Art and Politics

Nelle epoche spregevoli
la poesia deve diventare una spada.
La Spaltung si cura così!
(G.-E. Simonetti)
- - -
In despicable times
poetry must become a sword.
Spaltung is healed this way!
- - -
"...Après tout. Oscure féerie hanno sostituito gli antichi inganni. / [...] La cronaca racconta che evitammo i gorghi, scivolammo sull’asfalto, raccogliemmo sassi scavammo trincee, alzammo barricate. Poi venne l’inganno. / Qualcuno ebbe il suo castigo. / [...] Après tout. / Pouvons-nous revenir à ce que nous avons fait? / Le ore si conclusero, calò la sera, dormirono i desideri, le certezze abolirono la fiducia. / La repressione disegnò le pieghe dell’ira. Le mani colpevoli si nascosero nelle tasche obbedienti. / Ci inseguono ricordi sinistri e il canto delle folaghe. / Non vedemmo le spalline con gli alamari, le vecchie sciabole, i nuovi poteri. / Raggirati, perché non guardammo i messia delle ideologie come una minaccia..." (dal testo di Gianni Emilio Simonetti).
- - -
"...Après tout. Dark féeries have replaced the ancient deceptions. / [...] The chronicle tells that we avoided the whirlpools, we slid over the asphalt, we gathered stones, we dug trenches, we raised barricades. Then came the deception. / Someone received their punishment. / [...] Après tout. / Pouvons-nous revenir à ce que nous avons fait? / The hours came to an end, evening fell, desires slept, certainties abolished trust. / Repression traced the folds of anger. / Guilty hands hid in obedient pockets. / Sinister memories and the song of the coots pursue us. / We did not see the epaulettes with braids, the old sabres, the new powers. / We were deceived, because we did not regard the messiahs of ideologies as a threat..." (Gianni Emilio Simonetti).

The mid-Ming Dynasty's Jiajing era (1521–1567) was a period of contradictions, marked by imperial neglect and fueled by tremendous economic dynamism. As the emperor retreated from political life, commerce flourished, particularly in urban centers like Suzhou. This fostered a powerful new merchant class whose wealth created a booming market for luxury goods, including fine art, this reshapes artistic patronage and production. Within this environment, the painter Qiu Ying (ca. 1494–1552) rose to prominence as one of his era's most celebrated masters.

Qiu Ying's status was a direct reflection of these socioeconomic shifts. Unlike the elite scholar-amateur painters (wenren), he was a professional artist from an artisan background who depended on commissions. As noted by historian James Cahill, his patrons included both the traditional gentry and the newly affluent merchants. Qiu Ying's success, bridging the gap between artisan craft and high art, signified a growing appreciation for technical mastery and decorative beauty in the Ming art world.

His masterpiece, Spring Morning in the Han Palace, reflects this context. The handscroll presents an idealized panorama of life among women in a Han Dynasty palace, rendered with complex detail and vibrant mineral pigments using the elegant gongbi (fine-line) technique. Although seemingly a nostalgic scene, the painting is deeply rooted in its own time. This analysis will use a Political, Economic, Social, and Technological (PEST) framework to decode the scroll as a document reflecting the political escapism, economic aspirations, social changes, and artistic technologies of the mid-sixteenth century, all viewed through the lens of its creator's life and experience.

This study proposes discourse analysis, as developed by Ernesto Laclau and Chantal Mouffe, as a powerful framework for understanding the political dimension of art practices, particularly when given an art-historical focus. It provides a systematic method for studying a broad spectrum of politics, ranging from social movements to state policy, which, when applied to an artistic setting, represents a viable alternative to relational (Bourriaud, Bishop) and philosophical (Rancière) approaches to the politics of aesthetics. Because the method allows for more than texts and actions to be conceived as elements in a discourse, it does not necessarily see, for example, a protest and its image as belonging to separate fields. Thus, there is a fluidity between the aesthetic and the political unified by concepts like hegemony. The study will outline discourse analysis as a methodological framework for approaching aesthetic practices as inherently political and political practices as inherently aesthetic-a method intended to solve the common issues arising when studying and researching art and politics.

Este estudio ha sido desarrollado en el marco del proyecto de investigación "Cultura visual: la construcción de la memoria y la identidad en la España contemporánea" (BHA 2001-0219). ¡•edición: septiembre 2004 Imagen de cubierta: Pintura en las cuevas de Altam1 ra (detalle).

Un libro firmado en pleno mayo feminista. Publicado en julio, pero vivido y pensado en mayo. En el mayo chileno de las mujeres y las disidencias sexuales, de los cuerpos que se signan bajo la multiplicidad que cabe en la palabra feminismo(s). Al libro lo acompaña una premura propia de la toma de palabra, de la necesidad de pensar al mismo tiempo que las cosas suceden. Y es que este acontecimiento era particularmente trascendente. El feminismo en Chile tiene una tradición de larga data, qué duda cabe, más eso no ha impedido que su historia también sepa de silencios, de institucionalización y recuperación de su impulso rebelde, de desencuentros, de articulación en fragmentos. Por eso, la escritura de Mayo feminista reconoce la urgencia. 14 artículos componen este libro convocado por Faride Zerán y la editorial LOM. 14 artículos escritos desde militancias y reflexiones de poca o larga data, desde el calor de las luchas y también desde las intuiciones. El vocablo feminista convoca a un ...

This article provides a comprehensive overview of the evolution of Brazilian cultural policies from 2003 to 2022, particularly focusing on the administrations of Michel Temer and Jair Bolsonaro. The radical neoconservative changes in cultural policies enacted between 2016 and 2022 provide a framework for examining the resurgence of free speech suppression, illustrated here by the case of visual arts. They emerged as a key battleground in the cultural war between progressivism and neoconservatism and a prime target for censorship when addressing certain "sensitive" topics involving LGBTQ matters, depictions of nudity, the incorporation of religious symbols in contexts deemed inappropriate, etc. Documented instances of censorship during the Temer and Bolsonaro administrations revealed both overt and more veiled silencing practices imposed by state authorities on artistic freedom. Additionally, there was a participative, "democratized" dimension to censorship, stemming from the involvement of segments of the general public in efforts to undermine and terminate particular art initiatives via social media. At times, the online surge of outrage exerted pressure on art funding and hosting organizations to adopt censorship measures in response to fears of potential public boycotts.

În anul 2007, în volumul de nuvele și povestiri intitulat Fantome la
Autostop, își făcea apariția, timidă dar înțepătoare, o nuvelă cu mare
potențial de creștere: „Mult Iubite și Stimate”. 
Pe atunci, era doar o nuvelă ironică, o glumă literară cu gulerul
ridicat și privirea încruntată către un trecut glorios de carton.
Astăzi, după 18 ani de fermentare în beciul amintirilor și al
absurdului românesc, această poveste s-a dospit ca o pâine uitată în
cuptorul istoriei. 
A crescut, s-a rumenit și, în loc să ardă, a prins gust. Gust de roman
umoristic, bine condimentat cu sarcasm, cu ironie de cazarmă și cu licăriri
de adevăruri incomode rostite pe șoptite prin cozile de la carne și de la
hârtie igienică.
„Mult Iubite și Stimate” nu mai este doar o nuvelă, ci un întreg
univers comic în care realitatea își dă cu stângu’-n dreptul, iar personajele – de la dictatorul țării la securista blocului – fac piruete printre ridicol și
nostalgie, printre festivism și frigiderul gol.
Așadar, dragi cititori, înarmați-vă cu răbdare, cu simțul umorului și,
eventual, cu o pătură dacă vă ia frigul de-atâta „Epocă de Aur”.

En 2008, Boris Gobille souhaite libérer Mai 68 d'une série d'interprétations qui font écran à la compréhension historique de l'événement, encore trop soumis aux « impasses de sa circulation mémorielle ultérieure ». En effet, celui-ci fait immédiatement l'objet d'interprétations et sa célébration, lors de ses anniversaires décennaux successifs, donne lieu à autant de stratifications narratives supplémentaires. De plus, cette « emprise mémorielle, qui fait écran, s'est trouvée d'une certaine façon redoublée dans son principe par l'optique que retient à son tour l'entreprise des Lieux de mémoire 2 » de Pierre Nora, pour qui « l'événement n'a de sens que commémoratif 3 ». En 2008 encore, l'historienne spécialiste de Mai 68 Michelle Zancarini-Fournel publie une synthèse en forme de mise à plat raisonnée de toutes ces interprétations 4 et propose un panorama des ressources disponibles pour en poursuivre et en approfondir les analyses d'ambition historienne. Son ouvrage ratifie l'impossibilité de nier ces strates interprétatives -commémoratives, répétitives et stéréotypées, elles font partie de l'historiographie de Mai 68 -, mais aussi la nécessité de s'en extraire pour avancer dans l'écriture de l'histoire des événements. De telles réflexions prennent place dans le débat épistémologique des rapports de l'Histoire à la mémoire, qui marque la fin du XX e siècle en France. L'impact de l'univers médiatique (télévision et radio au premier chef), désigné comme acteur important du débat, est essentiellement discuté pour les poncifs narratifs qu'il véhicule. La presse magazine fait l'objet d'interrogations similaires, bien que dans une moindre mesure. De manière paradoxale, la photographie de presse apparaît ici comme une icône autonome, considérée en dehors de tout contexte de publication. Celle-ci est pourtant un outil de l'écologie médiatique, qui demande à être observée et pensée en fonction de son exploitation dans ce cadre. Loin de la mythologie de la neutralité documentaire, elle apparaît comme soumise à des usages narratifs immédiats, mais aussi à une gestion a posteriori qui privilégie sa réutilisation. La rétrospective 1. L'auteur souhaite remercier André Gunthert et Alexie Geers pour leurs précieuses relectures. 2. Boris Gobille, « "L'événement Mai 68" Pour une sociohistoire du temps court », in Annales.

 L'ouvrage collectif  A perte de vue. Nouveaux paradigmes du visuel vient de paraître aux  Presses du réel. Dirigé par Daniel Dubuisson et Sophie Raux, cet ouvrage est le fruit d'une expérience originale et novatrice qui a été menée dans le cadre du Réseau Thématique Pluridisciplinaire « Visual Studies – Les nouveaux paradigmes du visuel » initié par l'Institut des Sciences Humaines et Sociales du CNRS entre 2010 et 2012, à laquelle j'ai eu le plaisir de participer. Je remercie chaleureusemen..

Cilj prispevka je na podlagi izbranih primerov prikazati, kakšno pozornost je slovensko časopisje posvečalo pojavu suše na Slovenskem v 20. stoletju in posledično, kako se je spreminjala komunikacija o njej v obravnavanem obdobju. Osredotočili smo se na primere suš, ki so bile v letih 1921, 1939, 1950, 1952, 1962 in 1983, torej v času, ko je večina slovenskega etničnega ozemlja spadala v okvir jugoslovanske države. Pri tem smo pozornost posvetili vprašanjema, kako so bile opisane sušne razmere in visoke temperature ozračja ter kakšni so bili negativni vplivi naravne nesreče na življenje ljudi. Ugotovitve smo povezali s teoretičnimi principi komuniciranja naravnih nesreč in ekstremnih dogodkov. Analizo umeščamo v kontekst okoljske zgodovine, zato smo uvodoma podali krajši historični pregled pojavnosti in pogostosti suš po svetu, njihovih posledic za človeštvo ter načina komunikacije naravnih nesreč.

Lo studio indaga la riflessione di Carlo Ludovico Ragghianti, il primo storico dell’arte italiano ad essersene occupato, su strumenti e principi di metodo per l’analisi delle arti africane: straniere non solo per lontananza geografica e culturale, ma soprattutto per il formato e la natura delle tracce documentarie a disposizione, così radicalmente difformi dalle fonti testuali e visive proprie della cultura occidentale. Un confronto, dunque, tra un metodo di indagine storica “scientifica” e vincolata alla filologia, e uno sguardo fondato invece su memorie visive e orali di una cultura artistica le cui documentazioni scritte risultano non solo scarsamente accessibili sul piano materiale, ma di incerta traduzione e ardua decifrazione.

Los propósitos adquieren sentido cuando responden a los objetivos trazados, como también los buenos deseos, por más que abunden en buenas intenciones, nunca se desdeñan; al contrario, todo el tiempo merecen gratitud. Sin embargo, no siempre concluyen en un logro o beneficio para quienes van dirigidos; a veces, la forma en que se expresan esas intenciones carece de la claridad de un objetivo definido, y sus resultados pueden incluso resultar desastrosos. Es aquí donde considero que el sentido de las cosas adquiere verdadero valor, en la medida en que se cumple la correspondencia esperada entre lo deseado y lo alcanzado; sin embargo, el problema surge cuando quien pretende ofrecer un halago termina convirtiéndose en el protagonista de sus propios objetivos, antes que cumplir con el reto prometido. Quiero con estas palabras reconocer las buenas intenciones que motivaron la realización del video dedicado a la obra y vida de Francisco Javier Galaviz, con un título más que sugerente: "En la búsqueda del pincel encontré la fotografía". La presentación tuvo lugar el viernes 5 de septiembre en la Sala Carlos Monsiváis del CECUT, ante más de una treintena de tijuanenses, amigos, conocidos y parientes del artista, convocados por un gesto que anticipaba la importancia del proyecto, y no era para menos, la premisa la avalaba un espacio que se ha distinguido por mostrar un cine crítico y propositivo.

This article explores the esoteric themes in Alicja Żebrowska’s work, emphasizing the motif of mystical wholeness. Żebrowska is remembered as a classic of so-called critical art. The article argues that this interpretation has been created in isolation from the artist’s intentions and the symbolism of her works. Starting from Silvia Federici’s concept of “re-enchanting the world,” the text analyzes the process of rewriting Żebrowska’s books as an element of the extraction of communal visions and imaginations, typical of capitalist modernization. The analysis covers Żebrowska’s most important works from the 1980s and 1990s. The canonical art history texts of the 1990s are also used as a point of reference.

keywords: Alicja Żebrowska, esotericism, New Age, transformation, critical art

We'd like to have permanent contact with you, Bogdanka and Dejan Poznanović from Novi Sad wrote on 17. 10. 1973, replying to a letter with a postbox project from Jiří Valoch in Brno. Please send us regular materials about your work for our documentary, informational and operational centre Atelje DT/Favit 00010! 1 Since 1972 Bogdanka and Dejan had been collecting prints and documentary items for publication in the journal Uj symposion, which appeared in Novi Sad in Serbo-Croat, Hungarian and English. In the early 1970s Bogdanka Poznanović had accomplished several significant actions, making her one of the acknowledged pioneers of the "new artistic practice" in Yugoslavia. Some of her actions which had "rivers" in their titles, Cubes-Rivers (1971) and Rivers-Transmissions (1972), were performed on the bank of the Danube and were dedicated to the idea of communication: the flow of a river that unites. Subsequently she conducted the participative action Feedback Letterbox-Information-Decision-Action (1973-1974), which made her one of the leading representatives of mail art. Thirty eight artists from a variety of countries took part in her action, sending her a description of their own mailbox. The outcome was a photo collage printed as a poster, with a selection of the contributions submitted. The concept and medium of postal communication was a new meta-medium for presentation of intersubjective relations on an international level. 2 Contact achieved between the sender and receiver of a signal became a form of art work. Jiří Valoch was one of the artists who responded to the call. In this paper I will be concerned with two levels of communication between artists in Czechoslovakia and Yugoslavia: visual poetry and conceptual photography. Both of these planes of artistic communication, thanks to their undemanding and dematerialised nature, enabled direct or indirect exchanges of performance-orientated, ephemeral and marginalised forms of art.

Suzanne Lacy’s 1977 performance Three Weeks in May was a turning point for the direction feminist performance art would take. It was foundational to Lacy’s own artistic practice, new genre public art, and incited large-scale anti-rape activism. This thesis investigates the factors leading to Lacy’s development of Three Weeks in May: her education, her relation to fellow feminist artists, and the piece’s situatedness in Southern California, which proved to be crucial to its success. The conclusion as presented in this thesis is that California’s socio-historical context as America’s “frontier” permeated its artistic climate. Southern California, due to being less institutionalized than, for instance, New York, allowed artists more latitude. This gave Judy Chicago the opportunity to establish a feminist art education program, first in Fresno and later in Los Angeles, which in turn was foundational for the collaborative processes the feminist artists in the 1970s utilized. Suzanne Lacy’s art is a product of the possibilities that California presented to her. With Three Weeks in May, she aimed to address the lack of visibility for issues regarding sexual violence at the time—in a way, “giving back” to the local community which gave her so much.

This paper, which takes the form of a case study, focuses on the conflictual relations between two particular agents, the curator and the local artist, which became prevalent in public art museums in Japan from the 1970s. These two agents had affinities to different sets of culture, and their conflict was intensified over the use of regional museums. I discuss the most controversial example of such conflicts, which took place at the Tochigi Prefectural Museum of Fine Arts, and I show the complexity of these agents, their struggles and their outcomes. For this purpose of the analysis, I combine Pierre Bourdieu’s field theory and the conceptual framework of transculturation. Field theory explains the mechanisms of ongoing struggles between the agents associated with different cultures over the boundaries of the field. The perspective of transculturation is useful as way of expanding Bourdieu’s theory and as a means of understanding the complexity and fluidity of the field structure. O...

En este número hemos realizado un trabajo conjunto, editorial y curatorial, cargado de afectos, para la revisión de imágenes, de la amplia colección de tomas realizadas por la autora durante sus años de trabajo. Esta selección que esta creadora ha emprendido, revisando, digitalizando y remirando sus primeros años de producción, nos proporciona capturas que definen el campo de acción de una fotógrafa que trabaja desde su historia; documentando sus andares, reflexiones y accionar político. Ximena nos invita a un recorrido por la actividades político – sociales
de los años 90, momento en que se inicia en el trabajo fotográfico y donde también posiciona su quehacer.

presents a narrative that, while ostensibly simple and directed toward children, lends itself to rigorous philosophical analysis. The story of Chandni, the goat who escapes captivity to embrace the dangers of the wild, exemplifies multiple strands of existential thought. Her decision to leave the safety of Abu Khan's enclosure and confront the wolf in the mountains reflects a profound engagement with existential freedom, authenticity, and the human condition. This essay examines the story through three distinct existential perspectives: Søren Kierkegaard's emphasis on authentic choice and the leap of faith, Albert Camus's notion of absurd heroism, and Simone de Beauvoir's ethics of ambiguity and freedom. Each framework illuminates the philosophical depth of Chandni's actions and the broader metaphysical implications of her fate.

Este dossier esta pergenado a partir del siguiente interrogante: ?cuales son las significaciones con las que asoma el paisaje en la literatura latinoamericana? Este cuadro compuesto por articulos que encaran el paisaje, la naturaleza y sus teorias, de modo muy heterogeneo -desnudando la propia indole de las categorias- esta organizado, por cierto, en cuatro nucleos que nos parecen significativos en lo concerniente a la presencia del paisaje y la consideracion de la naturaleza en la literatura latinoamericana. El primero de ellos esta constituido por las concepciones sobre naturaleza cuyo diseno instaura diversas imagenes sobre lo americano instaladas, sobre todo, desde el siglo XIX. El segundo nucleo se moldea a partir de las estrategias esteticas y retoricas con las que el paisaje se traduce como figura de la naturaleza en diversas textualidades y esteticas; en tercer lugar, ubicamos a los paisajes culturales y espirituales que ponen en dialogo asiduo las implicancias de la dicotom...

By observing in the heterogeneous the compound part of different nature, the synthesis of multiplicity and strong quality of the multiculturalism, this work explores the multicultural aesthetics represented in postmodern theories, by questioning its possible means for a breakup of the hegemonic narratives concerning the heterogeneous segregation. In this sense, it analyses its original arguments and its translations in the Brazilian contexture. The central focus goes towards the homogeneity and essence of representations that reproduce domesticating mechanisms in continuity with modernity. For that purpose, it seeks, on one hand, to investigate in Brazil the dynamics that dilute the memories built from the heterogeneity through pluralistic rhetoric that summons the “memorialism” (memorialismo) attached to the hierarchy and “verticalization” (verticalização) consolidated in cultural matrixes. Such dynamics observed in the arts ambience during the 80’s allows emphasizing the search for the representation of the “Brazilianhood” (brasilidade) as the homogenizing element of its multiculturalism. On the other hand, it examines the “foreign look” for which the cultural multiplicity representation, based on a “safe distance” from the visibility devices, authorizes an essentialist description of the local and global peripheries. The dynamics in this sense is of a translating nature: an instrument of the “privileged eye” that negotiates the values of the differences in the aesthetic referential of the occidental and late modernity.
The study’s main purpose is the heterogeneity; the singular practices that do not fit in systematizations. It is a search, through the field of arts, questioning the postmodern codified ruptures and representations as opposed to the contemporary artistic experiments opened to the multiple languages and temporalities. This work also inquires into the importance of the Brazilian neoconcretism in the international dialogue of deconstructionism and the art-partnership, transformation practices and the encounter between heterogeneities, inaugurated by Hélio Oiticica.

La muestra que se propone integra los procesos y las producciones del Taller Transdicsiplinar de Arte para jóvenes en situación de encierro temporario, "El vendaval". Dicho taller funciona como proyecto de extensión de la Facultad de Bellas Artes (UNLP-2015), con la dirección del Prof. Nicolás Bang. Además, este proyecto forma parte de un trabajo de investigación colectiva que busca, por un lado, la vinculación de dos comunidades, la académica y la de los jóvenes en situación de encierro y vulnerabilidad social; y, por otro, la aplicación experimental de diversos oficios, procedimientos y saberes artísticos para una práctica pedagógica que contribuya a brought to you by CORE View metadata, citation and similar papers at core.ac.uk

"Si no fuera porque la industria de los medios de comunicación de masas está creando y bombardeando el mundo de nuevas imágenes y nuevos dispositivos para el fácil acceso a éstas, no sabría qué diablos pintar. Aunque no pinto el fenómeno sino su consecuencia, soy víctima y héroe de la híper conexión de mi generación. Es más, me atrevería a decir que la mayoría de los pintores coetáneos a mí (generación de los noventa) también sufren y triunfan en lo mismo. Nos quedaríamos sin asuntos pictóricos si es que no tuviéramos internet, las cámaras de nuestros smartphones, los computadores o cualquiera sea el dispositivo digital que se cuela en la cadena ojo del pintor – modelo a pintar – soporte. Asunto, a mi forma de ver, exquisito y muy cómodo, pero que a los ojos de los puristas de la práctica pictórica arruina la experiencia de pintar. Para ellos, esta primera pregunta: ¿Existe alguna manera de salvarse de esta inquisición tecnológica y digital que se cuela en los procesos de la pintura hoy?"

No se permite la reproducción parcial o total, el almacenamiento, el alquiler, la transmisión o la transformación de este libro, en cualquier forma o por cualquier medio, sea electrónico o mecánico, mediante fotocopias, digitalización u otros métodos, sin el permiso previo y escrito del editor. Su infracción está penada por las leyes 11723 y 25446.

Verso le problematiche della contemporaneità l’arte dispiega alcune delle sue caratteristiche peculiari. Il rifiuto degli schemi, il pensiero altro, il percorso divergente, la riflessione alternativa, la soluzione inusuale, l’atteggiamento sincretico, la leggerezza dirompente, la relatività della dimensione economica, la libertà e l’indipendenza, l’attenzione per il nuovo, ecc., sono sempre stati nei geni dell’arte. L’arte può riuscire dove altre discipline falliscono: fenomeni come la turbolenta caoticità delle interazioni umane, le dinamiche dei mercati, i processi di comunicazione globale, il sincretismo delle culture, ma anche le teorie della fisica, le matematiche del caos, la complessità di molti fenomeni naturali legati all’ecologia, appaiono vicini alle dinamiche e alle processualità artistiche.

[Capítulo de livro] Arte em prisma - sensorialidade, estética, m´ídia e sociedade coloca-se junto à comunidade como amostra de pesquisas múltiplas em torno da arte por diversas perspectivas, através de investigações que se manifestam em temáticas integradas. O livro aborda estudos relacionados à diversidade a partir de observações sobre a arte abstrata expressionista no campo da neurodiversidade e também por meio da reflexão em torno da fotografia como diálogo de cinco fotógrafas com deficiência visual.  Ainda no âmbito da fotografia, analisa a arte sequencial na construção do discurso com base na temporalidade e no contexto histórico-social. Além disso, elucida a inovação tecnológica sonora, apresentando um estudo da performance musical e dos processos de masterização que pretendem discutir a experiência estética e poética. Outro trabalho do campo sonoro mostra a construção do desenho de som do realismo na representação cinematográfica. Aprofundando a produção do cinema, o penúltimo capítulo traz o cenário cinematográfico paraibano da pandemia da Covid-19 e lança um olhar sobre os sistemas de distribuição das obras e janelas de exibição, em diferentes contextos, no período de confinamento e seu respectivo impacto. O livro finaliza no sétimo capítulo, que traça um olhar sobre as narrativas da mitologia helênica e do contexto midiático da afirmação ideológica alemã no período de ascensão nacional-socialista para analisar a construção do “atleta herói” em Olympia (1938), documentário dirigido por Leni Riefenstahl.

El artículo trata sobre los acontecimientos artísticos sucedidos en el Perú en la década de los 80 en respuesta a los problemas socioculturales de carácter directamente contestatario de un grupo de artistas denominado Huayco, portador de un mensaje visual-conceptual. Es un arma de comunicación, una de las cualidades o su principal cualidad del arte contracultura es que sus propuestas desencajan nítidamente de los patrones escolásticos en el acabado de una obra de arte. De acuerdo con el artista plástico Herbert Rodríguez, las propuestas de contracultura o arte antisistema se originan en Lima, teniendo su punto de partida en las experiencias del "Arte no Objetan!" creación que es resultado de la reflexión artística entendida como provocación, compromiso contestatario y enfrentamiento a un orden establecido.

This paper explores the largely overlooked global legacy of Louis Comfort Tiffany, positioning him as America’s first true “design ambassador” during the late 19th and early 20th centuries. Moving beyond the well-documented domestic achievements, it examines Tiffany’s commissions in Cuba, Mexico, France, England, and Canada, revealing how his work bridged cultures through strategic collaborations, personal relationships, and artistic diplomacy. These projects—ranging from the French National Monument–designated windows in Paris to the monumental glass curtain at Mexico City’s Palacio de Bellas Artes—demonstrate Tiffany’s ability to honor local traditions while showcasing American innovation. By tracing the networks, cultural exchanges, and political contexts that enabled these commissions, the study redefines Tiffany’s place in international art history and highlights his enduring role in fostering respectful, cross-cultural artistic relationships.

In this article, the authors present the ERC project Open Borders, conducted
between 2023 and 2027 at the Science and Research Centre (ZRS) in Koper, Slovenia. The
project redefines Cold War history through multidisciplinary research on people, places,
and cross-border practices. It examines transnational interactions in the social, cultural,
and political context of the Cold War, and beyond, in the border region between Austria,
Italy, and Yugoslavia (Slovenia and Croatia). The authors provide an assessment of the
project’s results at its midpoint, outlining its methodology and framework; its recent
conference “Places of Cross-Border Interaction in History: The Alps-Adriatic Region”;
and the exhibition “Never Mind the Borders. People, Places, and Cross-Border Practices
between the Alps and the Adriatic”, which the research group created in both a physical
and online version. The two events make a valuable contribution to the programme of
the first twin European Capital of Culture, Nova Gorica/Gorizia.

A proposta do artigo é problematizar alguns dos principais aportes teórico-metodológicos que norteiam pesquisas que têm como tema os exílios e as redes intelectuais na América Latina. Em seguida, a partir das reflexões apresentadas, analisar a experiência exilar do antropólogo Darcy Ribeiro no período de 1964 a 1976. O foco central é mostrar o diálogo que ele manteve com a história da América Latina a partir de suas experiências e intercâmbios no exílio. O que lhe permitiu elaborar uma representação de América Latina condensada em uma série de imagens e utopias que envolvia a necessidade de integração e de reestruturação econômica e de mudanças estruturais nas universidades para que elas assumissem papel decisivo no desenvolvimento de uma consciência crítica para romper com o subdesenvolvimento e a dependência que caracterizavam a região.

Resumo Estudo da iconologia do sacrifício de Isaac mostrando que as variações nas imagens decorrem da leitura não só da Bíblia, mas de Santo Ambrósio e que as variações nas imagens respondiam a questões ideológicas de cada época. Assim, além do texto original e dos comentadores existem obras artísticas que servem de modelo para os demais artistas. Assim mostramos que o anjo, a mão de Deus, o anjo, se segura o braço de Abraão, ou a lâmina, ou se só fala, o estado de espírito de Abraão e Isaac, o altar e as madeiras da Cruz, sofreram uma variação ideológica de acordo com o tempo que as obras foram produzidas, mostrando uma profunda relação entre textos e imagens e ressignificação do mito.