A Manifesto’s Shout, An Orca’s Tour of Grief". Matter: Journal of New Materialist Research 2, n.º 1 (18 de febrero de 2021): 99–119. http://dx.doi.org/10.1344/jnmr.v2i1.33376.
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Mapping entanglements is work—work of care, maintenance, and mourning. This project utilises a new materialist methodology inherited from the work of Gilles Deleuze and Félix Guattari, who follow lines of becoming to track compositions which compose worlds. To map (non-linear, temporal, and situated) lines of loss across multispecies landscapes is material work of more-than-human mourning. The New York City-based performance artist Mierle Laderman Ukeles—alongside scholars such as María Puig de la Bellacasa and Donna J. Haraway—reorient configurations of work and care, which enable these lines to be followed into more-than-human worlds. Mapping lines of mourning into multispecies worlds is material work of the aesthetic-ethical response within shared and troubled landscapes. The key storytellers within the narrative of mourning and joy woven into this paper are the Salish Sea, the Lummi Nation, the Chinook Salmon, and the Southern Resident killer whale; the voices and cries to which this project, in work and care, is dedicated.
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Gidwitz, Patricia Lewy. "Mozart's Fiordiligi: Adriana Ferrarese del Bene". Cambridge Opera Journal 8, n.º 3 (noviembre de 1996): 199–214. http://dx.doi.org/10.1017/s0954586700004729.
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Mozart's ability to craft music closely suited to his singers took a remarkable turn with the soprano Adriana Ferrarese del Bene. This singer's career, from sporadic prominence in serious opera to notoriety as a prima donna in Viennese opera buffa in the late 1780s, was capped by her association with Mozart and Da Ponte in Così fan tutte (1790). Certain reports notwithstanding, Ferrarese seems to have been far from a great artist; her successes were modest and she never before or after attained the artistic triumph she achieved in the Mozart–Da Ponte opera. Reviews and contemporary comments suggest that her comic and dramatic skills were uneven, her vocal equipment impressive but incomplete and her performances less than inspiring. Mozart's achievement was to transform a particular set of vocal skills and limitations into something of exceptional artistic value; Fiordiligi was fashioned out of the temperament, vocal style and dramatic abilities – and limitations – of his soprano.
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McGlade, Rhiannon. "Dissenting Voices?" European Comic Art 11, n.º 1 (1 de marzo de 2018): 30–47. http://dx.doi.org/10.3167/eca.20178110103.
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The installation of the Franco dictatorship sparked an inadvertent boom in the production of comics. While many cartoonists hailing from Barcelona’s rich satirical tradition went into exile or clandestine publication, still more turned to the children’s comics market that had become firmly rooted in the Catalan capital since the 1920s. Until the 1950s, comics remained relatively free from censorial intervention, and the development of characters such as La Familia Ulises, Carpanta and Doña Urraca offered cartoonists an outlet for covert critique. However, in 1952, the Junta Asesora de la Prensa Infantil was established to police children’s publications for ‘inappropriate’ content, marking a turning point in the history of Spain’s comics genre. This article discusses the implications of specific legislation for editors, artists and their comic strip characters, focusing on the publications Pulgarcito, TBO and DDT.
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McGlade, Rhiannon. "Dissenting Voices?" European Comic Art 11, n.º 1 (1 de marzo de 2018): 30–47. http://dx.doi.org/10.3167/eca.2018.110103.
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The installation of the Franco dictatorship sparked an inadvertent boom in the production of comics. While many cartoonists hailing from Barcelona’s rich satirical tradition went into exile or clandestine publication, still more turned to the children’s comics market that had become firmly rooted in the Catalan capital since the 1920s. Until the 1950s, comics remained relatively free from censorial intervention, and the development of characters such as La Familia Ulises, Carpanta and Doña Urraca offered cartoonists an outlet for covert critique. However, in 1952, the Junta Asesora de la Prensa Infantil was established to police children’s publications for ‘inappropriate’ content, marking a turning point in the history of Spain’s comics genre. This article discusses the implications of specific legislation for editors, artists and their comic strip characters, focusing on the publications Pulgarcito, TBO and DDT.
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McGlade, Rhiannon. "Dissenting Voices?" European Comic Art 11, n.º 1 (1 de marzo de 2018): 30–47. http://dx.doi.org/10.3167/eca.2018110103.
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The installation of the Franco dictatorship sparked an inadvertent boom in the production of comics. While many cartoonists hailing from Barcelona’s rich satirical tradition went into exile or clandestine publication, still more turned to the children’s comics market that had become firmly rooted in the Catalan capital since the 1920s. Until the 1950s, comics remained relatively free from censorial intervention, and the development of characters such as La Familia Ulises, Carpanta and Doña Urraca offered cartoonists an outlet for covert critique. However, in 1952, the Junta Asesora de la Prensa Infantil was established to police children’s publications for ‘inappropriate’ content, marking a turning point in the history of Spain’s comics genre. This article discusses the implications of specific legislation for editors, artists and their comic strip characters, focusing on the publications Pulgarcito, TBO and DDT.
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Alicata, Maria. "Tra intimità e ricerca di sé: Pia Epremian e il cinema sperimentale in Italia tra gli anni Sessanta e Settanta." Boletín de Arte, n.º 40 (28 de noviembre de 2019): 245–53. http://dx.doi.org/10.24310/bolarte.2019.v0i40.5703.
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Il saggio vuole approfondire alcuni aspetti specifici della filmografia di Pia Epremian De Silvestri filmmaker nata a Chivasso in provincia di Torino nel 1942. Attraverso l'analisi dei suoi film è possibile ripercorrere la vicenda del cinema sperimentale in Italia che fiorisce nella seconda metà degli anni Sessanta epoca che vede nascere spazi di condivisione e collaborazione: collettivi di artisti, di cineasti come la Cooperativa Cinema Indipendente (1967-1971), di studenti, di femministe. Tra le poche donne filmmakerattive in quel periodo, i suoi lavori rispecchiano la ricchezza di questo momento storico tra produzione e sperimentazione artistica, dove la dimensione soggettiva e personale è predominante. Si tratta di un cinema girato in prima persona che caratterizza la sua produzione e che ha contribuito alla creazione di una nuova identità femminile.
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Méghaïzerou, Miriem. "Christophe Honoré : écrire à la première personne en tant qu’artiste homosexuel". Voix Plurielles 17, n.º 1 (27 de abril de 2020): 125–40. http://dx.doi.org/10.26522/vp.v17i1.2476.
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Christophe Honoré est l’auteur d’une œuvre à la première personne, parue entre 2017 et 2018, qui se déplie en trois volets, dont le roman Ton Père (2017), le film Plaire, aimer et courir vite (2018) et la pièce de théâtre Les Idoles (2018). Ce triptyque a principalement pour thèmes la figure de l’artiste homosexuel, la transmission et la perte. En effet, cette œuvre est hantée par la mort de personnalités chères à l’auteur, emportées par le Sida dans les années 1990. Alors, il les fait revivre et dialoguer dans la pièce de théâtre qui clôt ce triptyque, tandis que le film présente une histoire d’amour homosexuel entre un écrivain séropositif et un étudiant en cinéma et que le livre relate la paternité d’un narrateur homosexuel confronté à l’homophobie. L’article se propose d’examiner les différentes possibilités de figurations de soi en « artiste homosexuel » dans un dispositif hybride, qui convoque la littérature, le cinéma et le théâtre. Il s’agira aussi de mettre en avant l’éclatement sujet en plusieurs points, à travers les discontinuités formelles de cette œuvre. Le « je » se donne à voir dans une labilité, qui participe en retour à la construction dynamique du sujet et fait échec aux assignations à identité.
Mots-clés : autofiction, artiste homosexuel, homophobie, Sida.
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Wieczorek, Paula. "Plant Life and More-than-human Agency in Zainab Amadahy’s Resistance". New Horizons in English Studies 6 (10 de octubre de 2021): 79–91. http://dx.doi.org/10.17951/nh.2021.6.79-91.
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For centuries humans have acted as if the environment was passive and as if the agency was related only to human beings. Both Indigenous and non-Indigenous writers, scholars, and artists express the need to narrate tales about the multitudes of the living earth, which can help perceive the Earth as vibrant and living. The following paper discusses Black/Cherokee Zainab Amadahy’s speculative fiction novel 2013 Resistance as an example of a story resisting the claim about human beings as the ultimate species. The paper initially scrutinizes the phenomena of “plant blindness” and then explores how Zainab Amadahy illustrates plant life in her book. Unlike in traditional literary depictions of botany, the writer presents tobacco as an active and responsive agent that influences the characters, which, consequently, opposes anthropocentrism. The article also addresses the cultural violence and disregard that has dominated the Western perception of animistic cultures and expresses the need to rethink the theory of animism. This paper draws from posthumanist writings by scholars including Donna Haraway, Bruno Latour, Jane Bennett, and Stacy Alaimo. It also refers to some of the most influential contributions to critical plant studies made by Indigenous thinkers such as Robin Wall Kimmerer’ s Braiding Sweetgrass (2013).
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Salmia, Tiina. "Marcello the Dog and More-Than-Human Family in Elina Brotherus's Self-Portraits from the Series Carpe Fucking Diem". TRACE ∴ Journal for Human-Animal Studies 7 (7 de abril de 2021): 46–68. http://dx.doi.org/10.23984/fjhas.99338.
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This article examines the possibilities of visual culture to open new perspectives on interspecies relations by analyzing self-portraits from visual artist Elina Brotherus’s photography series Carpe Fucking Diem (2011–2015). Brotherus has suggested that this series talks “about a failure to have a family with kids and give normality the finger”. The self-portraits can be seen to address this “failure” to have a normative nuclear family, while simultaneously questioning the desirability of the norm itself through Brotherus’s relationship with her pet dog, dachshund Marcello. The article explores the more-than-human notions of kinship and family in Carpe Fucking Diem, drawing on Donna Haraway’s concept of companion species, as well as discussions on new materialism and posthumanism. The concept of companion species deconstructs human exceptionalism and the boundaries between human and animal, and indicates that the physical and affective co-becomings between humans and the non-human significant others co-evolve with each other in complex and asymmetrical ways. In affective and embodied readings of three self-portraits and one video work from the Carpe Fucking Diem series, I examine how Elina Brotherus’s self-portraits call into question the normative notions of family as human-centered and heteronormative.
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García-Oliveros, Elena. "Trans, Marimachas, Cuirs y otras «imposturas» resistentes desde el lenguaje del arte". Estudios LGBTIQ+, Comunicación y Cultura 2, n.º 1 (31 de mayo de 2022): 67–80. http://dx.doi.org/10.5209/eslg.79883.
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El medio feminista y sus activismos plantean en la actualidad temas que los dividen y enfrentan gravemente. Uno de ellos es el referido a la identidad de género y de modo más específico la construcción de la masculinidad. Este artículo es una exploración de cómo el lenguaje del arte ha reflejado las disidencias queer en este ámbito y qué estrategias ha manejado para no sucumbir al rechazo y a calificaciones explícitas de falsificación e impostura analizadas desde los aportes de Sarah Ahmed (2006), Rossi Braidotti (2000) y Dona Haraway (1984). Veremos, partiendo de la lectura de imagen de obras de dos artistas queer conectades en sus procesos: Shu Lea Cheang, entrevistada para esta investigación, y Toxic Lesbian, a quien el análisis se acerca desde la observación participante, cómo ya desde la década de los años 80 y 90 estas piezas se sabían parte de la resistencia del género y sus posiciones identitarias recibían la amenaza de la exclusión. Describiremos más concretamente cuál es el reproche de falsedad vertido hacia elles y cuáles son las estrategias devueltas desde el medio artístico. Observaremos el empleo del privilegio de la expresión artística para ubicar icónicamente otros modos de ser y estar en el mundo desde masculinidades no normativas, a partir de la inmersión en las comunidades que las han protagonizado por el testimonio de les artistas, testigos privilegiados de estos procesos sociales.
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Genest, Bernard. "Dolores Turmel-Rodrigue, peintre de la vie populaire en Beauce". Terrains 12 (29 de septiembre de 2014): 109–30. http://dx.doi.org/10.7202/1026786ar.
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Décédée en 2011 à l’âge de 82 ans, Dolores Turmel-Rodrigue, artiste peintre, s’était donné pour mission de faire revivre dans ses tableaux les personnes, les lieux et les pratiques de la société traditionnelle de sa région natale, la Beauce. Pour nous la présenter et commenter son oeuvre, Bernard Genest a ressorti ses notes de terrain et des enregistrements réalisés dans le cadre de recherches menées dans les années 1982-1985. Il commence par situer l’artiste dans ses contextes géographique, social et culturel, puis s’attarde à décrire la technique et les thématiques qui caractérisent la production de l’artiste. Sans avoir au départ de plan préconçu, celle-ci voyait comme un devoir de mémoire le fait de témoigner de pratiques et d’un mode de vie pour lesquels elle éprouvait un vif attachement et la conviction profonde d’un héritage à préserver et à transmettre. Son oeuvre, selon l’auteur de l’article, est une contribution importante au patrimoine culturel des Beaucerons et pour l’ensemble des Québécois.
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Chiara Di Trapani, Maria, Ilaria Favretto, Nicola Pizzolato y Eloisa Betti. "Il lavoro attraverso lo sguardo femminile: la fotografia delle donne in Italia tra ricerca artistica e critica sociale". SOCIOLOGIA DEL LAVORO, n.º 163 (agosto de 2022): 271–80. http://dx.doi.org/10.3280/sl2022-163014.
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Boyd, David John. "‘Wolves or People?’". Journal of Anime and Manga Studies 1 (11 de octubre de 2020): 1–34. http://dx.doi.org/10.21900/j.jams.v1.236.
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This essay examines an alternative eco-familial reading of Mamoru Hosoda’s manga film, Wolf Children (2012) through an analysis of Japanese extinction anxieties further exacerbated by 3/11. By reading the film through a minor history of the extinction of the Honshu wolf as a metaphor for 3/11, I argue that an examination of the degradation of Japanese preindustrial “stem family” and the fabulative expression of species cooperation and hybridity can more effectively be framed by the popular Japanese imaginary as a lupine apocalypse. In a reading of Deleuze and Guattari on becoming-animal, the omnipresence of lupine loss in the institutions of the home, work, and schools of contemporary Japan, interrogated in many manga, anime, and video game series like Wolf Children, further reveals the ambivalence of post-3/11 artists as they approach family and the State in seeking out more nonhuman depictions of Japan. In this reading of becoming-wolf, Hosoda’s resituates the family/fairy-tale film as a complex critique of the millennial revival of a nuclear Japan in the age of economic and environmental precarity and collapse. I hope to explore the nuances and contradictions of Hosoda’s recapitulation of family through a celebration of Deleuzo-Guattarian pack affects and an introduction of the possibilities of “making kin,” as Donna Haraway explains, at the ends of the Anthropocene.
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Alexander, Travis. "Immunity’s Racial Empire: Virality, Melancholy, Whiteness". American Literature 92, n.º 3 (1 de septiembre de 2020): 513–41. http://dx.doi.org/10.1215/00029831-8616175.
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Abstract Writing in 1991 and 1994, respectively, Donna J. Haraway and Emily Martin argued that in the postwar decades the immune system became a material pedagogy for neoliberal and postmodern thought. In its depiction as a decentralized network of response, the immune system modeled life in late liberalism’s dematerialized time-space compressions. Moreover, if the immune system reified life in this radical expansion, its preternatural competency for discrimination between self and other simultaneously availed a means of retaining racial hygiene in this brave new world of empire. Yet curiously neither Haraway nor Martin acknowledged the extent to which the arrival of HIV in the early 1980s constituted a radical desublimation of what Roberto Esposito identified as the immune system’s salvational image. This essay posits that the arrival of HIV did not simply constitute a neutralization of the immunological fetishism of the postwar period. Rather, the loss of immunity precipitated a biopolitical melancholia. Having lost access to its privileged topos—the immune system itself—immunological governance in turn proximately cathected the object responsible for its trauma, namely, HIV itself. I understand Neal Stephenson’s Snow Crash (1992) and Chuck Hogan’s The Blood Artists (1998) to think, in submerged literary form, an incremental embrace of virality as, ironically, the most viable vehicle for conserving the fantasies of both neoliberal competency and racial containment reified initially by immunity itself.