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A HOMELAND DIVIDED IN SQUARES: JOAQUIM DE VASCONCELOS (1849-1936) IDENTITY PANELS 被分割成正方形的家园:joaquim de vasconcelos(1849-1936)身份面板
ARTis ON Pub Date : 2018-12-30 DOI: 10.37935/AION.V0I8.215
Sandra Leandro
{"title":"A HOMELAND DIVIDED IN SQUARES: JOAQUIM DE VASCONCELOS (1849-1936) IDENTITY PANELS","authors":"Sandra Leandro","doi":"10.37935/AION.V0I8.215","DOIUrl":"https://doi.org/10.37935/AION.V0I8.215","url":null,"abstract":"Considered the founder of Art History in Portugal with a rigorous method, Joaquim de Vasconcelos was also a Musicologist, Museologist, Teacher and Professor, Art Critic and a “champion” of visual transmission “systems” like Photography and Drawing. His capacity for critical analysis, his anarchic enthusiasm for various areas of knowledge, providing ways of thinking and acting when almost everything was still undone, impose him as an anti-mythical and unique character who created his own legend, a myth and a romantic hero, a master of himself far beyond from Gottfried Semper (1803-1879) or Giambattista Cavalcaselle (1819-1897) just to point out two of the masters that he admired. Homeland squares are not only a way of referring how tiles are a very important part of the Portuguese identity puzzle, but also a way of alluding to the geometry of parallels and meridians that Joaquim de Vasconcelos drew when trying to identify the Art in Portugal.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127861018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
TILES AND IDENTITY BY PATTERN CLASSIFICATION 瓷砖和标识通过图案分类
ARTis ON Pub Date : 2018-12-30 DOI: 10.37935/aion.v0i8.218
F. Rodrigues, P. Freitas
{"title":"TILES AND IDENTITY BY PATTERN CLASSIFICATION","authors":"F. Rodrigues, P. Freitas","doi":"10.37935/aion.v0i8.218","DOIUrl":"https://doi.org/10.37935/aion.v0i8.218","url":null,"abstract":"Walled tiles can be figurative or patterned. Whereas the figurative tiles can better be described by theme or author, tile patterns are traditionally classified using more abstract rules that describe either the motif or the pattern itself. In this paper, we present a traditional mathematical classification of plane patterns, the Washburn and Crowe Algorithm, and use it to identify or distinguish tile patterns. We present a complete mathematical classification of the tile patterns present in all places of public access in the Almada region and show how this classification can help recover damaged tiled walls and floors, in order to preserve our heritage. We extend this mathematical analysis to 20th century patterns and quasipatterns, hoping to show that this classification can add to our knowledge of the identity of these patterns.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125679438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
IDENTIDADES FRENTE AL ESPEJO: AZULEJOS EN PORTUGAL Y VALENCIA 镜子前的身份:葡萄牙和巴伦西亚的瓷砖
ARTis ON Pub Date : 2018-12-30 DOI: 10.37935/aion.v0i8.217
J. C. Conesa
{"title":"IDENTIDADES FRENTE AL ESPEJO: AZULEJOS EN PORTUGAL Y VALENCIA","authors":"J. C. Conesa","doi":"10.37935/aion.v0i8.217","DOIUrl":"https://doi.org/10.37935/aion.v0i8.217","url":null,"abstract":"La Península Ibérica posee en Portugal y Valencia dos áreas en las que la azulejería ha jugado un papel relevante a través de la historia. Ambos territorios la flanquean al Este y al Oeste, por lo que parecen proyectarse en una imagen especular aunque cada uno de ellos posee una personalidad distintiva y singular, a veces convergente y a veces divergente, que permiten su comparación para encontrar sintonías, diferencias o especificidades propias de cada uno de estos focos de irradiación universal del azulejo.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133506788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
THE AZULEJO AS COLONIAL SYMBOL OF POWER: A DECONSTRUCTION THROUGH SUGAR AND ART 作为殖民地权力象征的azulejo:糖与艺术的解构
ARTis ON Pub Date : 2018-12-30 DOI: 10.37935/aion.v0i8.220
Shelley L. Miller
{"title":"THE AZULEJO AS COLONIAL SYMBOL OF POWER: A DECONSTRUCTION THROUGH SUGAR AND ART","authors":"Shelley L. Miller","doi":"10.37935/aion.v0i8.220","DOIUrl":"https://doi.org/10.37935/aion.v0i8.220","url":null,"abstract":"I create murals that look like azulejos, depicting caravels and many decorative features seen in traditional azulejos, but my murals are made entirely of sugar. I make the sugar tiles and hand paint them with edible inks. I am interested in the azulejo, specifically with imagery of ships, as a symbol of colonial power and of national pride (the Nation of Portugal), but only for the means to subvert this pride. I developed this work in Brazil, addressing the country’s history of colonization and the slave trade that supported Portugal’s sugar empire. I continue to use the blue tile reference, even outside the context of Brazil, because I want to reference the general construct of colonization and slavery, showing how oppression has found new forms. I install my ephemeral murals on city walls, where they wash away, fade, crumble and decay, animating a more realistic version of history.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130673904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
IN PORTUGUESE… AND SPANISH, ENGLISH, DUTCH, FRENCH… SINGULARITIES OF PORTUGUESE AZULEJOS WITHIN EUROPEAN HISTORIOGRAPHY 葡萄牙语，西班牙语，英语，荷兰语，法语，葡萄牙azulejos在欧洲史学中的独特性
ARTis ON Pub Date : 2018-12-30 DOI: 10.37935/AION.V0I8.214
A. Camara, R. S. Carvalho
{"title":"IN PORTUGUESE… AND SPANISH, ENGLISH, DUTCH, FRENCH… SINGULARITIES OF PORTUGUESE AZULEJOS WITHIN EUROPEAN HISTORIOGRAPHY","authors":"A. Camara, R. S. Carvalho","doi":"10.37935/AION.V0I8.214","DOIUrl":"https://doi.org/10.37935/AION.V0I8.214","url":null,"abstract":"The link between Portuguese tile decorations and the notion of identity(ies) is rooted today in a very wide context, leading to the extensive use of azulejos as cultural and narrative symbols with very different aims. The purpose of the present article is go back in time, to the mid 19th century, and to debate the role played by European historiography in the emergence of the azulejo as an “identitarian” art form, considering its unique characteristics and the main moments and agents that have contributed to the creation and consolidation of this phenomenon.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131713799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
PUBLICITY TILE PANELS IN PORTUGAL: A SINGULARITY WITHIN IDENTITY 葡萄牙的宣传瓷砖面板:身份中的奇点
ARTis ON Pub Date : 2018-12-30 DOI: 10.37935/aion.v0i8.219
Cristina Carvalho
{"title":"PUBLICITY TILE PANELS IN PORTUGAL: A SINGULARITY WITHIN IDENTITY","authors":"Cristina Carvalho","doi":"10.37935/aion.v0i8.219","DOIUrl":"https://doi.org/10.37935/aion.v0i8.219","url":null,"abstract":"In mid-19th century when tiles turn to the outside of the buildings, covering façades, a singularity in tile production came to light: their use as advertising or publicity support. From the third quarter of the 19th century on, very simple signs made of tiles start to inform about products, shops, workshops or services. Since then, until mid-20th century, this sort of production never stopped, being able to update itself to new artistic styles following graphic arts and publicity concepts evolution. Work of unknown artists as well as of consecrated painters and designers, it evolved from the simple lettering to the most exuberant colourful figurative representations. Despite its decline from mid-20th century, this sort of panels never completely disappeared and continued to be produced until nowadays. The present article aims to analyse the publicity panels, a singular tile production scattered all over the country, relating them to the Portuguese artistic identity.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126004224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
"POR UMA REVOLUÇÃO TOTAL” - ERNESTO DE SOUSA E A PRÁTICA POLÍTICA NA ARTE EM PORTUGAL NA DÉCADA DE 1970 “为了一场彻底的革命”——埃内斯托·德索萨与20世纪70年代葡萄牙艺术的政治实践
ARTis ON Pub Date : 2018-12-24 DOI: 10.37935/aion.v0i7.200
Pedro Gonçalves
{"title":"\"POR UMA REVOLUÇÃO TOTAL” - ERNESTO DE SOUSA E A PRÁTICA POLÍTICA NA ARTE EM PORTUGAL NA DÉCADA DE 1970","authors":"Pedro Gonçalves","doi":"10.37935/aion.v0i7.200","DOIUrl":"https://doi.org/10.37935/aion.v0i7.200","url":null,"abstract":"  Na década de 1970, instigando concepções entabuladas nos anos precedentes, Ernesto de Sousa advoga “por uma revolução total”, que deveria repercutir-se em todos os campos da sociedade. Com o intuito de subverter as normas instituídas, Ernesto de Sousa conduz os processos artísticos sob a sua alçada numa extensão política, procedendo tanto a uma revisão de nomenclaturas linguísticas, substituindo, por exemplo, o termo artista pelo de operador estético; como na abertura das obras ao espectador, activando-o como elemento constitutivo das mesmas. Estas transformações situam-se na sua maioria em confronto com a burguesia, que, dentro do seu espectro teórico, abarca tanto o mercado artístico como o regime fascista, que perdurou até 1974. O programa que engloba estas considerações atravessa, neste sentido, diversos momentos históricos em território nacional, procurando sempre reflecti-los e abarcá-los na promoção de uma sociedade mais livre e igualitária.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"390 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127589982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
OCCUPY BIENNALE? SOCIALLY-ENGAGED ART PRACTICE AND ART INSTITUTION 占领双年展吗?社会参与艺术实践和艺术机构
ARTis ON Pub Date : 2018-12-24 DOI: 10.37935/AION.V0I7.203
U. Staszkop
{"title":"OCCUPY BIENNALE? SOCIALLY-ENGAGED ART PRACTICE AND ART INSTITUTION","authors":"U. Staszkop","doi":"10.37935/AION.V0I7.203","DOIUrl":"https://doi.org/10.37935/AION.V0I7.203","url":null,"abstract":"The political phenomenon of Occupy Wall Street obtained the global attention in the fall of 2011 with its encampment in the Zuccotti Park (New York). As the movement grew, there also seemed to be an aesthetic component to it revealed in socially-engaged, participatory practices. Those presuppositions provoked the debate focused on the emerging issue of activist art and on the art’s capability to transmit the aims of political protest. Consequently, curators and art institutions attempted to endorse the Occupy movement, while incorporating it into various art events. This text seeks to explore those issues through the analyses of emerging discourse on socially-engaged practices and its existence within art institution on the example of Berlin Biennale 7.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121896867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
MEMORIALIZATION OF WAR BETWEEN CONFLICTS OF INTEREST BEFORE AND AFTER THE ISLAMIC REVOLUTION: PUBLIC ART AND PUBLIC SPACE IN IRAN 纪念伊斯兰革命前后的利益冲突:伊朗的公共艺术和公共空间
ARTis ON Pub Date : 2018-12-24 DOI: 10.37935/AION.V0I7.202
Narciss M. Sohrabi
{"title":"MEMORIALIZATION OF WAR BETWEEN CONFLICTS OF INTEREST BEFORE AND AFTER THE ISLAMIC REVOLUTION: PUBLIC ART AND PUBLIC SPACE IN IRAN","authors":"Narciss M. Sohrabi","doi":"10.37935/AION.V0I7.202","DOIUrl":"https://doi.org/10.37935/AION.V0I7.202","url":null,"abstract":"Since 1800s, numerous wars have impacted the cities of Iran. Regarding the urban artwork in Tehran, the capital of Iran, the following question comes to mind: What approach has the urban artwork adopted to represent the war and its related concepts? Adopting a documentary research approach and investigating the concept of war in different eras, this paper attempts to study the sculptures in urban spaces as documents. Based on the books and historical documents, a total of 192 sculptures, which were built from the Qajar dynasty to 2016 have been examined in this study. During the Qajar dynasty, the governments have used sculptures, especially the ones placed in city squares, to demonstrate their power. After the Constitutional Revolution, figures denoting concepts of justice and freedom became pervasive in the squares up until the end of the Pahlavi dynasty. After the Islamic Revolution, the Iran-Iraq war has been called Sacred Defense and the goal of creating statues has been changed to express revolutionary and ideological concepts. Figurative sculptures and busts have been made as a tribute to the martyrs of the Iran-Iraq war.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130952628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
O SISTEMA DA ARTE CONTEMPORÂNEO É LIVRE? 当代艺术体系是自由的吗?
ARTis ON Pub Date : 2018-12-24 DOI: 10.37935/aion.v0i7.205
J. Costa
{"title":"O SISTEMA DA ARTE CONTEMPORÂNEO É LIVRE?","authors":"J. Costa","doi":"10.37935/aion.v0i7.205","DOIUrl":"https://doi.org/10.37935/aion.v0i7.205","url":null,"abstract":"A presente reflexão aborda a liberdade artística no âmbito do mundo da arte contemporânea– desenvolvido a partir do conceito de Artworld de Arthur C. Danto. Desta forma, pensa-se a ligação do artista e da sua obra à sociedade, e das restrições e liberdades que advêm desta relação dialéctica. Tendo como base que: a liberdade do artista é definida pelas condições de possibilidade de concretizar a sua obra; sendo que este intervalo de possibilidade vai desde o momento em que a obra é apenas uma “semente” no pensamento até o momento em que é exposta – a partir deste ponto a obra segue também uma vida própria. \u0000Em última instância, procura-se abrir caminho ao debate em torno das relações de poder dentro das hierarquias que formam o mundo da arte, realçando as consequências principais para a cultura ao nível da sociedade ocidental.","PeriodicalId":363677,"journal":{"name":"ARTis ON","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121516420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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