E Ephemeral Art

Encyclopedia of Global Archaeology, 2019

Journal of Literature and Art Studies

In this text, we seek to present and analyze artistic works that were part of the exhibition Visual Music: interactions between music and image. This exhibition was held for a period of one month at Brazilian Bank Cultural Center and integrated III Understanding Visual Music Symposium (2015). This international event brought together artists from four continents and has been considered one of the most important academic forums dedicated to the study of the relationship between music and image. The works presented in the exhibition dealt with different possibilities of and the need for interaction with the public. Further, interesting discussions were raised, especially related to the possibilities and need for preservation of these works. These debates were unfolded to the plan of artistic dissemination; moreover, have embraced considerations about ephemeral art.

2013

Artistic practices and archaeological research, 2019

Printed ISBN 9781789691405. Epublication ISBN 9781789691412. Artistic Practices and Archaeological Research aims to expand the field of archaeological research with an anthropological understanding of practices which include artistic methods. The project has come about through a collaborative venture between Dragoş Gheorghiu (archaeologist and professional visual artist) and Theodor Barth (anthropologist). This anthology contains articles from professional archaeologists, artists and designers. The contributions cover a scale ranging from theoretical reflections on pre-existing archaeological finds/documentation, to reflective field-practices where acts of ‘making’ are used to interface with the site. These acts feature a manufacturing range from ceramics, painting, drawing, type-setting and augmented reality (AR). The scope of the anthology – as a book or edited whole – has accordingly been to determine a comparative approach resulting in an identifiable set of common concerns. Accordingly, the book proceeds from a comparative approach to research ontologies, extending the experimental ventures of the contributors, to the hatching of artistic propositions that demonstrably overlap with academic research traditions, of epistemic claims in the making. This comparative approach relies on the notion of transposition: that is an idea of the makeshift relocation of methodological issues – research ontologies at the brink of epistemic claims – and accumulates depth from one article to the next as the reader makes her way through the volume. However, instead of proposing a set method, the book offers a lighter touch in highlighting the role of operators between research and writing, rather entailing a duplication of practice, in moving from artistic ideas to epistemic claims. This, in the lingo of artistic research, is known as exposition. Emphasising the construct of the ‘learning theatre’ the volume provides a support structure for the contributions to book-project, in the tradition of viewing from natural history. The contributions are hands-on and concrete, while building an agenda for a broader contemporary archaeological discussion. http://archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={BAAF7F21-9F73-4A38-AACC-AD0DD3A5B31C}

New Trends and Issues Proceedings on Humanities and Social Sciences

The break between object and image was added to the perception of reality and truth which changed with the Internet, social networks and the like in the 1990s. The possibilities that technology provides completed the effort of the postmodernist discourse in art to destroy tradition. All values are being reconstructed. While art is rapidly being digitised, Performance Art has taken its places in art's agenda. In this article, performance art will be elaborated and analysed with a focus on ceramic art. Performance art is the life itself, it is not repetitive, and it is what happens presently. It communes with the audience. As the object of art that exists at the moment, it cannot be bought, sold or moved. It is a way of transmitting the artist's ideas in an unusual, striking and unmediated way that is different from the traditional art forms. In the performances, it is mostly seen that breaking traditional forms, using the clay in raw form rather than firing it, reflecting the plasticity of the clay and revitalising it are used as assets. Performance art is a model of rebellion against the era in which we are imprisoned in mass communication and distanced from reality under the image bombardment. It is necessary to see the performance art as an experiment or suggestion, as the object of art which exists presently, rather than as a show to meet expectations.

African Arts, 2010

Art/ifacts and ArtWorks in the Ancient World, 2021

This essay addresses key issues relating to the classification, analysis, and (mis-)representation of the types of ancient and non-Western things. It explores how and why, and through what processes and with what implications, some ancient and non-Western things have been selected as “authentic art” objects and others relegated to “mere artifacts.” It examines the manner and locations in which such things are typically displayed or experienced, as well as the effects of physical and other frameworks on how we reconstruct—or, arguably, construct—the civilizations to which such things belong(ed). It also examines how we define, understand, and apply (and with what consequences) terms such as art and artifact; Western and non-Western; and thing, object, and work. Issues of space, time, and context, and the ways in which these intersect with matter, recur throughout. The essay concludes with an investigation of whether the locus of a thing’s (and specifically an artwork’s) authenticity and identity must reside in its matter or whether it might reside instead in the thing’s action and use in rather than against time—even to the point of being changed and, ultimately, used up. What if a thing’s identity depends not on removal from or denial of time but rather on the full acceptance of it and its consequences?

This year will be the 4 th edition of the international festival devoted to ephemeral art at the Polish town Sokołowsko. Antoni Burzyński, the coordinator of the festival and the connecting projects told us the story of the festival from the beginning. Barbara Dudás: What was the idea behind initiating a festival of ephemeral art?

This study investigates how transience is articulated in contemporary sculpture, in particular ephemeral art. In the art industry, ephemeral art does not generally enjoy the similar prestige as archived art partly due to the difficulties in preserving it. There is discussion that ephemeral art is often relegated to the post-structuralist descendent position, as opposed to being in the traditionally powerful ascendent position for ar-chived art. However, such a relationship of power has been questioned in various discourses in contemporary art since ephemeral art provides contemporary artists with alternative visions and various possibilities. Especially with socio-cultural changes including the development of postcolonial consciousness and feminism, the role of monumental sculptures as effective carriers of memory and meaning in our time is disputed, whereas ephemeral art as anti-monument or counter-monument has been pointed out to be able to deconstruct traditional forms of monuments. Another strong contradiction to archived art is proposed by some artists who regard transience as a way of being. They generally investigate ephemerality as a central nature of their works. Their approaches often show an interesting proximity to the traditional Japa-nese aesthetics. This study shows that ephemeral art provides contemporary artists with alternative approaches and various possibilities.

2009

The traditional, the innovative, the ephemeral: conception, realization, intervention in contemporary art. One must consider the traditional, the innovative and also the ephemeral related to the artistic intentions and thus to the interventions on works of contemporary art, for which the concepts of originality and authenticity do not always correspond. The Brandian vision and point of view do not completely resolve the problematics relative to restoration and conservation: artists realize their artifacts with the intention of undermining tradition or, however, of interpreting it in an unusual way. There are, therefore, cases when a diagnostic-analytical and conservative intervention is possible correspondently to the different and numerous typologies of the materials (poor, plastic, industrial) and techniques (collage, enamel on rubber foam, paint on textile or plastic, neon). A vocation for the ephemeral can be transformed into the adoption of deteriorated materials or into the realization of works of conceptual art and net-art. Some case studies are treated in the comparison of art works of different age. The solutions to the aforementioned problematics are offered and the importance of the involvement of the historical-technical experts, authors and manufacturers of the materials used in the artifacts is highlighted. Finally the procedure of intervention cannot be the same for all works of contemporary art. One must employ a methodology based on the critical study, not only of the materials used but also of the philosophy and creative conceptual intentions of the artist.