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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART". Art and Science of Television 16, n.º 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes". Studies in South Asian Film & Media 10, n.º 1 (1 de outubro de 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition". IMOVICCON Conference Proceeding 1, n.º 1 (3 de julho de 2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.
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The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the intermedia works in order to reach either aesthetic value or financial value. There is a myth that intermedia art isn't a profitable collectible item, so when an artist uses the medium it was considered an artwork made for fun.
In this research, the writer will analyze small screen exhibition on one of the largest contemporary art exhibition in Yogyakarta, ARTJOG. The research method used was qualitative with literature, archive, and interview approach. Hopefully, this research will be a good discourse between moving image and fine art.
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Zarobell, John. "Global Art Collectives and Exhibition Making". Arts 11, n.º 2 (1 de março de 2022): 38. http://dx.doi.org/10.3390/arts11020038.
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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.
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Bakirov, Vil, e Dmytrii Petrenko. "Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space". Perspektywy Kultury 41, n.º 2/2 (29 de junho de 2023): 91–110. http://dx.doi.org/10.35765/pk.2023.410202.08.
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The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generations of photographers of the Kharkiv School, who combined radical bodily imagery and social criticism. The Ukrainian installation is represented by the works of artists of the REP (Revolutionary Experimental Space) group, which is focused on the unity of art and politics and considers artistic creation as a political act. An interesting sub-direction of the installation is the video installation, which delivers an original combination of contemporary Ukrainian artists with site-specific art and artistic means of reflecting on the traumas inflicted on Ukrainian society by the war. The article pays special attention to the development of contemporary Ukrainian cinema. The author demonstrates the connection between the work of contemporary Ukrainian filmmakers and the traditions of Ukrainian poetic cinema. In addition, other trends in Ukrainian cinema are identified: the experimental search for a new film language, the development of documentary cinema, on top of the convergence of fiction and non-fiction artistic languages in the work of contemporary Ukrainian filmmakers. The dominant issues of contemporary Ukrainian films selected for screening at leading European film festivals are identified: inclusiveness, reflection on Ukrainian history, war trauma, psychological rehabilitation of combatants, etc.
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Couret, Nilo. "Under Fyre: Debt Culture in the Streaming Era". Film Quarterly 74, n.º 1 (2020): 57–63. http://dx.doi.org/10.1525/fq.2020.74.1.57.
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FQ contributing editor Nilo Couret uses the Fyre app, the Fyre Festival, and the dueling documentaries about Fyre—Fyre Fraud and Fyre: The Greatest Party that Never Happened—to map the landscape of contemporary debt as it intersects with new media (i.e., mobile app development, social media advertising, and streaming platforms) and account for the theoretical and political implications of indebtedness. He concludes that streaming platforms are akin to social networks, video-sharing platforms, and online publishers both because of the relentless pursuit and monetization of our attention as well as an economic viability sustained by debt.
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Barghouti, Dia. "Exploring Ibn ‘Arabi’s Metaphysics of Time and Space in Sufi Ritual: the ‘Issawiya Dhikr of Sidi Bou-Sa‘id". New Theatre Quarterly 36, n.º 3 (agosto de 2020): 237–48. http://dx.doi.org/10.1017/s0266464x20000445.
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This article examines the relationship between medieval Islamic philosophy and contemporary Tunisian Sufi ritual. Focusing on the metaphysics of time and space in the writings of the twelfth-century Andalusian saint Muhyiddin Ibn ‘Arabi, the author explores the dhikr ritual within the framework of Sufi ontology in order to highlight the relevance of Islamic intellectual history to the religious practices of the ‘Issawiya Sufi community. The dhikr is one example of many indigenous performance traditions that are part of the rich cultural life of Tunisia. These are spaces where adepts engage with complex philosophical ideas through embodied performances. Thus, Sufi rituals raise important questions about the relationship between theory and embodied practice, which, although grounded in a particular cultural context, could be of relevance to the broader range of theatre. Dia Barghouti is a playwright and PhD candidate in the Department of Theatre and Performance at Goldsmiths, University of London. Her plays have been performed at the Ashtar Theatre, the SIN festival of video and performance art, and the Khalil Sakakini Cultural Centre, all in Ramallah, Palestine.
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Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou". Journal of French and Francophone Philosophy 18, n.º 2 (28 de janeiro de 2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.
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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."
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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”". October 153 (julho de 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.
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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.
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Beltran, Myra, Angela Conquet, Christo Dougherty, Athena Mazarakis e Roselle Pineda. "New Research". TURBA 1, n.º 2 (1 de setembro de 2022): 39–79. http://dx.doi.org/10.3167/turba.2022.010205.
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The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiative WifiBody Choreographers Competition for solo and duet forms, presented as part of the Cultural Center of the Philippines Choreographers Series, has been to discover emerging choreographers and offer them an educational and mentoring component. In migrating this live dance event during the COVID pandemic to an online platform, we asked, “Can we determine where the dance ends and the dance-film begins?” This critical text is indebted to Erin Branningan who, in her seminal book Dancefilm: Choreography and the Moving Image, proposed the term filmic performance as a “comprehensive term incorporating all aspects of cinematic production, so that the choreographic quality of the dancefilm can be considered in relation to both the profilmic and filmic elements” (2011: viii). The profilmic here refers to that aspect of the initiative that coincides with the live event, the writing on the dancing body. The filmic elements are those that considered how the responsibility for this was assigned to both artist and video mentors and editors. A third level of performance discussed here is that at which these works were rolled out online, and in particular on social media platforms. The performative aspect of this eff ort will be fleshed out and will touch on the curator’s responsibility as they navigate the terrain of social media.The Gates of Discomfort: Making Contemporary Dance PresentThis article critically examines the state of dance-specific curatorial practices and, more specifically, the underlying politics of choosing what bodies are seen on stage. I argue that dance presenters directly perpetuate Eurocentric bodily imaginaries by anchoring their curatorial choices in flawed interpretations of the “contemporary.” By favoring the conceptual over the representational, and by dismissing referentiality and signification, dance presenters relegate differences of technique, temporality, and bodily situatedness to the realm of tradition, thus actively contributing to deterritorializing the corporealities of contemporary dance and to excluding a whole range of embodied subjectivities from the stage. This article invites presenters to consider self-reflexively unchecked programming behaviors and their curatorial praxes more broadly.A Rural Dance Festival in the Palm of Your Hand: My Body My Space Translated onto WhatsApp during COVID-19In 2021, aft er a year’s hiatus due to the COVID-19 pandemic, the annual My Body My Space Public Arts Festival in South Africa, was relaunched in a radically different online form. Under the lockdown conditions of 2021, the festival was presented exclusively through the WhatsApp messaging application, running on a “behavioral chat platform” originally developed for public health text messaging. The experience of launching the festival into this new medium led to several unexpected insights, notably the specific affordances and limitations of the chosen online platform, an expanded understanding of the “interactivity” possible with online communications, and the digital empowerment that the process offered to practitioners who were mentored through the process of online translation. At a theoretical level, the experience of My Body My Space as an online festival also challenges the dichotomy between the relative status of performance and documentation in live arts.Merging Asynchronous Sounds into Synchronous Voices: Reimagining Gatherings through the Process of Making the Adow ne Domaget 2020 KKK Radio Program-Festival in the Time of Physical DistancingWhen COVID-19 was officially declared a pandemic by the World Health Organization, the world as we know it came to a halt—and along with it, many communities, especially among the remote Indigenous peoples, were isolated. This article outlines my process of creative collaboration with the Dumagat Indigenous peoples’ community in Dingalan, Aurora in making and presenting the Adow ne Domaget 2020 KKK (Kuwento, Kultura at Kalusugan sa Katutubong Komunidad) radio program-festival during the COVID-19 lockdown in the Philippines. Highlighting the method of saluhan—a Filipino term meaning “to catch each other,” “to share,” and “to gather”—in collaborative making, I will provide insights on the role of an immersive and fluid curatorial practice in reimagining places, moments, and acts of gathering and collective action, in bringing out the stories and the voice of the community, in the time of lockdown, distance, and forced isolation.
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Gavryliuk, Borys. "Characteristics of the development of mural art in Kharkiv". Bulletin of Lviv National Academy of Arts, n.º 43 (25 de fevereiro de 2020): 81–89. http://dx.doi.org/10.37131/2524-0943-2023-43-9.
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Background. In recent years, there has been an increasing interest in the development of mural art. Kharkiv is a special city, full of monumental urban buildings, heavy walls, and free space. This is a unique territory for the mural creating and street art development. Since the late 90s of the 20-century activists, street artists, and sometimes amateurs of the wall business were the first to create urban art objects with the experimental way, following the example of their western colleagues. The urban space of the city is a platform for the popularization and development of mural art without institutional influence. The paradigm of activating sociocultural processes in our time became the outcome of visual art beyond the frames of the galleries and museums into the public space. This explains the background of the research problem. In three decades, monotonous architecture has turned into colorful art objects. The appearance of graffiti and murals has become a globalized form of creative interaction between artists and society. Murals are symbols encoded by deep socio-political and cultural genesis. They prompt viewers to self-development and improvement, despite their status in the global pyramid of life. Objectives. The objectives of this study are to determine the specific and peculiarity of mural art development in Kharkiv. The artistic approach allows forming critical descriptions of basic samples. Therefore, the detailed analysis and interpretation of unique wall panels appear like the main purpose. It is important to prove that mural art is a vector of contemporary art development and the way of influence for sociocultural processes in public space. Differentiate definitions of appellations like "mural art", "graffiti", "street art", "urban art" in the context of drawing parallels between Ukrainian and foreign art-science literature. An important driving layer of information is unexplored in the art-science works. The theoretical comprehension of mural art is at the stage of formation without a solid basis. Methods. Classical methods were used for the research. Analysis of the literature, short historical overview allowed to form a basis. Digital imaging tools and Worldwide Internet Web has created online galleries, platforms, touristic maps, discussions. This way, artists find new ways to promote their work without institutional influence. The narrative analysis of the main Kharkiv’s murals allows determining mural art as a separate form of art and socio-cultural process. There was used a comparative method in the article. Street artists are using different media, technical applications, have divers stylistic features. Every large mural is encoded and differs not only with size, artistic value, idea, etc. but with a context. Art critics, government, and citizens perceive this art in different ways. With the help of the empirical method, was proved the influence of mural art on the social, cultural, and political processes in the country. Theoretical and deductive methods were used to reproduce the chronology and classification of Kharkiv’s murals. The article analysis from the solid. Works that are provocative for the society, were created without permission, commercial projects, creative murals, created within the festivals and initiatives, etc. The general blocks analyze the work of the prominent artists and describe the best samples from the analytic point of view. Results. The results of the research support the idea that the mural art in Kharkiv and Ukraine has not been studied in art-science works at all. The theoretical comprehension of mural art is at the stage of formation without a solid basis. Content is based on media sources like interviews and news. Murals and graffiti are often destroyed by natural, mechanical, or human intervention. Therefore, photo and video fixation on electronic resources allow to carry out a detailed analysis of works. Online street art galleries, festivals and project pages, artists' websites, and art critic blogs all provide access to informational material for processing. The thorough selection of the most valuable finds allows revealing the socio-political themes of the art, cultural, and psychological aspects. National scientists carry out a comparative analysis of graffiti. A meticulous explanation of the semantics and symbolism of urban art is reflected in the works of S. Kais. Prevailing studies of urban art are based on the original basis of Western theorists. Prominent are works of G. Shaw and R. Gastman, who describe street-art of all continents. Authors compare related graffiti, street art objects, and classify them by historiography, style, and theme. The British curator and sociologist R. Shakter has systematized the best samples of the World's mural art, introducing new appellations relating to neo-muralism, which, in his view, is different from monumental realistic paintings. He analyzes the creative achievements of leading Ukrainian muralists. The uniqueness of mural art is proved as a special form of contemporary art, which relies on transformation, multiculturalism, and the exit of visual art out of the gallery space. Urban artist’ projects promote the development of Kharkiv city gentrification. The article also supports the opinion of the uniqueness of mural art, as a special form of contemporary art, which is based on transformation, multiculturalism. Urban artist’ projects promote the development of Kharkiv city gentrification. Conclusions. The present results are significant in the field of research and the development of contemporary art. The development of mural art in Kharkiv and other cities of Ukraine deserves intent attention. A wide selection of artistic media, changes in ideological views, values, purposes, serving, technological progress, and many other factors have become catalysts in the process of forming and promotion of muralism as a complete form of contemporary art. A large number of realistic compositions means a powerful academic school and professionalism of artists. Fine detailing attracts by perfect realization. The results of the research are important for the socio-cultural significance and psychological, political influence of street-art on the ideology of citizens. The urban space of Kharkiv is popular and unique for street-artists not only in Ukraine but also in Western Europe and America. Every year, dozens of new high-quality murals appear in a progressive vector of quantity and quality. Therefore, it is important to deduce the evolution of Kharkiv's mural art in the comparative of urban art of other major cities of Ukraine.
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Brilli, Stefano, e Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists". Journal of Italian Cinema & Media Studies 10, n.º 1 (1 de janeiro de 2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.
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In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in the field of contemporary theatre in Italy and on the connections between the current creation of digital promotional clips and the heritage of the Italian video-theatre. Through in-depth interviews with sixteen of the leading Italian companies, this research aims to bring out the role theatre trailers play for performance artists.
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Langer, Brian. "Video as art and the Australian international video festival". Continuum 8, n.º 1 (janeiro de 1994): 259–66. http://dx.doi.org/10.1080/10304319409365645.
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Li, Pi. "Chinese Contemporary Video Art". Third Text 23, n.º 3 (maio de 2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.
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Bobula, Joanna. "Droga do domu". Politeja 20, n.º 2(83) (23 de agosto de 2023): 209–28. http://dx.doi.org/10.12797/politeja.20.2023.83.10.
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GOING HOME: UKRAINIAN THEATRICAL ACTIVITIES IN THE PUBLIC SPACE AFTER 1991 ON THE EXAMPLE OF THE CONTEMPORARY ART PROFECT GOGOLFEST Along with gaining independence, in Ukraine festival tendencies were revived, including theatrical art: the exchange of experiences has been intensified, tendencies to present social- and historical topics forbidden during the USSR times along with the search for new means of bringing theatrical art closer to the audience became more visible and prominent. In the early 1990s, festival movement became key to Ukrainian theatre’s revival, enabling its adaptation to the new socio-political, economic and cultural reality. The aim of the article is to present the GogolFest festival in the context of various directions of the festival movement after 1991. The idea and initiative to create this multidisciplinary project came from the director, producer and artistic manager of the ‘Dach’ Center for Contemporary Art. As a result, activities of GogolFest and its evolution have a broader culture-forming scope: through the integration of various fields of art and creators, they aim at modernizing Ukraine in the space of art. This, in turn, is the basic condition of forming or increasing the awareness and conducting social discussion on current and historical topics brought by the reality of contemporary Ukraine.
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Pieprzak, Katarzyna. "Art in the Streets: Modern Art, Museum Practice and the Urban Environment in Contemporary Morocco". Review of Middle East Studies 42, n.º 1-2 (2008): 48–54. http://dx.doi.org/10.1017/s0026318400051518.
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Every summer, cultural festivals take place all over Morocco, and streets in towns and cities become animated scenes for the articulation of Moroccan contemporary culture. So animated, heterogeneous and pluralistic has this festival scene become that the semiofficial newspaper for the Islamist PJD party has called these street festivals “vectors of decadence” and performing-artist union officials have declared that they feel threatened by the “foreign invasion” of internationally-based diaspora groups. Recently, in a critique of these attitudes, the magazine Telquel reported that they are “sick of the wet-rags of the festival season” that deny “millions of happy festival-goers the occasional…free oasis in the grand cultural desert of Morocco.” Describing the street as an oasis of culture vis-à-vis the desert landscape of Moroccan cultural institutions is not a new trope. In this paper I explore how Moroccan artists have engaged with the potential, promise and problems of art in the street when gallery spaces and museums fail to integrate modern art into a wider Moroccan cultural landscape.
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Springgay, Stephanie. "Corporeal Pedagogy and Contemporary Video Art". Art Education 61, n.º 2 (março de 2008): 18–24. http://dx.doi.org/10.1080/00043125.2008.11651137.
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Perkins, Matthew John. "Documentary Codes and Contemporary Video Art". International Journal of the Humanities: Annual Review 8, n.º 4 (2010): 177–82. http://dx.doi.org/10.18848/1447-9508/cgp/v08i04/42896.
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Adams, Jeff. "Editorial: The Liverpool Biennial Festival of Contemporary Art 2010". International Journal of Art & Design Education 29, n.º 3 (outubro de 2010): 224–27. http://dx.doi.org/10.1111/j.1476-8070.2010.01667.x.
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Syka, Rachel. "Defining Art in the Gozo International Contemporary Arts Festival". Southern Anthropological Society Proceedings 42, n.º 1 (2013): 179–97. http://dx.doi.org/10.56702/mpmc7908/saspro4201.8.
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This chapter explores the role of identity, place, and origin of the artists in the Gozo International Contemporary Arts Festival in Gozo, Malta. Based on research conducted in July 2010 for a summer field school in sociocultural anthropology, I draw on conversations with several of the artists showing their work, as well as interactions with local organizing officials, arts instructors, and Gozitan artists and craftspeople not directly involved in the exhibit. I argue that the event is a space in which central questions of Gozitan identity are actively addressed and negotiated, focusing particularly on the manner in which the international artists participating in the festival construct both conceptual and visual images of Gozo and Malta. I suggest that the origin of the artist, in tandem with the purpose and medium of their artwork, plays a major role in how the work is incorporated into the exhibit. Framed in part as a cosmopolitan attraction alongside the historical sites of the island, the exhibition acknowledges the increasingly global nature of Gozo. Ultimately, I aim to address questions pertinent to postcolonial identity and tourism on Gozo and Malta. How is the island viewed by visitors from abroad? What cultural resources is it assumed to possess (or lack)? How do Gozitan artists interact with and respond to such expectations through events like the Arts Festival?
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Abdallah, Monia. "World of Islam Festival (Londres 1976) : Naissance d’un nouveau paradigme pour les arts de l’Islam". RACAR : Revue d'art canadienne 39, n.º 1 (14 de agosto de 2014): 1–10. http://dx.doi.org/10.7202/1026192ar.
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This essay traces the origin and stakes of the association between historical Islamic art and works of contemporary art by artists from Muslim countries. The idea that underpins this association—that there is a form of continuity between these works—first appeared in London in 1976 during the World of Islam Festival. This event laid the foundation for the understanding of Islamic art as a vehicle for cultural continuity, so that contemporary art by artists from Muslim countries came to be seen as an extension of Islamic art and became perceived by many as a contemporary Islamic art, that is to say, the art of the Islamic civilization of today. This article argues that the notion of Islamic civilization that the World of Islam Festival vehiculated continues to be felt in the new paradigm for Islamic art that it initiated. This essay analyzes how this event unintentionally spawned a new model for understanding not only Islamic art, but also Islamic civilization, a civilization that is now once again considered alive.
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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”". ICONI, n.º 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.
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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.
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Ehrhardt, Amelia, Jenn Goodwin e Cathy Gordon. "Is Dearth a Little or a Lot?" Canadian Theatre Review 187 (1 de julho de 2021): 20–25. http://dx.doi.org/10.3138/ctr.187.007.
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In the format of an interpolated Zoom transcript, former SummerWorks Curators Amelia Ehrhardt, Jenn Goodwin, and Cathy Gordon discuss the disciplining and undisciplining of SummerWorks Performance Festival between 2015 and 2019. The authors came to SummerWorks as specific curators of the dance and live-art streams and watched the festival grow from being a theatre-focused festival known to invite other art forms to a performance festival focused on a multidisciplinary perspective. Ehrhardt, Goodwin, and Gordon discuss the festival’s transition and specific works that exemplified their curatorial lenses-Ehrhardt and Goodwin from dance and Gordon from live art. "Is Dearth a Little or a Lot?" reads conversationally with an editorial voice interrogating the transcript, checking facts, or chiming in with context like a pop-up-video-style literary device. The authors question the function and outcome of creating discipline-specific streams for artists, audiences, and the structure of the festival and discuss hopes for the future of an undisciplined festival.
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Ozoliņš, Gatis. "CREATIVITY OF CONTEMPORARY DIEVTURI GROUPS AS A CULTURAL POLITICAL DISCOURSE". Via Latgalica, n.º 2 (31 de dezembro de 2009): 39. http://dx.doi.org/10.17770/latg2009.2.1609.
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Dievturība (dievturi - "God keepers", "people who live in harmony with God") is a newly created religious tradition having appeared in the second part of the 1920s – 1930s, its most essential source includes materials of Latvian folklore and folk traditions. These are interpreted by construing a religious ethical theory and creating a religion which is alternative to Christianity, with its own doctrine and rituals, and the conception of Latvianness in culture and politics. Latvianness is the most essential concept of cultural politics to which all activities of the dievturi are subjected (exaltation, family celebrations (krustabas, vedības (marriage), bedības (funeral)) as well as seasonal rituals, cultural historical excursions, tidying and spiritual restoration of the sacral sites (sacred places, castle mounds), folklore activities, article publications in mass media, summer thematic camps in the countryside marked by intensive mastering and cultivation of history and culture, celebration of Latvian public holidays and the most important remembrance days. Contemporary dievturi groups are seeking for new ideas in order to develop and popularize their conceptions, which can partly be characterized as a cultural political programme for theoretical (doctrine) and practical (exaltations, ceremonies, seasonal rituals) realization of Latvianness and its components. Within this publication, creativity means the system of ideas and values that promotes the development and perspectives of dievturi groups as well as includes them into a wider cultural political environment thus performing a culture-creating job. A special attention is paid to the essential ideas and values guiding the creativity of contemporary Latvian dievturi groups, making ample use of storyteller habitus, thus intentionally allowing the domination of group participant discourse. The two main directions of dievturi group participant creativity are the development of their doctrine (teaching) and the ritual practice (exaltations). These directions allow to attract wide attention of the society and mass media, new participants and supporters, to influence the political and cultural processes in Latvia. An important part in the doctrinal reflections of the dievturi, especially in the ritual practice (exaltations), has always been taken by Latvian literature writings. A selective choice of these supplement the textual canon of the dievturi continuing the tradition in line with “the mood of Latvian folk songs” and attributing a more modern shape and world outlook concepts to dievturi undertakings. The aim of an exaltation is always associated with the main cultural political concept of the dievturi – Latvianness, namely, to make Latvianness more active, to offer an opportunity to approach Latvianness, make efforts for deeper comprehension of it, being aware and living through it, although thematically it may be dedicated to separate components of Latvianness (people, land, language, God, Māra, Laima, work, virtues, human life, and the like). Also, the most essential ideas and values of dievturība – gender equality, domesticity, antiglobalism, ecology, traditional marriage formula, life style and appearance, environment (for example, use of Latvian language), music, art and literature priorities (classical and/or national music, use of local building materials and ornaments (all ornaments have been observed in Latvia’s nature), writers, poets and playwrights who most precisely depict the “Latvian spirit” – derive from folk songs and the cultural concepts deriving thereof. Activity in the field of Latvianness (ethnicity conception) is in accord with the activity in favour of the future of the Latvian people, symbolical non-forgetting of culture correspond to generating of culture. This attributes a political and social dimension to the cultural activity of dievturi. Dievturība does not perform an official cultural politics of cultural values, heritage, traditions etc., this is a task for politicians; however, it is at least a marginal participant of the cultural political sphere. Placing ethnicity, or the Latvian discourse, at the centre of cultural politics encompasses the range of further impact when the seeming encapsulation within the margins of culture are replaced by reflections on Latvian economy, guidelines in education and science, health care system, axiological juxtaposition of the countryside and city. Also, the evaluation and criticism of the activity of the Christian Church by the dievturi is connected with the conception of Latvianness. Dievturi strongly disclaim Christianity and any chance of mutual cooperation (and also vice versa), protest against its monopoly position in Latvian society, consider Christianity a historically alien religion having been forced upon Latvians and demanding the status of a traditional religion in Latvia also for dievturība including, for example, the right to wed, to celebrate religious festivals. The results of field research do not allow to speak about dievturība today as a strong and united manifestation of Latvian religious experience and way of life. Rather, it is possible to register (after the decline of the movement at the end of the 1990s and at the beginning of the 2000s) a quite consistent and sufficiently active revival which is connected with the appearance of new persons and creative ideas among Latvian dievturi. The future events depend on the fact whether dievturi themselves would be able to solve the protracted inner inconsistencies and find a uniting grounds for further development of the movement. The article is based on the study results obtained during the 2006–2008 field research carried out in dievturi groups (interviews with group leaders, participants and individual representatives, transcripts of audio and video materials). The study was carried out with the financial support of the project “Society and lifestyles” and using its accepted methods – ethnographic description, semi-structured interviews and methods of visual anthropology (photography, filming) and instructions by the Ethical Commission (for example use of assumed names for storytellers).
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Shedko, I. I. "Video Game Art Styles". Art & Culture Studies, n.º 4 (dezembro de 2021): 382–95. http://dx.doi.org/10.51678/2226-0072-2021-4-382-395.
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The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.
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Lenssen, Anneka. "“Muslims to Take Over Institute for Contemporary Art”: The 1976 World of Islam Festival". Review of Middle East Studies 42, n.º 1-2 (2008): 40–47. http://dx.doi.org/10.1017/s0026318400051506.
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The terms “Islamic” and ‘Arab” are not ideal instruments for classifying modern or contemporary art, for they are meta-categories that can variously encompass Muslims and non-Muslims, and Arabs and non-Arabs. Nonetheless, as historians of modern art in Islamic regions, we seem to have inherited a longstanding commitment to Islamic art as an epistemologically unique practice that produced limitless abstract patterns and other “non-Western” visual expression. It is time to move beyond such overburdened lineages. In this paper, I aim to historicize the formulations of a specific Arabo-Islamic aesthetic that emerged in the 1970s. I do so by a study of a single event and its metacultural claims: the World of Islam Festival held in London in 1976. The Festival projected optimistic countercultural options for art and civilization that remain instructive today, while the complexity of its organizing structures demonstrates the limitations of the West/rest paradigm in interpreting its artistic products.
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Kaltenecker, Martin. "Festival d'Automne 2013". Tempo 68, n.º 268 (20 de março de 2014): 85–88. http://dx.doi.org/10.1017/s0040298213001782.
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Since 1972, the Parisian Festival d'Automne has organised dozens of events every year in the field of theatre, dance and music. The list of premieres is impressive, and comprises all the major names in the realm of contemporary art. The concerts represent a kind of anthology of recent outstanding achievements, combined with commissions from younger composers, and a recapitulation of important works of twentieth-century music which may be mentioned in every music history but are rarely performed: this year, for instance, featured Karlheinz Stockhausen's Trans. Offering a precious and vital complement to the other various Parisian seasons, the Festival has no venue of its own, so that, as quite a number of the concerts are co-produced with other institutions, the ‘visibility’ of the festival stems only from the quality of the programming, the excellence of the musicians, and the interaction with the overall artistic project.
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Rutherford-Johnson, Tim. "Only Connect Festival of Sound 2017, Oslo". Tempo 71, n.º 282 (outubro de 2017): 87–89. http://dx.doi.org/10.1017/s0040298217000675.
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In London the bank – as a building, its symbolism and its position within the cityscape – is sacrosanct. In Oslo banks become arts venues. Although it is moving soon to new premises being built further up the waterfront, the National Museum of Contemporary Art is currently housed in a former bank. A few blocks away is Sentralen, a relatively new, multi-purpose performance arts space, meeting place, restaurant and bar.
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Leuzzi, Laura. "Representation and Identity in Contemporary Women Artists’ Video". Arts 12, n.º 2 (22 de fevereiro de 2023): 42. http://dx.doi.org/10.3390/arts12020042.
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This essay is an initial study that examines selected contemporary video artworks addressing identity and representation by contemporary Italian women artists. The author shows how these women artists seek to avoid the objectification and sanitisation of the traditional iconographies involving women in patriarchal Catholic systems. Selected works by Elisabetta Di Sopra, Francesca Fini, and Mariateresa Sartori are discussed by comparing elements from works by earlier generations of feminist video artists, such as Pipilotti Rist, Elaine Shemilt, and Catherine Elwes. Drawing on theories of both video and feminist art, this article examines how the development of a new aesthetic in early women’s video art practice in the 1970s and 1980s is still relevant to the task of critically examining and assessing aesthetics in video today, and how video remains a key tool used to experiment with the remediation of women’s representation and identity.
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Staruseva-Persheeva, Alexandra Dmitrievna. "Video Art: “A White Cube” or “A Black Box”?" Journal of Flm Arts and Film Studies 6, n.º 4 (15 de dezembro de 2014): 114–23. http://dx.doi.org/10.17816/vgik64114-123.
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Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. In a white cube video comes into the viewers sight together with other items in display, therefore a show-piece comes into contact with other ones in a spectators minds eye. Moreover, a white cube gives visitors an opportunity to be in charge of their time of viewing, which implies, that the white cube perception appears rather chaotic and the final cut of a video in the spectators mind becomes unpredictable, what is characteristic of video. In 2000-s when both video and film technologies got replaced by the digital one, all the moving pictures started to resemble one another. A well-lit room of a white cube was not appropriate for high definition videos, whereas a black box is usually associated with a cinema hall and consequently a video presented in such a cinematic manner makes a viewer unconsciously expect to see a cinematic piece of art. Video today is an indispensable figurant of any significant exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a white cube of a gallery; however, there is now a distinct tendency to present video art in a black box, that is in a cinematic way. As a result its getting harder and harder to distinguish video art from experimental cinema. Nowadays the very strategy of presentation of video may help this media to retain identity or to lose it.
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Maravić, Manojko. "Relacije umetnosti i video igara / Relations of Art and Video Games". AM Journal of Art and Media Studies, n.º 1 (15 de janeiro de 2012): 93–104. http://dx.doi.org/10.25038/am.v0i1.12.
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When discussing the art of video games, three different contexts need to be considered: the 'high' art (video games and the art); commercial video games (video games as the art) and the fan art. Video games are a legitimate artistic medium subject to modifications and recontextualisations in the process of creating a specific experience of the player/user/audience and political action by referring to particular social problems. They represent a high technological medium that increases, with practically each new commercial game, the aesthetic potential of audio-visualperformances and includes more complex narrations and characters/avatars. A number of artists take part in their creation: designers, composers and actors. Video games are a medium through which the fans of commercial games are trying to secure their position in the contemporary technologised culture.
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Brown, Rebecca M. "A Distant Contemporary: Indian Twentieth-Century Art in the Festival of India". Art Bulletin 96, n.º 3 (3 de julho de 2014): 338–56. http://dx.doi.org/10.1080/00043079.2014.889529.
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ZASLAVSKAYa, A. Yu, e M. M. SEROVA. "“STREET-ART” OR THE ART OF STREET INTERVENTIONS". Urban construction and architecture 2, n.º 1 (15 de março de 2012): 11–16. http://dx.doi.org/10.17673/vestnik.2012.01.2.
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Аpplication of street art in architectural city environment is presented. The main features and directions of contemporary street art are considered. The concept street art includes different types of activity: performance, graffity, 3-D graffity, and the latest dirrection video-mapping (projection of dynamic images on facades of buildings). New terminology is gradually formed, characterizing the direction of art activity as street-art.
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LOGACHOVA, Bella. "MEANS OF VIDEO ART: KHARKIV PROJECTS «IN THE DARK» AND «LIUTYI»". HUDPROM: The Ukrainian Art and Design Journal 2023, n.º 2 (15 de outubro de 2023): 115–29. http://dx.doi.org/10.33625/hudprom2023.02.115.
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The article examines the use of moving image and video practices as a means of visual activity in the cultural and artistic exhibition environment. The analysis is based on the influence of the visual in the context of social and contemporary art. This problem is raised in the theory of Ukrainian art criticism about Ukrainian video art in a visual way and represents the testing of art projects. The aim is to analyze and define the segments of visual activity of Kharkiv video art using the examples of the projects In the Dark and Liutyi. The analysis of sources and recent publications has revealed a high degree of research on the emergence of video art and the reasons for the emergence of a new screen form in the global context, but in the context of the contemporary development of Ukrainian video art and the peculiarities of the use of moving image in the practices of Ukrainian artists at the level of local and regional schools, it has not been properly and deeply studied. The artistic direction of video art, which emerged at the turn of the twentieth and twenty-first centuries, has not received structuring and theorization of the main technical and technological means of reproduction and representation of forms and hybrid forms, including a study of the artistic practices of Kharkiv video art and its place in the general context of the regional peculiarities of Ukrainian video art. The study of these issues and the development of these principles are the most relevant issues for the Ukrainian artistic process. It is important to note that art projects such as In the Dark and Liutyi, which use video art, have a common idea, a common space and environment. They develop the aesthetics of a loft space for immersion in a new reality that creates a moving image and is also part of the contemporary creative industry. Artistic visions change the viewer’s emotions and mental component into a transformed sense of reality, causing a state of immersion, combining different and distant associations in one trope and leading to a synthesis of several sensations, which actualizes the personal, visual and deepens the social sense of the individual.
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Valkovsky, Anton V. "Festival Movement in Volgograd in 1980s - 2000s: the Lineage of Continuity". Observatory of Culture, n.º 5 (28 de outubro de 2015): 121–27. http://dx.doi.org/10.25281/2072-3156-2015-0-5-121-127.
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The article analyses the lineage of continuity and interaction and brings out the commonalities, trends and patterns in the development of the festival movement in Volgograd during the three decades by the example of contemporary art festivals. It highlights the main functions of festivals in the region as well.
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Kuppers, Petra. "Outsider Histories, Insider Artists, Cross-Cultural Ensembles: Visiting with Disability Presences in Contemporary Art Environments". TDR/The Drama Review 58, n.º 2 (junho de 2014): 33–50. http://dx.doi.org/10.1162/dram_a_00345.
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Disability is highly visible in contemporary performance festivals and art venues. Traveling from the disability performance ensemble work of Theater Hora and Jérôme Bel, to Javier Telléz's installation Artaud's Cave at dOCUMENTA(13) in Kassel, and on to the Australian Back to Back Theatre's Ganesh versus the Third Reich at the Bodies of Work festival in Chicago raises the pressing questions: How and why is disability art and performance becoming so visible? And for whom?
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Bermes, Iryna. "Local Forms of Festival Space in Drohobych". ARTISTIC CULTURE. TOPICAL ISSUES, n.º 19(1) (13 de junho de 2023): 25–30. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283115.
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At the present stage of cultural development, the search for value and semantic guidelines leading to the realization of new forms of cultural life, including music, is underway. As one of such new forms, festivals help embrace new forms, genres, and types of musical art within a common cultural space while simultaneously motivating creative teams and becoming an impetus for new achievements. The relevance of the article is in the active spread and growing importance of music festivals as creative events and an important component of the national art process. The paper reveals various aspects of provincial city festival life during the period of Ukrainian independence. At present, festivals are an integral element of culture, a constantly evolving art phenomenon. They are in demand in various fields of culture and art, and their concert programs attract townspeople and visitors. Festivals contribute to the formation and promotion of city and regional brands, to the transformation of the urban environment, and place focus on various issues, asthey are related to the general cultural situation and the local context of a particular location. As a key element of contemporary cultural life, festivals contribute to the dissemination of creative practices aimed at developing the cultural sphere of the city and raising the level of cultural life in the region. The paper aims to present a “panorama” of festivals, their features, and their significance for the cultural life of Drohobych.
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Stroeva, Olesya Vitalyevna. "The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art". Journal of Flm Arts and Film Studies 7, n.º 1 (15 de março de 2015): 82–91. http://dx.doi.org/10.17816/vgik7182-91.
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The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.
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Rave, Katalie. "Canada on the Pacific Rim". Canadian Theatre Review 85 (dezembro de 1995): 3. http://dx.doi.org/10.3138/ctr.85.fm.
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This issue of CTR takes up the discussion of theatrical activity from a geo-cultural premise–that of the Pacific Rim. The aim is to probe the intercultural exchanges between artists who work in Canada with their counterparts elsewhere on the Rim, to discover how, and how extensively, cultural differentiation by geography has been qualified, in terms of theatre, by the contemporary revolutions in communications . Air travel, film, video, phone, fax and other technologies of the post-postal era have enabled us to see more of each other, while international theatre festivals have provided sometimes revealing glimpses of different and overlapping cultures of performance.
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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world". Journal of Contemporary Chinese Art 5, n.º 1 (1 de março de 2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.
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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
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Pillar, Analice Dutra. "Readings of the contemporary in art education: Simultaneity and ambivalence in video art". International Journal of Education Through Art 13, n.º 2 (1 de junho de 2017): 235–47. http://dx.doi.org/10.1386/eta.13.2.235_1.
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Diop, Alioune. "Art and Peace (1966)". ARTMargins 9, n.º 3 (outubro de 2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.
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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
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Gaiha, Shivani Mathur, Gulfam Fazlur Rahman, Iram Siddiqui, Vijayluxmi Bose e Sujaya Krishnan. "Uniting hearts and minds: experiences from a pilot festival of youth creative expressions on mental health in India". International Journal of Public Health Science (IJPHS) 12, n.º 1 (1 de março de 2023): 72. http://dx.doi.org/10.11591/ijphs.v12i1.21804.
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Mental-health-related social stigma prevents youth from seeking timely help for mental health problems. The purpose of this study is to assess the feasibility and acceptability of a pilot arts intervention to reduce such stigma among college youth in India. The intervention included three sessions, focused on i) mental health education, ii) developing mental-health-themed art, and iii) a mental-health-themed festival to display art for an invited audience. We assessed feasibility through creation of student-generated art and acceptability in post-intervention surveys and video recordings. The intervention was completed by 371 participants who created 86 works of art (paintings, puppet-shows, drama, dance, and poetry), which was displayed to 434 audience members at uniting hearts and minds: a festival of creative expressions on mental health. Participants self-reported understanding causes and symptoms of mental health problems, interpreting experiences and expressed empathy (n = 194). Our pilot intervention engaged youth, showing potential to reduce mental-health-related stigma and to address feasibility issues related to reaching all colleges uniformly.
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Chang, Zhou, Norfadilah Kamaruddin e Wan Samiati WMD. "Analysis of Mass Media Influences on British Contemporary Art: A Turner Prize perspective". Environment-Behaviour Proceedings Journal 7, SI7 (31 de agosto de 2022): 135–39. http://dx.doi.org/10.21834/ebpj.v7isi7.3773.
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Turner Prize has grown from an unattended state to an authoritative art festival. Besides the innovation of its own evaluation criteria, it also benefits from the extensive involvement of the media in the Turner Prize. The upsurge of visits and public discussion caused by this changed the cultural influence of contemporary art on the public, promoted the prosperity of the art market, and gave birth to new art forms. This paper attempts to analyse the positive and negative influences of mass media on British contemporary art from the Turner Prize and mass media. Keywords: Contemporary Art; Mass media; Turner Prize; Art Market eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3773
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Pyun, Kyunghee. "Religiosity and Spirituality in Linda Mary Montano’s Anorexia Nervosa". Religion and the Arts 27, n.º 1-2 (11 de abril de 2023): 179–203. http://dx.doi.org/10.1163/15685292-02701016.
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Abstract This paper presents a close-up reading of American artist and ex-member of the Maryknoll Sisters, Linda Mary Montano. Her performance in the video work, Anorexia Nervosa (1981) is analyzed in view of contemporary performance and video art by women artists in the second wave feminism. By positioning the experience of self-starving in the Catholic tradition of holy fasting and asceticism of self-starvation, this paper regards Montano’s video work as a continuation of Catholic women utilizing social agencies. Montano’s own performance in Anorexia Nervosa can be seen as one of many forms of keeping the faith while exercising contemporary art with a mission of disrupting social boundaries and norms. Montano’s understanding of the body as a vehicle of performance art is still resonant with her religiosity of elevating self-starving to a miraculous intervention. Her mundane narrative of the extraordinary supports her view that her life is art; art is life.
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Duc, Tran Minh, e Tran Dung. "The Role and Authority of Abbot Monks in Southern Theravada Buddhist Temples in Reviving the Sen Dolta Festival of the Khmer People in Southeast Vietnam". International Journal of Religion 5, n.º 11 (27 de junho de 2024): 2127–36. http://dx.doi.org/10.61707/44vank46.
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Sen Dolta is one of the quintessential traditional festivals of the Khmer people in Southeast Vietnam as well as the Mekong Delta – Southwest Vietnam. The festival reflects many distinctive features: from customs, beliefs, to various forms of art, and even the communal relationships of the Khmer people. After a period of interruption due to wars and unrest, the festival has been restored in recent years. However, due to the unique natural conditions, historical and social circumstances, alongside similarities, the Sen Dolta festival of the Khmer in Southeast Vietnam has transformed and developed distinct cultural characteristics compared to the Khmer in other regions. Based on Max Weber's theoretical perspective on power and combined with ethnographic fieldwork methods, this article presents the unique cultural features of the Sen Dolta festival of the Khmer in Southeast Vietnam. It also analyzes and explains the factors influencing the transformation of the festival, particularly focusing on the role and authority of the abbot monks in Theravada Buddhist temples in reviving the traditional festival of the Khmer in contemporary Southeast Vietnam.
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Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary". International Journal of Film and Media Arts 6, n.º 3 (31 de dezembro de 2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.
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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of Animation: An Interdisciplinary Journal, and Animation Practice, Process & Production.
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Nikolskaya, I. I. "The Warsaw Autumn International Music Festival — Overcoming the Boundaries between East and West". Art & Culture Studies, n.º 4 (dezembro de 2023): 500–555. http://dx.doi.org/10.51678/2226-0072-2023-4-500-555.
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In the late 1940s — early 1950s, a huge gap appeared between the development of musical cultures of Western and Eastern Europe, and it was Poland that initiated bridging it. Therefore, the emergence of the Warsaw Autumn Festival of contemporary music, which has become the largest, was not coincidental. The article is devoted to studying this cultural phenomenon, which has a significant scientific novelty, because the Warsaw Autumn has not yet been subjected to a detailed scientific analysis in Russian musicology. According to the organizers of the new festival — young Polish composers Tadeusz Baird and Kazimierz Serocki, — Warsaw was to become a center of contemporary music, no less important than the avant-garde music festivals in Darmstadt, Donaueschingen, Cologne or Milan. However, the purpose of the Warsaw Autumn is more ambitious — to provide a complete aesthetic and stylistic picture of modern music, and not just avant-garde music, as was the case in Western European countries. The repertoire policy of the festival covered several areas: avantgarde music, more traditional music, the classics of the 20th century, and promotion of Polish music. The festival laid claim to being a reliable display of contemporary music in the world, reacted to the changes in global music, and soon became the largest music arena of the 20th century. It was attended by the most prominent composers of the East and West. For the socialist countries, it became a true “window on Europe” and a platform for mastering new techniques of composition. Without the Warsaw Autumn festival and its profound influence on composers of socialist countries, it would be utterly impossible to imagine the development of musical art of the entire region. This article suggests focusing on the early period of the festival, from 1956 (when it was established) to the early 1980s.
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Arhar, Nika. "Circus choreographies of bodies and things". Maska 34, n.º 198 (1 de dezembro de 2019): 116–20. http://dx.doi.org/10.1386/maska.34.198-199.116_1.
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Abstract The text reflects on the 12th Festival of New Circus and Contemporary Clown Klovnbuf through the prism of contemporary circus' character and its slippery position in contemporary performing arts practices. Following a short overview of developments that have helped shape today's context, the performance analysis focuses mainly on tendencies incorporating critical thinking and the exploration of original forms, means (the trained circus body) and conditions, thereby expanding perspectives in this field of art. It also addresses the issue of the position of contemporary circus in this local environment characterised by a small circle of people involved, challenging working conditions, vulnerable production and weak scientific discourse.
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Handley, Agata. "Representing Absence: Contemporary Ekphrasis in “Apesh-t”". Text Matters, n.º 10 (24 de novembro de 2020): 118–43. http://dx.doi.org/10.18778/2083-2931.10.07.
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Traditionally, ekphrasis has been defined as the description and analysis of works of art in poetry, and so it has been understood as the verbalization of visual images (Sager Eidt). The article examines the concept in the light of contemporary definitions that include non-verbal media as targets (Cariboni Killander, Lutas and Strukelj; Sager Eidt; Bruhn; Pethö) in order to analyze its applicability to music videos.
It concentrates in particular on “Apesh-t,” a video for a track by Beyoncé and Jay-Z from the album Everything Is Love (2018). The video is filmed in different interiors of the Louvre, where the singers appear, together with an ensemble of dancers, in front of selected artworks. The discussion focuses on an analysis of a single shot which presents an ekphrastic re-configuration of one particular work of European art, Jacques-Louis David’s Portrait of Madame Récamier (1800).
The author argues that the use of ekphrasis in the video—through elaboration (close-ups and editing) and repurposing of the source material (painting)—plays an important role in the construction of the theme of “absence”: invoking not only what is represented, but what is not represented in David’s painting. It also foregrounds the potential of ekphrasis as a tool of political and cultural resistance, in the way it intervenes in the representation of the “other” in art and in the museum space.