World Art最新文献_第4页

A visual legacy: William Crocker’s ethnographic archive 视觉遗产:威廉·克罗克的民族志档案

World Art Pub Date : 2022-04-12 DOI: 10.1080/21500894.2022.2055632

Fabiola Iuvaro

引用次数: 0

Requiem for Life: on pollution & pandemic 生命的安魂曲:关于污染与流行病

World Art Pub Date : 2022-03-17 DOI: 10.1080/21500894.2022.2041477

Tamera Khan

{"title":"Requiem for Life: on pollution & pandemic","authors":"Tamera Khan","doi":"10.1080/21500894.2022.2041477","DOIUrl":"https://doi.org/10.1080/21500894.2022.2041477","url":null,"abstract":"This series of paintings, entitled Requiem for Life, centres on two sets of meanings from two different perspectives. First, the birds in the paintings are representative of nature. As environmental pollution complicates living even for animals, so they must strive. Birds wearing masks might be a symbol for that. Through various courses of action, I have tried to visualize what human-led pollution brings into their lives. Second, if we imagine humans in place of birds, we may observe another melancholic reality. Humans are now unable to avoid misfortunes that have been brought on by no one but themselves. Eventually, they become the victim of their self-made toxic environment. They have to adapt and struggle to stay alive, and they perish if they do not do so. The kingfisher in Figure 1 is an emblem of both humans and other animal species. Animals suffer from environmental pollution and food shortages due to the invasion and activities of humans everywhere, making many of their species almost extinct. Here, I want to evoke other notions: humans’ imminent danger and demise due to pollution, pandemic or other human-made conditions, and the fact that no one can escape this undesirable fate. Despite living in a degrading environment afflicted with pollutants and viruses, we are often reluctant to take proper measures against it. In Figure 2, the bird exemplifies apathy and themask exemplifies measures: both remain distant, representing our lack of endeavor to make ourselves secure and make the world a better place to live in. In Figure 3, I introduce a ‘missing’ notice which informs us that a newborn bird wearing a mask is lost in the polluted town, and her family urges anyone who finds her to contact them in the town’s last tree. Meanwhile, all other trees are chopped down except this tree, and all other bird families have left the town except this family. Thus, I","PeriodicalId":412489,"journal":{"name":"World Art","volume":"63 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132835460","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 Planet: A Lament for Environmentally Engaged Citizenship? 地球:环保公民的哀歌?

World Art Pub Date : 2022-02-18 DOI: 10.1080/21500894.2022.2040583

Edwin Jurriëns

{"title":"The Planet: A Lament for Environmentally Engaged Citizenship?","authors":"Edwin Jurriëns","doi":"10.1080/21500894.2022.2040583","DOIUrl":"https://doi.org/10.1080/21500894.2022.2040583","url":null,"abstract":"This article focuses on Garin Nugroho’s stage play The Planet: A Lament, which combines song and dance, predominantly from Eastern Indonesia, with video and other visuals that bewail the human destruction of the natural environment. I argue that the performance embodies a call for planetary citizenship that bridges art and spirituality as well as aspects of deep ecology and political ecology. The combination of art and spirituality facilitates intimate connections between audiences and phenomena that are otherwise relatively inaccessible and difficult to grasp due to their specific philosophical, scientific, socio-political or cultural-linguistic character. Moreover, the stage play draws connections between some of the worst environmental disaster zones in Indonesia and the socio-political, religious and cultural suppression or marginalisation of the people living in the affected areas. I seek to demonstrate how its engagement with marginalised ethnic groups, cultural traditions and religions provide a foundation for environmental renewal. At the same time, some aspects of this foundation are weakened by ambiguities around the sponsorship and promotion of the production. This article discusses the play’s structure, aesthetics and representation of race and religion; its position in Nugroho’s larger socially, politically and environmentally engaged oeuvre; and the politics of promotion and sponsorship.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115801656","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: 2

Mangliu on film: Wu Wenguang and the Beijing blind floaters 芒柳谈电影:吴文光和北京盲人漂泊者

World Art Pub Date : 2022-01-23 DOI: 10.1080/21500894.2022.2026458

Bih-shia Huang

{"title":"Mangliu on film: Wu Wenguang and the Beijing blind floaters","authors":"Bih-shia Huang","doi":"10.1080/21500894.2022.2026458","DOIUrl":"https://doi.org/10.1080/21500894.2022.2026458","url":null,"abstract":"With the loosened Household Registration Policy in China in the late 1980s and early 1990s, peasants flocked to major cities and became peasant workers. Meanwhile, some provincial artists moved to the art capital of Beijing to pursue their artistic careers, among them Wu Wenguang, a pioneering figure in the New Documentary Movement in the 1990s. The two different social groups shared the designation of mangliu because of their similar amorphous or floating lifestyles. In this article, through an analysis of Wu Wenguang’s works in the 1990s and early 2000s, I examine how he documented ‘blind floating’ artists as well as peasant workers, whose life trajectories became entangled. For Wu Wenguang, as representative of provincial artists who lived in the urban-rural fringe of Beijing, his documentation of his contemporary blind floating artists is consistent with his recording of the peasant-turned-blind-floater. I also explore how Wu Wenguang’s aesthetic of xianchang (being on the scene) is in accordance with his self-identification as a blind floating artist who lived in communities with blind floating peasant workers. The collaborative piece Dance with Farm Workers provides a reflection on the utilisation of peasant workers in performance art. Wu Wenguang addressed social issues revolving around peasant workers by revealing their status of being exploited in the collaborative performance between artists and peasant workers. In the guise of collaborative performers, peasant workers were nevertheless caught in a power relationship similar to the one between employer and wage labourer.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"1854 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121786078","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 intimate geographies of Anna Maria Maiolino 安娜·玛丽亚·迈奥利诺的私密地理

World Art Pub Date : 2022-01-02 DOI: 10.1080/21500894.2021.2019103

C. Sutherland

引用次数: 1

Virtual connectedness in times of crisis: Chinese online art exhibitions during the COVID-19 pandemic 危机时刻的虚拟连接:新冠肺炎疫情期间的中国在线艺术展览

World Art Pub Date : 2021-12-01 DOI: 10.1080/21500894.2021.1991465

J. Snels

{"title":"Virtual connectedness in times of crisis: Chinese online art exhibitions during the COVID-19 pandemic","authors":"J. Snels","doi":"10.1080/21500894.2021.1991465","DOIUrl":"https://doi.org/10.1080/21500894.2021.1991465","url":null,"abstract":"When Chinese museums had to close their doors due to the outbreak of COVID-19, several online art exhibitions were created that were able to still create a sense of connectedness among their audience members during the pandemic. This article details three online exhibitions – by Chronus Art Center, by M WOODS, and by independent curator Yu Minhong – and explores how they communicate ‘being-in-common’ (a concept by Jean-Luc Nancy) in the online realm; it also proposes alternative forms of cosmopolitanism that do not rely on physical mobility. The exhibitions are analyzed using visual and discourse analysis and supported by semi-structured in-depth interviews with the curators. This study shows that a cosmopolitan art world does not need to rely on physical travel if connectedness is understood as being-in-common rather than meeting-in-person, digital technology is mobilized effectively, and cosmopolitanism is grounded in a re-localization. In an era when the global art world is looking for ways to reinvent itself and the mobility system on which it operates, the article contends that it would do well to look to and learn from the example of Chinese online exhibitions.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115466677","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: 3

Enchantment in ancient Peru: Salinar period murals and architecture 迷人的古秘鲁:盐湖时期的壁画和建筑

World Art Pub Date : 2021-11-22 DOI: 10.1080/21500894.2021.1999315

D. Chicoine

{"title":"Enchantment in ancient Peru: Salinar period murals and architecture","authors":"D. Chicoine","doi":"10.1080/21500894.2021.1999315","DOIUrl":"https://doi.org/10.1080/21500894.2021.1999315","url":null,"abstract":"This paper combines concerns about phenomenology and agency to examine the visuality and materiality of ancient clay and stone friezes in the Nepeña Valley, coastal Peru. Between 2003 and 2010, archaeological excavations documented a series of decorative architectural forms and enhancements associated with the Salinar phase (600–200 BC) residential and civic-ceremonial structures. I report on the discoveries and highlight the transition from polychrome figurative friezes of the Chavín and Cupisnique period to negativised, abstract forms during Salinar times. I detail the construction and material presence of the mural patterns, as well as their contexts of display and visuality. By delving into technical processes and properties of their forms as enchantment, I argue that the friezes graphically condensed spatial and temporal dimensions into special kinetic optical experiences. The efficacy of Salinar murals is discussed in light of their negativisation, abstraction, (im)materiality, and relations to architectural and spatial concepts. I conclude by discussing the broader sociohistorical implications of this shift in visualities including the disintegration of Chavín and Cupisnique’s esoteric styles and the increased popularity of murals, particularly in the realm of residential life and status competition.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115366658","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

Social media art and/or interactive art? Exhibitionist: PeeP Stream by Ye Funa and Bei Ou 社交媒体艺术和/或互动艺术?表现型:叶福娜和贝欧的《窥视流》

World Art Pub Date : 2021-11-08 DOI: 10.1080/21500894.2021.1991464

Magdalena Furmanik-Kowalska

引用次数: 1

An archaeologist of images: a conversation with Edouard Duval-Carrié and Anthony Bogues 影像考古学家:与爱德华·杜瓦尔-卡里格和安东尼·博格斯的对话

World Art Pub Date : 2021-09-02 DOI: 10.1080/21500894.2021.1953125

Rui Gomes Coelho, Y. Hamilakis

引用次数: 0

Art in circulation and translation 流通与翻译中的艺术

World Art Pub Date : 2021-09-02 DOI: 10.1080/21500894.2021.1957709

R. Jaber

{"title":"Art in circulation and translation","authors":"R. Jaber","doi":"10.1080/21500894.2021.1957709","DOIUrl":"https://doi.org/10.1080/21500894.2021.1957709","url":null,"abstract":"Where are you going? and where are you coming from? are two guiding questions in the artwork From Where to Where (2010) by Annabel Daou. The questions are imbued with contextual meanings and asked in both English and Arabic. The multilingual answers are presented through two segments: an audio piece that includes people's responses to the questions asked by the artist and a large-scale drawing composed of handwriting on paper. The work documents a variegated series of cross-cultural exchanges and encounters built on layers of translatability through intermedial translation (from audio to handwriting), from one expression to another denoting various meanings to the work's title, and the very foundation of exploring movement and the possibilities of multiple identities. The work was initially shown at the Cairo Biennale in 2010 as part of a group show for the United States' representation of Arab-American artists which sparked a heated debate and raised the question regarding what happens when artworks move from one context to another and what gets translated? This paper shows that focusing on cross-cultural encounters through the medium of the artwork challenges viewers to think about what art signifies and how various encounters and interpretations impacts the work's translatability.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129912100","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