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Articles 1 - 11 of 11
Full-Text Articles in Art Practice
Counter-Archival Surplus: Remembering The Partisan Rupture In Post-Socialist Times, Gal Kirn
Counter-Archival Surplus: Remembering The Partisan Rupture In Post-Socialist Times, Gal Kirn
Artl@s Bulletin
The article departs critically from the postsocialist condition in Yugoslavia marked by conservative revisionism that transformed the memorial landscape. The nation-building process took a clearly negative attitude towards the Yugoslav, socialist and partisan/antifascist past. The first part of the text will shortly present the notion of »counter-archive« and the central features of the method. The second part of the text will offer a short analysis of four case studies: A short partisan poem written by Iztok, a drawing by Dore Klemenčič, a partisan dance by Marta Paulin and a partisan film by Rudi Omota.
Circulation Of Images, From Recognition To Erasure: An Artist’S Response, Lei Xie
Circulation Of Images, From Recognition To Erasure: An Artist’S Response, Lei Xie
Artl@s Bulletin
This article revolves around my practice, as an artist, which has an essential link with images and their circulation. In a subtle way, painting offers me a language allowing me to explore the polysemy of the chosen image, to experience a vocabulary both figurative and abstract. My practice could choose and process "ordinary" images, which are diffused but whose diffusion does not alter the subject, and has no consequence on the latter. It can also retain images whose strength is intrinsic to their circulation, to their popularization, to their controversy, images which will however ultimately generate paintings, and simultaneously erasing …
Petit Répertoire Méthodologique Pour Une Approche Multidimensionnelle Des Arts Visuels Contemporains, Clotilde Wuthrich
Petit Répertoire Méthodologique Pour Une Approche Multidimensionnelle Des Arts Visuels Contemporains, Clotilde Wuthrich
Artl@s Bulletin
Quels pourraient être les outils contenus dans un petit répertoire méthodologique disponible à la fois pour l’anthropologie et l’histoire de l’art à même d’appréhender et décrire les pratiques multiples des arts visuels contemporains, jusqu’aux plus hétérogènes et hybrides, et de façon rigoureusement symétrique ? J’en évoquerai ici quatre en insistant sur le contexte historique de leur émergence: les approches contraires ; l’art comme technologie sociale et les artistes comme interfaces ; l’art-ethnographie ; et la bricologie.
Notes From Johannesburg - Dialogues And Itineraries Of The South From Kinshasa: Art, History, And Education, David Andrew
Notes From Johannesburg - Dialogues And Itineraries Of The South From Kinshasa: Art, History, And Education, David Andrew
Artl@s Bulletin
This text was originally a brief speech in a debate – Dialogues and Itineraries of the South from Kinshasa: Art, History and Education that took place at Mário de Andrade Library’s Auditorium in São Paulo (Brazil) on October 26th 2016. It draws from questions and discussions in Kinshasa, concerning arts education, the challenges in decolonizing curriculum and methods, connecting them to South African experiences, particularly at the Wits School of Arts (Johannesburg) and also from the Another Road Map School research group workshops.
Lumumba’S Iconography As Interstice Between Art And History, Matthias De Groof
Lumumba’S Iconography As Interstice Between Art And History, Matthias De Groof
Artl@s Bulletin
How does Congolese art and artistic representations of Lumumba “mediate past, present and future”? How do they relate to historical narratives and to the dialogues within the Global South? This contribution proposes Lumumba’s iconography as a case in point of the interstice between art and history. It positions the image of Lumumba as mediating between past, present and future for both the Congo and the Global South more broadly.
Retour À L’Authenticité In The City: A Photo Essay, Ruth Sacks Dr
Retour À L’Authenticité In The City: A Photo Essay, Ruth Sacks Dr
Artl@s Bulletin
These photographs were taken as part of a larger research project tracing Mobutu Sese Seko’s construction projects in Kinshasa in the late 1960s and 1970s. The sites were part of a drive initially taking place under Mobutu’s cultural policy of retour à l’authenticité, instigated in 1967 as a means of taking recourse in pre-colonial Congolese traditions. This gave rise to a wide variety of architectural styles, adorned by artworks largely commissioned from a group called the avant-gardists. The selection of photos seen here presents glimpses of some of the sites and their artworks.
Artistic Emigration From Portugal To Paris In The First Half Of The 1960s: Six Portuguese Painters From Paris Revisited, Joana Baião
Artl@s Bulletin
This paper proposes to revisit some issues related to the impact of emigration on the paths followed by a group of six Portuguese painters who settled in Paris between 1958 and 1961. To do that, it will analyze and contextualize the evolution of their work in the first half of the 1960’s, and it will recall the small exhibition Seis Pintores Portugueses de Paris that opened in 1966 in Lisbon with the purpose of highlight the particularities of the artistic research that was being developed by those artists in Paris, integrating them into the international artistic movements of the period.
Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker
Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker
Artl@s Bulletin
Through the example of Bagyi Aung Soe, Myanmar’s leader of modern art in the twentieth century, this essay examines the potential of Śāntiniketan’s pentatonic pedagogical program embodying Rabindranath Tagore’s universalist and humanist vision of an autonomous modernity in revitalizing the prevailing unilateral and nation-centric narrative of modern Southeast Asian art. It brings into focus the program’s keystones on the modern, art and the artist, which have been pivotal in discoursing on the Burmese alumnus of the ashram-turned-university, and explores how the same might be applicable to fellow artists in Myanmar and the region.
Sondage Autour De L’Exposition Internationale Pour La Palestine De 1978, Nasser Soumi
Sondage Autour De L’Exposition Internationale Pour La Palestine De 1978, Nasser Soumi
Artl@s Bulletin
En 1978, une Exposition Internationale pour la Palestine se tint à Beyrouth dans le but d’exposer les œuvres d’artistes internationaux solidaires du peuple palestinien, dans un quartier contrôlé par les Palestiniens et fréquenté par des militants libanais et arabes pro-Palestiniens. Lors de l’exposition, Nasser Soumi réalisa un sondage auprès du public palestino-libanais. A cette époque, son travail artistique ne correspondait pas à l’art révolutionnaire pratiqué par la majorité des artistes palestiniens. Sa préoccupation était la problématique existentielle de l’être humain—y compris celle des Palestiniens. Au-delà du public, il s’agissait donc à travers ce sondage de mieux se comprendre lui-même.
Past Disquiet: From Research To Exhibition, Kristine Khouri, Rasha Salti
Past Disquiet: From Research To Exhibition, Kristine Khouri, Rasha Salti
Artl@s Bulletin
An exhibition of an exceptional scale and scope took place in Beirut in the middle of the civil war and today, its archival and documentary traces have been almost entirely lost. The International Art Exhibition for Palestine opened in the Spring of 1978, comprising some 200 works donated by artists hailing from nearly 30 countries, to be a seed collection for a museum in exile. This is a transcript of a presentation of the transformation of research into an exhibition format and a virtual walkthrough of the show Past Disquiet: Narratives and Ghosts from the International Art Exhibition for Palestine, …
Digital Space Art (History?), France Languérand
Digital Space Art (History?), France Languérand
Artl@s Bulletin
Invited by ARTL@S Bulletin as visual artist, France Languérand opted for a first-person text introducing her artworks—which develop into the digital sphere, questionning their own sustainability— and recounting the evolution of her relationship the digital space. This walkthrough is guided by her current thoughts about numbers and coding system as creative tools. Languérand’s pieces are only partially visible in the physical world but exist entirely in the digital space.