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O Último Ato Reflexões Sobre Performance, Morte, Violência E Transcendência
Bárbara de Oliveira Ahouagi O último ato Reflexões sobre performance, morte, violência e transcendência Belo Horizonte 2015 Bárbara de Oliveira Ahouagi O último ato Reflexões sobre performance, morte, violência e transcendência Dissertação apresentada ao Programa de Pós- Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais como requesito à obtenção do título de Mestre em Artes. Área de Concentração: Arte e Tecnologia da Imagem Orientadora: Profa. Dra. Maria Angelica Melendi Belo Horizonte 2015 Ahouagi, Bárbara, 1980- O último ato [manuscrito] : reflexões sobre performance, morte, violência e transcendência / Bárbara de Oliveira Ahouagi. – 2015. 151 f. : il. + 3 folhas, em bolso. Orientadora: Maria Angelica Melendi Dissertação (mestrado) – Universidade Federal de Minas Gerais, Escola de Belas Artes, 2014. 1. Warburg, Aby, 1866-1929 – Atlas Mnemosyne – Teses . 2. Percepção visual – Teses. 3. Performance (Arte) – Teses. 4. Arte – Filosofia – Teses. 5. Arte moderna – 1960-1970 – Teses. I. Biasizzo, Maria Angélica Melendi, 1945- II. Universidade Federal de Minas Gerais. Escola de Belas Artes. III. Título. CDD 701.15 Para Eliana e Michel. Para Paulo, Salomé, Ana Emília e Letícia Agradeço à Krsna, a fonte de tudo, e ao meu mestre espiritual, que me conecta à Ele. Agradecimentos sem fim à Piti, pela inspiração, cuida- do, amizade, dedicação, competência e liberdade. Agradeço à banca, todos meus professores. À Con- suelo, pela preciosa revisão. Aos colegas do grupo de pesquisa e meus amigos que contribuiram com esta pesquisa. Agradeço aos meus pais e antepassados e a todos os meus amigos que passaram ou que permanecem, me ensinando e me inspirando todos os dias. -
Reading, Because of Love by Andrea Pagnes (Vestandpage) This
Reading, Because of Love By Andrea Pagnes (VestAndPage) This is not exactly a book review, but my humble thoughts skewed one after the other— a visceral empathic response to Franko’s life story, one of the artists who most inspired my journey through art. When someone tells you of his/her life, exposing his/her heart, every moment assumes its importance, even the most apparently banal. As we get to know a person better, there is a natural process that acts on our affective sphere. It is a mechanism mostly responsible for building friendship and respect. At least metaphorically, it can be said that the people we know and value inhabit a part of our brain. We have a copy of them stored in our memory: not an exact reproduction but series of images valid enough to stimulate our intellect and emotional intelligence. Some books offer very concentrated social information. They are to our social interests like fresh water is to the part of our brain when we are thirsty. For readers who are concerned with anything that has social and causal implications, those books are there to satisfy these interests. They stimulate reflection. Not all books, of course, but above all good essays and novels, and those with the focus on a single character, biographies and autobiographies. I always feel a certain fascination when an author of a book unlocks the doors of his/her world through an uncompromised way of writing. It is like receiving an open invitation to enter inside a place once kept secret and share what is there to be found, and so to imagine, mirror, recognise. -
The Recurring Desire to Experience by Zakriya Rabani a Non-Thesis
The Recurring Desire To Experience By Zakriya Rabani A non-thesis project in partial fulfillment of the requirements for the degree of Master of Fine Arts School of Art and Art History College of the Arts University of South Florida Major Professor: Cesar Cornejo, PHD Committee Member: Wendy Babcox, MFA Committee Member: Gregory Green, MFA Date of Approval: 04/11/2018 Keywords: installation, skateboards, mediated motion, soul, essence, used materials, imagination, potential, experience ⓒ Copyright 2018, Zakriya Rabani This paper reflects my worldview. I am not an expert on theory, people, life, sport, or even art, I can however speak about the concept of experience in my own life. Experience teaches us how to live, how to fail and succeed, but most importantly how to be what it is we desire. From a young age, my desire was to be great at everything, I felt I could achieve anything if I tried hard enough. I believe that this sense of desire is a recurring feeling throughout our lives, no matter the task, sport or occupancy. What is seen, felt and can be interpreted is shaped by experience, this is something I have realized through my upbringing and education. It is our participation with objects, environments and people that allow us to retain information. How we participate is unique to each individual, causing different actions and ideas to occur. Through “ ‘seeing yourself sensing’, a moment of perception, when the viewer pauses to consider what they are experiencing” and mediated motion1 where “viewers become more conscious of the act of movement through space.” I want participants to see what I see in the world. -
Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students. -
Dear Reader. Don't Read
1 Guy Schraenen Ulises Carrión Dear reader. Don’t read. The revolution engendered by access to knowledge on the Internet brings to the fore certain artistic projects of the past that seem to resonate with the present, as a kind of wake-up call or an invitation to reflect. This is the case, for instance, of the heterodox, multiform oeuvre of the artist, writer, and publisher Ulises Carrión. Right from its title, the exhibition Dear reader. Don’t read raises a paradox in the form of a negative imperative: it reminds us of the need to approach written text, literature, and hence culture as an ambiguous and contra- dictory field full of latent meanings that may perhaps even surface through their negation. The exhibition, which takes the thought-provoking form of a large exhibited—or “published”—archive, inquires into what a museum can contain, beyond traditional formats. It also explores what an art institution can do in the sense of giving voice to groups of thoughts that have been hidden by the veil of time and by the material complexity of the media in which they are expressed. The Ulises Carrión exhibition and publication are presented at a time when both the Museo Reina Sofía and its foundation are paying close attention to archives, particularly those related to Latin America’s cultural scene. Due to their very nature, these groups of units of knowledge are at risk of disappearing, either literally in the physical sense or by succumbing to oblivion and neglect, to the point where they can no longer be read or interpreted. -
Scaling the Sublime: Art at the Limits of Landscape
SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE Martin John Callanan Simon Faithfull Tim Knowles Mariele Neudecker Rebecca Partridge Katie Paterson Richard T Walker Curated by Rebecca Partridge and Nicholas Alfrey SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE DJANOGLY GALLERY NOTTINGHAM LAKESIDE ARTS 05 Foreword As Nicholas Alfrey has highlighted at the beginning of his essay, Scaling the Sublime originated in another earlier exhibition Reason and Emotion: Landscape and the Contemporary Romantic . Mounted at the Kunstverein Springhornhof, Germany, in 2013, the exhibition was curated by Rebecca Partridge with Randi Nygärd and Bettina van Dziembowski. Since that time Nicholas and Rebecca have been discussing ways in which they might re-focus and develop its themes, refine the selection of artists and bring it to a British audience. Subsequently, there have been a number of exhibitions in Britain and overseas exploring the theme of contemporary responses to landscape and the legacy of Romanticism, often as mediated through the more recent Land art. These include Land’s End (Chicago, 2015); Setting Out (New York, 2015); In Search of the Miraculous (Newlyn Art Gallery, 2015) and Terrain: Land into Art (Hestercombe Gallery, Somerset, 2016). Scaling the Sublime does not attempt to re-trace the ground covered by these recent shows; instead it brings together the work of artists who are closely linked by their creative and in some cases personal affinities, but who have never been shown together as a group in this way before. In terms of the Djanogly Gallery’s own history, this exhibition also forms part of a strong lineage of landscape-themed surveys reaching back to its inception at the beginning of the 1990s and reflects to a large extent the strengths of teaching and research in the Art History department and the strong emphasis on Cultural Geography in the School of Geography at the University of Nottingham. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. 1 Sight as Trauma: The Politics of Performing and Viewing the Body on Stage Panayiota Chrysochou Dedicated to my gran PhD Thesis University of Edinburgh March 2012 2 Contents Abstract List of plates Acknowledgments Introduction The gaze as motif The Eye/I and the Gaze of the Other Theatre as spectacle and site of resistance Aesthetics and the material body Enigmatic and visual signifiers Antiocularcentrism Eyes mediated through technology Scopic regimes and traumatic visions 1. The Fractured I/Eye and the Traumatic Gaze in Theatre 2. In Dread of the Wandering Eye: Oedipal Visions, Enucleated Eyes and the Scopic Regime of Malveillance in Sophocles’ Oedipus Rex 3. The Horror of Oedipus’s Vision: Deathly (Re)visitations, Incest and Desire in Shakespeare’s Macbeth 4. Theatrical Space and the Subversion of Gender in Macbeth and Oedipus Rex 5. -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
FOR IMMEDIATE RELEASE Bas Jan Ader
FOR IMMEDIATE RELEASE Bas Jan Ader 24 JUNE – 26 AUGUST 2016 PRIVATE VIEW: THURSDAY, 23 JUNE, 6 – 8 PM Simon Lee Gallery is proud to announce a solo exhibition of work by Dutch conceptual artist Bas Jan Ader, one of the most influential artists of his generation. Forty years after the end of his brief career, his concise body of some thirty-five works created between 1969 and 1975 continues to inspire artists, writers, curators and critical thinkers. This exhibition includes five of Ader’s short ‘falling’ films, shown in their original 16mm format, alongside the key film from 1974, Primary Time. It also includes related photo works and the seminal work, I’m too Sad to Tell You, (1971). The works exhibited reveal the depth of Ader’s investigation into questions of control and its surrender to the forces of nature, particularly in relation to the creative process and strategies of composition. “When I fell off the roof of my house, or into the canal, it was because gravity made itself master over me”. In the film Fall 1, Los Angeles, (1970), the camera is focused on the front of Ader’s home in Claremont, with the artist sitting on a chair straddled across the top of the roof before falling and crashing into the garden. In Fall 2, Amsterdam, (1970), Ader framed for camera a section of the Reguliersgracht canal, a canal bridge, path and trees, with the wall of the canal bisecting the picture to provide a horizon line. Ader appears in the frame from a side street, gripping his handlebars with a bunch of flowers clutched in one hand before appearing to lose control of his bicycle and plunge into the water, along with the bike and flowers. -
State of Mind: New California Art Circa 1970 from Acclaimed “Pacific Standard Time” Exhibition Series Comes to the Bronx Museum of the Arts
State of Mind: New California Art circa 1970 from Acclaimed “Pacific Standard Time” Exhibition Series Comes to The Bronx Museum of the Arts Museum is Only East Coast Venue to Present Exhibition Illustrating Broad Impact “California Conceptualism” Continues to Have on Contemporary Art Bronx, NY, April 11, 2013 – This June, The Bronx Museum of the Arts will become the only East Coast venue to present State of Mind: New California Art circa 1970, an exhibition which explores the emergence of conceptual art in California in the 1960s and 70s. The exhibition was developed as part of the Getty Foundation’s collaborative exhibition series, “Pacific Standard Time,” and will feature 150 works by 60 artists in a range of media. Each of the artists featured in the exhibition—including Chris Burden, Lynn Hershman, Linda Mary Montano, Martha Rosler, Allen Ruppersberg, and Ed Ruscha—played a seminal role in the emergence of “California Conceptualism.” Marked by its radical forms and ideas, the new art movement permeated the country in the 60s and 70s and has continued to influence artists since its inception. Works in the exhibition exemplify the unrestricted style of the era, when art was produced for alternative audiences and outside of artists’ studios—in the streets, at artist-run galleries, and in other non-traditional spaces. State of Mind features video, film, photography, installation, artist's books, drawings, and extensive performance documentation and ephemera. The exhibition’s tour is organized by Independent Curators International (ICI) and will be on view at The Bronx Museum from June 22 – September 8, 2013. -
Abecadło Muzeum Jerke
Sztuka w Polsce i Europie Środkowo-Wschodniej „ „Szum nr 19 25,00 PLN (w tym 5% VAT) zima 2017 – wiosna 2018 ISSN 2300-3391 Otwarte Triennale Dominika Olszowy OFF-Biennale Real Nazis Abecadło Muzeum Jerke POLSKA AWANGARDA I SZTUKA WSPÓŁCZESNA Johannes-Janssen-Straße 7 45657 Recklinghausen, Germany www.museumjerke.com Krzysztof Wodiczko Żywe obrazy Otwarcie: czwartek, 7 grudnia 2017, godz. 19 Wystawa czynna: od 8 grudnia do 23 grudnia 2017 i od 3 stycznia do 13 stycznia 2018 WWW.MCK.KRAKOW.PL od wtorku do soboty, w godz. 12–19 ul. Franciszkańska 6 Lokal przy ul. Franciszkańskiej 6 w Warszawie jest 00-214 Warszawa Projekt wykorzystywany na cele kulturalne przez Fundację www.fundacjaprofile.pl współfinansuje Profile dzięki pomocy Miasta Stołecznego [email protected] m.st. Warszawa Warszawy – dzielnicy Śródmieście Patroni medialni: 10.11 – 30.12.2017 JEREMY DELLER Ryszard Kisiel, 1985/1986, kolekcja QAI QAI/CEE Karol Radziszewski 11 listopada 2017 - 6 stycznia 2018 BITWA O BATTLE OF ORGREAVE Gdańska Galeria Miejska 2 kuratorka / curator: godziny otwarcia / Dofinansowano ze środków Ministra Gdańsk City Gallery 2 Patrycja Ryłko openning hours: Kultury i Dziedzictwa Narodowego ul. Powroźnicza 13/15 wt. - nd. 12.00 - 19.00 / wernisaż / openning: tue - sun noon - 7:00 P.M. wstęp wolny / free admission 10.11.2017 godz. 19.30 / 7:30 P.M. www.ggm.gda.pl www.centrala-space.org.uk • Birmingham, UK Magdalena Morawik z Wydziału Sztuki Mediów otrzymała główną nagrodę wystawy Coming Out – Najlepsze Dyplomy Akademii Sztuk Pięknych w Warszawie za pracę Środkowa szarość. Nagrodą jest sfinansowanie przygotowania indywidualnej wystawy za rok w galerii Salon Akademii. -
AMELIA G. JONES Robert A
Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice.