Gotowa bibliografia na temat „Art Gallery OYU”

Organizing rural art festivals is considered an effective intervention in support of rural revitalization in the face of aging and population decline in Japan. Several studies have identified the impacts of art festivals on economic and social rural development internationally. Little research, however, has focused on the management process of such festivals. The objective of this paper is to identify and examine the management processes crucial to an arts festival’s success, especially in terms of preparation, organization and community outreach. We focus on the first edition of the Oku-Noto Triennale, which took place in Suzu City, a remote coastal area of rural Japan in 2017. The Triennale was held from September 3, 2017 to October 22, 2017 with 39 groups of artists. Data for this study was primarily obtained through qualitative interviews with Suzu’s City Office, the coordinator of theArt Front Gallery, a Tokyo-based art gallery, and community members involved in the festival. Our case study revealed thatseveral factors were found to be crucial to the festival’s success. The organizing team’s flexibility, for example, assigning additional municipalities’ employees to site operations, was pivotal. Experienced actors, such as outside professionals and residents with prior experience organizing previous projects, who could address and overcome the difficulties they faced during the preparation, also deserve mention. The festival also succeeded due to the involvement of residents. In total, 1,176 people were involved as registered supporters, and 434 residents were involved as local volunteers during the festival (counted in working-days). The organizing team worked hard to convey the underlying concept of the art festival to the local residents. By organizing the festival, the residents met and formed bonds with new people and also strengthened their ties with one another.

Alàgbà Adébáyọ Fálétí to generations both in “town and gown” is a Yorùbá ̀ iconic cultural statement. His life was a window to different historical epochs in Nigeria. A life that spanned and recorded historical trajectories of early colonial, decolonisation, independent movement, First and Second World Wars, and Nigerian Civil War, Military and Civilian Rules experiences of Nigeria, is worth studying. The Institute of Cultural Studies, Obafemi Awolowo University Ile Ife in recognition of the deep engraving of the footprints of Fálétí in the sands of Yorùbá, indeed African times, called for befitting academic and cultural activities. Among these are this art and artifacts exhibition, a Colloquium, a Playlet and Documentary Film Show. Fálétí’s intense dedication to the promotion of the Yorùbá ọmọlúàbí cultural ethos and his deployment of his God-given talents and acquired capabilities in the promotion of Yorùbá literary and visual arts, history, poetry, orature, cinema and indeed 1 This is a review of the 2-week pictorial, art and artifacts exhibition in Honor of Alagba Adebayo Faleti in 2017 at the Institute of Cultural Studies, Obafemi Awolowo University, Ile-Ife, Nigeria, curated by Akinsola Adejuwon and Seyi Ogunjobi.
 
 Reviews 192 Akinsola Adejuwon African arts in general, is not lost on all Fálétí enthusiasts. Furthermore, his remarkable service as Senior Art Fellow at the Institute of Cultural Studies OAU completes the Institute’s resolution to capture the worthy legacy in the appropriate location even with the inauguration of an Alàgbà Adébáyọ Fálétí ̀ Library, Institute of Cultural Studies. Within a lifetime of close to one century, Fálétí delivers perhaps unique classical Yorùbá messages in words matched with action, first to Africa and then the world. This review looks at the pictorial and art exhibition covering the world of Alàgbà Adébáyọ̀ Akande Fálétí. It is an assessment of a thematic display of selected pictures and objects which probably placed the observer within the environment and with people Fálétí related with. The images, pictures, artworks and objects in the display were segmented into five major parts. These focused mainly on Alàgbà Fálétí’s parentage, early childhood, education within pristine Yorùbá-driven legacies of the Ọyọ̀ -́ Yorùbá type, Family life over-written from data flowing from core Yorùbá ethical and artistic ‘motherboard.’ Represented also are years of adolescence and expressions of early youthful forays under various tutelary influences, variegated working periods, writing and acting plus public service careers. Alàgbà Fálétí’s childhood coincided with the period when the British Colonial Government had taken over administration of entire geographical space known as Nigeria. In spite of introduction of foreign culture and customs into Nigeria by the Europeans, Yorùbá culture remained resilient. Hence, we could imagine that the childhood of Alàgbà Fálétí was not radically different from Samuel Johnson’s description of features of Yorùbá childhood as characterised by ‘freedom’ (Johnson: 2009, pp.98-100). These facets of life are arranged in a flow of one hundred and thirty-two frames of pictures and images appropriately hanged on the gallery wall boards, awards, artworks and objects displayed on individual stands. The montage produced by the flow of images on exhibition probably rallied to install both the titular and tutelar toga of ‘Alàgbà’ on Fálétí. Perhaps this also developed from a character evincing deep and cultured qualities over the last century. Qualities projectable only from such roundly home-grown dignitary. An all-round Yorùbá man from the core to the marked skin on his face.

<p><em>Fan Dance is one of the dance creations that exist in the district of South OKU, which until now is still held high by the community as a tradition directed at the South OKU district precisely Ranau area because this dance is only used for entertainment such as during weddings, circumcision, and so on.</em><em> </em><em>The purpose of this research is to know and describe the form of presentation of fan dance by Art Gallery Duagha in District Warkuk Ranau Selatan South OKU District. In this research researchers use qualitative descriptive research methods, data collection retrieval techniques through observation, interviews, and documentation</em><em> </em><em>The results of this study showed that according to Soedarsono's theory of the form of presentation attributed to the material used by the researchers was the form of presentation at the fan dance by the art gallery Duagha in South OKU district which includes motion components, floor patterns, music, makeup, costumes, property, and venue. The movement components consist of motion greeting, worship, Tabik, Nindai, Rock Reject, and right mutogh. The floor pattern consists of a V-letter, circle, and horizontal floor pattern. The music includes traditional music. The dressing uses pretty makeup. The costumes used are the typical clothes of Ranau area called Kawai Kanduk and the property that only fans use. As well as his performances can be on the stage open and closed but in this study there is a closed stage like inside the building.</em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><strong><em> </em></strong><strong><em>: </em></strong><em>presentation form, Fan dance</em><em>, Oku Timur</em><em></em></p>

Hangi Alandan Hakem Atanmalı: Sanat, Sanat Tarihi
 
 MİTOSTAN İMGESEL LOGOSA: BEDRİ RAHMİ EYUBOĞLU’NUN BAZI RESİMLERİ
 
 Doç. Dr. Mustafa Gürbüz BEYDİZ 
 Çankırı Karatekin Üniversitesi, Türkiye 
 beydizg@gmail.com
 https://orcid.org/0000-0002-8196-4105
 
 ÖZ 
 Mitoslar içinden çıktığı toplumun kültürel izlerini taşıdığı gibi coğrafyalar aşarak farklı toplumlarda da yeni bir kimliğe bürünerek geleceğe aktarılmıştır. Aynı zamanda bu anlatılar zaman içinde de değişebilmektedir. Sanatçı da içinden yetiştiği toplumun bir bireyi olarak eserlerinde de bu tür kültürel kodların imgeleriyle sanatını var etmeye çalışır ve estetik kaygıyla onu alımlayıcıya sunar. Ancak sanat objesinin misyonu bir galeride süjeyle olan vuslatıyla son bulmaz. Aslında sanatçısının hayal gücünden başlayıp biçime dönüşerek devam eden sürecin sonunda ortaya koyduğu manifestosudur. Böylece sanat objesi sanatçısının evrenselliği ile ölümsüzlüğüne kadar giden yolda birer mihenk taşına dönüşür. Bu nedenle Bedri Rahmi’nin eserleri ölümsüzdür ve kendisi de evrensel bir sanatçıdır. Hem edebiyat hem de plastik sanatlar alanında ortaya koyduğu çalışmalar sanat çevrelerince hep önemsenmiştir. Onun resimlerine bakarken tuvalinden Anadolu tadında mitsel kokuyu alırsınız. Kompozisyonlarında da mitoslarla şekillenen hayal dünyasının imgesel şifrelerini öğrenirsiniz. Fırçası bir kalemdir ve resimleri ise bir roman. Bu araştırma onun bazı resimlerindeki renkli dünyasına ait alegorik imgeleri mitoloji üzerinden okumak amacıyla ilgili literatür taramaları yöntemiyle hazırlanmıştır.
 Anahtar Kelimeler: Sanat, Mitoloji, Resim, İmge, Bedri Rahmi Eyuboğlu. 
 
 
 FROM MYTHOS TO IMAGINARY LOGOS: SOME PAINTING OF BEDRI RAHMI EYUBOĞLU
 
 ABSTRACT 
 As myths carry the cultural traces of the society from which they originate, they have also been transferred to the future by taking on a new identity in different societies by crossing geographies. At the same time, these narratives can also change over time. The artist, as an individual of the society in which he/she grew up, tries to bring his/her art into existence with the images of such cultural codes in his/her works and presents it to the buyer with aesthetic concerns. However, the mission of the art object does not end with its vuslat with the subject in a gallery. In fact, it is the manifesto of the artist at the end of the process that starts from his imagination and continues by transforming into form. Thus, the art object becomes a touchstone on the road to the artist's universality and immortality. For this reason, Bedri Rahmi's works are immortal and he himself is a universal artist. His works in both literature and the plastic arts have always been highly regarded by art circles. When you look at his paintings, you smell the Anatolian flavor of myth from his canvas. In his compositions, you learn the imaginary codes of the imaginary world shaped by myths. His brush is a pen and his paintings are a novel. This research was prepared through literature reviews in order to read the allegorical images of his colorful world in some of his paintings through mythology.
 Keywords: Art, Mythology, Painting, Symbol, Bedri Rahmi Eyuboğlu.

No texto que compôs para o catálogo de sua exposição na Whitechapel Gallery em Londres em 1969, Hélio Oiticica usou o conceito de “campus experimental” para se referir à sua instalação “Éden”. Com esse conceito o artista sugeria uma fusão entre espaço – como campo, terreno ou território –, e tempo como ação contínua, deslocamento, processo de caráter especulativo, tentativa ou ensaio. O conceito, além de qualificar a instalação Éden como lugar construído para experimentações estéticas, caracterizava também e, sobretudo, o próprio processo de trabalho formativo do artista.