ARTMargins最新文献_第9页

“None of the Art Stuff Makes Sense Anymore”: An Interview with Luis Camnitzer “没有什么艺术的东西再有意义了”:采访路易斯·坎尼策

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_a_00290

R. Weiss

引用次数: 0

If You Want to Say Something—Speak in the Language of the Language: Ewa Partum's Model of Conceptual Art 如果你想说什么——用语言的语言说:艾娃金的观念艺术模式

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_a_00293

Karolina Majewska-Güde

{"title":"If You Want to Say Something—Speak in the Language of the Language: Ewa Partum's Model of Conceptual Art","authors":"Karolina Majewska-Güde","doi":"10.1162/artm_a_00293","DOIUrl":"https://doi.org/10.1162/artm_a_00293","url":null,"abstract":"Abstract The artistic practice of the Polish-born Ewa Partum can be divided chronologically into Polish (1965–1982), West Berlin (1982–89) and transnational / global (from 1989) periods. This essay focuses on the specificity of the conceptual art developed by Partum and her self-historicization as a conceptual artist. At the same time, it regards the local and global historicization of conceptual art as fragmentary and contradicting processes. The study examines local genealogy of Partum's conceptual strategies as part of a localized reflection on the geopolitics of knowledge; it considers a specific position of cultural production that is characteristic of Central and Eastern European neo-avant-gardes. It examines Partum's model of conceptual art in relation to Polish and Western practices. It is argued that Western conceptualism was only a point of reference for Partum's art. Works such as Presence / Absence or Luncheon on the Grass realized by Partum in years 1965–1972 formed a basis from which the artist responded to knowledge of the transnational conceptual movement that was disseminated through Mail Art and Fluxus networks. Analysis reveals Partum's model of conceptual art to be contrapuntal, as it is not subordinate to either its western inflection or local (Polish) cannons and protocols.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"73-92"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47287707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

_rt movements _rt运动

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_a_00294

Bruno Moreschi, Christopher Bratton, Dalida María Benfield, Gabriel Pereira, Guilherme Falcão

引用次数: 0

A Room with a landscape: Vedute from the Palace of the Privileged Company of Trieste and Rijeka 一个有风景的房间:来自的里雅斯特和里耶卡特权公司宫殿的Vedute

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-04-30 DOI: 10.1162/artm_a_00287

Fokus Grupa

{"title":"A Room with a landscape: Vedute from the Palace of\u0000 the Privileged Company of Trieste and Rijeka","authors":"Fokus Grupa","doi":"10.1162/artm_a_00287","DOIUrl":"https://doi.org/10.1162/artm_a_00287","url":null,"abstract":"\u0000 In the oldest Austro-Hungarian sugar refinement plant opened in mid 18thcentury in Rijeka, today Croatia, a series of “idealized” landscapes pained by unknown artisans include depictions of slaves. The so-called Vedute ideate are a rare depiction of the racialized slave labor in the Austro-Hungarian Empire that points to the invisible labor, which enabled industrial production of sugar and made visible the relation of the Austro-Hungarian Empire, together with the peripheral port town of Rijeka, to the global flow of capital and the history of colonialism. By drawing on Catherine Baker’s recently published “Race in Yugoslavia” we look at how representation of slavery did not receive critical assessment while the resentment for the racialization across ethnic lines, in relation to Europe proper where the inhabitants ex-Yugoslavia are themselves racialized as the European other, perseveres. With the repurposing of the industrial building in the framework of European Capital of Culture project, Rijeka 2020 – Port of Diversity, the Vedute ideate will be publicly displayed as part of the Museum of the City of Rijeka display but it is uncertain whether the museum will recognize colonialism as a constituent part of Rijeka’s industrialization and development.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48588406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Landscape and Its Double: The Technological Sublime 景观及其双重性：技术的升华

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-04-30 DOI: 10.1162/artm_a_00286

Angela Harutyunyan

{"title":"Landscape and Its Double: The Technological Sublime","authors":"Angela Harutyunyan","doi":"10.1162/artm_a_00286","DOIUrl":"https://doi.org/10.1162/artm_a_00286","url":null,"abstract":"\u0000 The essay inquires about the historical condition of representation in our present while invoking the modern experience of the sublime and landscape as the medium of that experience. Can the sublime as the experience of the subject confronted with the very limits of representation be extended to our late capitalist conditions of mediatized representations? What constitutes “a landscape” as the site of the experience of the sublime in late capitalism? The essay addresses these questions through a renewed discussion of Walter Benjamin’s “The Work of Art in the Age of Technological Reproducibility” (1936) by focusing on the discussion of the aura and the decay of the aura in relation to landscape. In the wake of the failure of a transformative praxis to bring about a new social order, the technologically hyper-mediated engagement of man with nature under the conditions of extreme alienation and reification results in the production of the aesthetics of destruction experienced as “supreme pleasure”. In the age of the atomic bomb and technological hyper-mediation, the singularity of the moment of the experience of the sublime is multiply reproduced. The essay ends with an analysis of Werner Herzog’s 1992 film Lessons of Darkness as an example of rendering cinematically the aura’s survival under the conditions of its decay in the burning oil fields of Kuwait. Capitalism’s “desert of the real”, as the vast desert in Kuwait in Herzog’s film, is precisely the landscape in relation to which the subject attempts to represent that which evades representation (the event, nature, capitalism, and so on).","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47330323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Reframing Landscape 重塑景观

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-02-01 DOI: 10.1162/artm_a_00281

W. Mitchell

引用次数: 2

Introduction to “City as Landscape” (1970) by Matsuda Masao (1933–2020) 松田正雄(1933-2020)《城市景观》(1970)简介

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-02-01 DOI: 10.1162/artm_a_00284

Franz Prichard

引用次数: 1

Fury and the Landscape Film: Three Men Who Left Their Will on Concrete 狂暴与风景电影:三个在混凝土上留下遗嘱的人

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-02-01 DOI: 10.1162/ARTM_A_00283

Julia Alekseyeva

引用次数: 0

Militant Landscape: Notes on Counter-Figuration from Early Modern Genre Formation to Contemporary Practices, or, Landscape after the Failure of Representation 军事景观：从早期现代流派形成到当代实践的反塑造，或再现失败后的景观

IF 0.2 2区艺术学

ARTMargins Pub Date : 2021-02-01 DOI: 10.1162/artm_a_00282

Jaleh Mansoor

{"title":"Militant Landscape: Notes on Counter-Figuration from Early Modern\u0000 Genre Formation to Contemporary Practices, or, Landscape after the Failure of\u0000 Representation","authors":"Jaleh Mansoor","doi":"10.1162/artm_a_00282","DOIUrl":"https://doi.org/10.1162/artm_a_00282","url":null,"abstract":"\u0000 In 1844, the year of Marx's Philosophical and Economic Manuscripts, J.M.W. Turner presented Rain, Steam, and Speed: The Great Western Railway, the first landscape painting to both articulate the ontological shifts brought about by new modes of extraction and production, but also to suggest concomitant transformation in perception. In this way, it collapsed the dialectical relation between perceiving subject and external landscape, suggesting the reciprocal relationship of reification. In 2013, the contemporary artist and filmmaker Zachary Formwalt produced a piece entitled Projective Geometry in which he read from Chapter 25 of Marx's Capital, the chapter on “So-called Primitive Accumulation.” This voice-over accompanies footage—each shot organized in rigorous single point perspective—of the railroad built by England, France, and Belgium extending from the Ivory Coast to the Cape. Formwalt also unearthed documents from archives in those Imperialist nation states and former/present empires casually mentioning the now unruly, now obedient, yet always “pesky” local African labor that lost life to the enterprise of transportation of local resource extraction to which they were utterly disposable. This essay will describe and analyze both works of art crossing Modernism, aka the culture wing of Modernity (itself a polite term for the ontological shifts brought about by the capitalist mode of production) through the theoretical matrix of Marx, Luxemburg, Sohn-Rethel, and Courtauld.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48835749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Book Review in the Form of a Polemic Chad Elias's Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon and the Old New World Order 乍得·伊莱亚斯的死后影像:内战后黎巴嫩和旧新世界秩序的当代艺术与记忆政治

IF 0.2 2区艺术学

ARTMargins Pub Date : 2020-10-01 DOI: 10.1162/artm_a_00273

Ghalya Saadawi

{"title":"A Book Review in the Form of a Polemic Chad Elias's Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon and the Old New World Order","authors":"Ghalya Saadawi","doi":"10.1162/artm_a_00273","DOIUrl":"https://doi.org/10.1162/artm_a_00273","url":null,"abstract":"Chad Elias' 2018 book Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon attempts to deal with the question of post-civil war representation, image-making and contemporary art from the perspective of memory studies in Lebanon. Dealing with a particular group of artists working since the 1990's in installation, video, film, and performance, the book attempts to create a relation between their artistic propositions and narratives on the one hand, and the post-war reckoning with the missing and disappeared, the history of former Leftist combatants, neglected space programs, reconstruction and urban space, on the other. The book has a series of shortcomings and structural, theoretical blind spots that this review essay attempts to redress. For instance, Posthumous Images has no framework for the notions of communities of witnessing, collective memory, or post-war amnesia that seems to underpin its claims, as they seem to figure only nominally. In these theoretical omissions, the essay argues, the book adopts and furthers the ideology human rights as this relates to the politics of remembrance, as well as to Lebanon's neoliberal post-war realities. Moreover, it lacks a rigorous art historical frame to study the given artworks formally, or theoretically, leaving the book open to a post-historical method that disavows a critical, social history of art needed for an analysis of post-civil war and post-Cold war art forms in Lebanon and beyond.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"9 1","pages":"69-86"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45487492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0