Comtemporary Art

Faith Wilding, 1972 yılında gerçekleştirilen Womanhouse projesi kapsamında Waiting (Bekleyiş) isimli bir performans gerçekleştirmiştir. Wilding bu çalışmasında, kendi yazdığı şiirsel bir metin eşliğinde bir kadının yaşamı boyunca evlilik, annelik, aşk ve yaşlanma gibi temalar etrafında toplumsal normlara bağlı olarak sürekli olarak “beklemeye” zorlanmasını ve bu kurgusal bekleyişini gözler önüne sermektedir. Monoton bir tonda ve ritmik bir hareket eşliğinde aktardığı metin, kadının edilgenliğini ve nesneleştirilmiş konumunu güçlü biçimde yansıtmaktadır. Performans ile metin birlikteliği sonucunda patriyarkal kültürün kadını zamansal ve bedensel olarak nasıl bastırdığı ve eril toplumsal normların kadını nasıl biçimlendirdiği görünür kılınmaktadır. Bu bağlamda Hélène Cixous’nun Le Rire de la Méduse isimli makalesinde yer verdiği “kadının kendi bedenini ve yazını geri kazanması” çağrısı, performansın alt metniyle kesişimsellik göstermektedir. Cixous’nun dişil yazı (écriture féminine) kavramı, Waiting’in temsil ettiği patriyarkal söyleme karşı bir direniş ile kanonik kurguyu bozma girişimiyle örtüşür. Bu bağlamda çalışma, Waiting’i yalnızca bir performans olarak değil, aynı zamanda kadınlığın yeniden yazılmasına dair bir çağrı olarak ele almaktadır. Çünkü performans yalnızca bireysel bir deneyimi değil; kadınlık kurgusunun farklı boyutlarını, kadın kimliğinin inşasını, kadına suni olarak yüklenen rollerin içselleştirilmesini de sahneye taşır. Bu noktada bu çalışma, Cixous’nun poetik-politik yaklaşımıyla başta olmak üzere çeşitli bakış açıları ekseninde çözümleyerek feminist sanatsal ifade aracılığıyla kadınlık kurgusunun yıkımına dair eleştirel bir tartışma önermektedir.

El ensayo hace  una reflexión sobre la educación en El Salvador en la época actual y en el futuro cercano. La evidencia y la realidad muestran que la escuela salvadoreña no responde a los desafíos que plantea el siglo XXI. Ante esta situación, se proponen paradigmas a considerar como perspectiva orientadora de la educación en el país, de acuerdo con los consensos y tendencias educativos internacionales, los avances en educación y los diversos contextos y realidades históricas. Entre estos paradigmas está el pensamiento complejo, propuesto en educación por Edgar Morin, y la visión sistémica de la vida, propuesta de Capra y Luisi. Se plantean líneas orientadoras, de carácter estructural, que deberían enrumbar el sistema educativo salvadoreño en el siglo XXI.

This inquiry will explore native-inspired practices through the lens and hosting of performance driven by contemporary events. Particularly, it will be argued how Andean rituals and practices might have some a link and extension to 21st century art of performance. The purpose is to grasp Andean practices out of heterogeneity, replacing an old outlook based on myths with a philosophical one in line with postmodern culture. In this “transition” lie the research questions and the enquiry of the problem: whether and by what means it will be possible to embrace Indigenism from heterogeneity and “performative art”, and how this journey from myth to philosophical thought will be executed. This issue and the questions that follow point to a knowledge vacuum, a gap that needs filling. Such scenes of existing on the age-old fringes might welcome “givennesses”—in the present case—as a matter within reach of the lifeworld; and therefore these expressions and experiences are now to be grasped in terms of performativity within a postmodern event sphere. The event works as an intertwining of nothingness, being and the outburst of difference, which is indeed concrete, specific, experiential; yet it cannot be reduced to, encapsulate into or abridged to practices, specifics or
manifestations. The concepts or thoughts in this text—as in Deleuze’s—are not alleged to be abstract, speculative; rather, they take place where the forces—the difference—become without the ideas or theories drawn out of such expressions being detached from their infinite potential movements. By means of a line of flight, a novel sense beyond magic and myth is
found in such recomposition: a new meaning of a philosophical-artistic seal regarding the same practices already mentioned. The consequence of such Greek-inspired abandonment would result in the performance becoming tribalised.

A produção plástica do americano Jon Prichard, entre o desenho, a pintura e a escultura, anima-se em momentos performativos estética e emocionalmente provocadores, cuja efemeridade agudiza os sentidos de quem assiste e participa. Alegorias ancoradas em complexas intersecções de espaço e ritmo, movimento e som, as suas performances são verdadeiros desafi os -lúdicos, absurdos, iluminadores -concebidos num equilíbrio delicado entre ingenuidade e sarcasmo, contenção e explosão, contínua reconstrução de observador e observado em combinações surpreendentes. A obra de Prichard afi rma-se num ambiente de extraordinário vigor e popularidade da arte da Performance, no qual sobressaem eventos de grande impacto 2 . É evidente a crescente centralidade que a arte da Performance ocupa na actividade de museus e galerias. Tomando como exemplo a actividade recente do Museu de Arte Moderna de Nova Iorque (MoMA), verifi ca-se que, entre 1 de Novembro de 2009 e 3 de Maio de 2010, foi apresentada (em colaboração com o Centro de Arte Contemporânea P.S.1 e Performa 09), a exposição 100 Years (version #2, ps1, nov 2009), congregando mais de duzentas obras que marcaram a história da arte da performance desde o manifesto Futurista de 1909. Ainda em 2010, entre 14 de Março e 14 de Maio, o mesmo museu apresentou uma retrospectiva das obras de Marina Abramović e uma nova performance da artista, Marina Abramović: The Artist is Present, a mais longa até hoje apresentada a solo 3 .

Le catalogue d'exposition rédigé par Thierry TESSIER

La couleur reste un vecteur de communication dans l’art. Echange de sentiments, de sensations, d’esthétiques. C’est un sujet infini et passionnant qui concilie, culture, ressenti, philosophie voire syncrétisme. Les approches de l’Homme vers la couleur, sont différenciées et pléthores. Voici quelques œuvres qui nous invitent à nous interroger. Lors de cette exposition ont participé les artistes suivants : Franck SEVES, Florence NIEF-BENHAMOU, Catherine CAVIN, Claude CAMELO, Isabelle CAPPE, Benoit TRIFFAULT, HARRY & Jean LUC, Benoit ATL, Henry HANG, COLLECTIF FAIM D’ART, Yon COSTES, Carl Henning PEDERSERN, Raul da COSTA CAMELO, Clément FOURNIER, Karim AREZKI, Michel BIOT

Metin Çelik yerleştirme, eskiz ve kara kalem çalışmalarından oluşan sergisi Post-Apocalyptıc'te (Kıyamet Sonrası) ile bizleri savaşın, yıkımın ve şiddetin izleyicisi değil tanığı olmaya davet ediyor. 15. İstanbul Bienali'nin komşu etkinliği olan sergi , "İyi bir komşu nasıl olmalı?" sorusuna da cevap veriyor: "Evet, iyi bir komşu olmanın yolu yanı başında yaşanan şiddete, savaşa ve yıkıma duyarsız kalmamaktan geçiyor."

Trump and his administration brought with them an inflammatory rhetoric that reduced complex issues into the simplified polarity of "us" and "them." With this as the dominant paradigm, racism was encouraged and spread like a virus throughout the nation, appearing in heightened jingoism against other nations, anger towards fellow citizens and violence towards neighbors. When the pandemic Covid-19 spread throughout the nation and the world, it became politicized, used by Trump as a novel corona vehicle help inflame intolerance. He repeatedly associated China and Chinese people with the virus to forward his political agenda regarding US trade with China and he used the resulting demonization of China as a foil for his complicity with Russian crimes. In response to increased and well-publicized acts of violence against Black Americans, systemic racism against Black people is finally being noticed. However, anti-Asian violence has largely been disregarded. This paper ...

The built and manufactured landscapes of Palestine, from houses to hilltops, transport networks to borders, gardens to cemeteries, archaeological remains to modernist forms, have become weapons of expropriation, violence, and displacement in the occupation and ethnic cleansing that have been underway since 1948. In the face of zionism's persistent attempts to erase the identity and history of the Palestinian people, the preservation and projection of domestic, cultural and political landmarks become powerful forms of resistance. How do spatial practitioners in Palestine respond to the cycles of violence imposed on them? How does the dream of a free Palestine endure, in the face of such enormous and repeated devastation? Amidst horrifying levels of death and destruction inflicted on Palestinians in the last four months, this presentation on spatial practices in and on Palestine looks for hope in the ruins, drawing on the works of architects, urbanists, heritage workers and artists. abstracts Paper session 1 Spaces of production, spaces of consumption

During the Covid-19 pandemic, the issue of racism became a hot topic discussed by the world community, especially in the United States. The bustle of the #STOPASIANHATE hashtag illustrates that the issue of racism is attracting the attention of the world community massively. The emergence of this hashtag was triggered by one of the political propagandas of the Former President of the United States, Donald Trump, through his tweet stating that the Covid-19 virus was the "Chinese Virus". Therefore, this paper aims to find out how the influence of Donald Trump's political propaganda on the level of racism among Asian-Americans. In this paper, the authors use qualitative research methods through case studies. The results show that Donald Trump's political propaganda affects the level of racism in the United States with an increase in hate-speech cases against Asian-Americans by 15% during the pandemic compared to 2019.

BackgroundOn March 16, 2021, a white man shot and killed eight victims, six of whom were Asian women at Atlanta-area spa and massage parlors. The aims of the study were to: (1) qualitatively summarize themes of tweets related to race, ethnicity, and racism immediately following the Atlanta spa shootings, and (2) examine temporal trends in expressions hate speech and solidarity before and after the Atlanta spa shootings using a new methodology for hate speech analysis.MethodsA random 1% sample of publicly available tweets was collected from January to April 2021. The analytic sample included 708,933 tweets using race-related keywords. This sample was analyzed for hate speech using a newly developed method for combining faceted item response theory with deep learning to measure a continuum of hate speech, from solidarity race-related speech to use of violent, racist language. A qualitative content analysis was conducted on random samples of 1,000 tweets referencing Asians before the A...

The coronavirus (COVID-19) has spread quickly across the nation with a disproportionate impact on Black Americans. Many college-aged students receive their COVID-19-related information through social media and television even though research suggests that social media sources are more likely to be incorrect. Some students report trusting these sources over government sources such as the CDC and WHO. The purpose of this study was to understand Historically Black College and University (HBCU) students' COVID-19 knowledge, sources of information, and planned precautions. There were 21 in-depth interviews conducted with students attending a large southern HBCU during Spring 2020. Themes regarding knowledge included the following: it is a flu-like condition, it has international roots, there is inaccurate and changing information, and it is a pandemic. Themes regarding sources included: the news, US government and related officials, social media, interactions with family, and other social interactions. Themes regarding severity included the following: statistics, a distrust for hospital reporting, a belief that COVID-19 deaths were conflated with baseline health, peer influence, and familial influence. Themes regarding precautions included the following: proper mask use, hand washing/ sanitizing, avoiding large crowds/ small crowds only, physical distancing, COVID-19 testing/symptom monitoring, and COVID-19 vaccination.

Este trabalho analisa a atuação de seis artistas brasileiros contemporâneos cuja produção se coloca em uma perspectiva decolonial, isto é, tem como parâmetro uma visão crítica em relação ao aprisionamento político, epistêmico e cultural imposto pelo pensamento europeu. Seus trabalhos mantêm forte posição de combate às práticas neocoloniais que ecoam nas sociedades contemporâneas, consolidando uma conduta de dominação nos planos político, econômico, cultural e social. A análise dos artistas foi organizada de acordo com suas temáticas: Aline Mattos e Rosana Paulino tratam do racismo e do passado escravocrata brasileiro. Jaider Esbell e Daiara Tukano trazem a questão mitológica indígena como representação de seu universo sempre ameaçado pela presença do homem branco. Auá Mendes e Rosa Luz contemplam, em suas produções aqui analisadas, o corpo dissidente transgênero em um mundo heteronormativo. Ao mesmo tempo, o artigo traz impressões da escritora e artista Jota Mombaça registradas no livro “Não vão nos matar agora”, estabelecendo um diálogo de sua escrita sobre questões decoloniais com as obras analisadas. Com isso, buscamos ressaltar a proximidade que tem o pensamento de Jota Mombaça com a produção dos artistas selecionados cujas manifestações buscam refletir sobre temas em comum como racismo, gênero, desigualdade e ativismo.

The Covid-19 pandemic has brought the issue of anti-Asian violence into conversation. Across the United States there have been several cases of hate crime starting from the discriminating language public figures used to describe the coronavirus. This research sought to explore the coverage of The Columbus Dispatch on anti-Asian violence in Columbus city and Ohio. Discrimination and violence against Asian Americans is, however, not new. Since the 19th century, Asian immigrants to the U.S have been excluded and shaped as "the other" in the media through the "model minority" myth. Previous research has examined what aspects of human nature influence violence and the relation between the myth and racial discrimination. For this study, I examined The Columbus Dispatch's coverage in relation to how news is socially constructed and the effect of "journalistic whiteout." After looking into the newspaper database, I found out that there is almost no coverage on anti-Asian hate crime incidents in Ohio, and this gap of information is because of massive underreporting, state laws, lack of diversity in the newsroom, and maybe not enough public attention to violence against Asian Americans.

The Covid-19 pandemic has brought the issue of anti-Asian violence into conversation. Across the United States there have been several cases of hate crime starting from the discriminating language public figures used to describe the coronavirus. This research sought to explore the coverage of The Columbus Dispatch on anti-Asian violence in Columbus city and Ohio. Discrimination and violence against Asian Americans is, however, not new. Since the 19th century, Asian immigrants to the U.S have been excluded and shaped as "the other" in the media through the "model minority" myth. Previous research has examined what aspects of human nature influence violence and the relation between the myth and racial discrimination. For this study, I examined The Columbus Dispatch's coverage in relation to how news is socially constructed and the effect of "journalistic whiteout." After looking into the newspaper database, I found out that there is almost no coverage on anti-Asian hate crime incidents in Ohio, and this gap of information is because of massive underreporting, state laws, lack of diversity in the newsroom, and maybe not enough public attention to violence against Asian Americans.

This research aimed to critically discover the author's ideology in the text entitled "Anti-Asian hate incident reports nearly doubled in March, new data says." In the analysis, the researchers used a qualitative method along with Fairclough's CDA model. As a result, it implied that Americans looked down on Asian-Americans, Americans took their stress out due to Covid-19 on Asian-Americans, Asian woman were the biggest victim in Asian hate, some Asian-Americans living in the U.S. had low economic levels, and the media had a big role in the development of Asian hate cases. This research result can help more people understand and reduce racism, at least by understanding that human status is the same regardless of race, gender, economy, or religion.

AKADEMOS es una revista semestral. De amplio espacio editorial, para la publicación de trabajos inéditos de investigación, artículos de análisis, reseñas y opinión, en los distintos tópicos de las ciencias, la tecnología, las artes y la cultura.

Takamine Tadasu's Fukushima Esperanto (2012) is an immersive project that responds to the unfolding tragedies of the March 2011 Tōhoku disaster. Connecting the experiences of Tōhoku with the devastating floods experienced across Queensland, Australia in the same year, Fukushima Esperanto invites reflection on trauma by a transnational audience. The artist's assemblage of obsolete technologies and objects of childhood play expresses Takamine's opposition to, and Japan's conflicted relationship with, nuclear energy.

Racist rhetoric blaming the Asian, Asian American, and Pacific Islander (AAAPI) community for the COVID-19 pandemic has precipitated a surge of violence against the AAAPI community in the United States, including the Atlanta mass shooting on March 16, 2021. These incidents resurfaced the ongoing racism against AAAPIs that has largely been unaddressed despite lasting almost 2 centuries. The erasure of AAAPIs' historical oppression, unique cultures, languages, immigration experiences, and contributions to scientific and social justice advancement in the United States has hindered AAAPI voices from being heard. School psychologists are ethically bound to promote equity and dismantle racism; it is imperative to increase visibility of AAAPIs' experiences across training levels (P-12 and graduate programs), settings, and systems. In this unified statement, school psychology organizations have come together to reaffirm the field's commitment to anti-racism by offering proactive strategies to effectively promote visibility and equity for AAAPI students, families, and communities. IMPACT STATEMENT Although there has been a complete absence of discussion of anti-AAAPI racism and anti-racism in school psychology, the field is actively committed to dismantling systemic racism and inequalities in P-12 schools, institutions of higher education, and communities across our nation. This statements seeks to address this absence by providing (a) a much-needed starting point for school psychologists to learn about the history of discrimination, racism, and violence targeting AAAPIs in the United States that has been virtually unaddressed; (b) a critical context for the recent rise in COVID-19related anti-AAAPI violence while shedding critical light on the deep-seated racism that has oppressed AAAPIs for centuries in America; and (c) beginning strategies that school psychology faculty members, practitioners, and students can engage in to dismantle anti-AAAPI racism across individual and systems levels.

La obra colectiva “Pensamiento Paraguayo reúne escritos de 22 prestigiosos pensadores y pensadoras de varias universidades de México, Brasil, Argentina y Paraguay que se unieron para discutir y analizar temas que hacen a la región y por supuesto al Paraguay. Las compiladoras son Sandra Escutia de México y Mariza Amaral de Paraguay.
En este capítulo, Gabriel Muro hace referencia a la venida al Paraguay de un grupo de alemanes en el siglo 19. Dichas familias fundan la Colonia Nueva Germania. Las ideas de Wagner, Nietzsche entre otros, aparecen en este texto.

Racist rhetoric blaming the Asian, Asian American, and Pacific Islander (AAAPI) community for the COVID-19 pandemic has precipitated a surge of violence against the AAAPI community in the United States, including the Atlanta mass shooting on March 16, 2021. These incidents resurfaced the ongoing racism against AAAPIs that has largely been unaddressed despite lasting almost 2 centuries. The erasure of AAAPIs' historical oppression, unique cultures, languages, immigration experiences, and contributions to scientific and social justice advancement in the United States has hindered AAAPI voices from being heard. School psychologists are ethically bound to promote equity and dismantle racism; it is imperative to increase visibility of AAAPIs' experiences across training levels (P-12 and graduate programs), settings, and systems. In this unified statement, school psychology organizations have come together to reaffirm the field's commitment to anti-racism by offering proactive strategies to effectively promote visibility and equity for AAAPI students, families, and communities. IMPACT STATEMENT Although there has been a complete absence of discussion of anti-AAAPI racism and anti-racism in school psychology, the field is actively committed to dismantling systemic racism and inequalities in P-12 schools, institutions of higher education, and communities across our nation. This statements seeks to address this absence by providing (a) a much-needed starting point for school psychologists to learn about the history of discrimination, racism, and violence targeting AAAPIs in the United States that has been virtually unaddressed; (b) a critical context for the recent rise in COVID-19related anti-AAAPI violence while shedding critical light on the deep-seated racism that has oppressed AAAPIs for centuries in America; and (c) beginning strategies that school psychology faculty members, practitioners, and students can engage in to dismantle anti-AAAPI racism across individual and systems levels.

B ü y ü k a d a Mimar Sinan Fine Arts University 2019 3D LED 152 160 86cm Courtesy the artist and Kunsthalle Basel 2019 268 310 20cm 19'00" Editing: Selçuk Metin Courtesy the artist and , , Oslo 2019 120 310cm Courtesy the artist and artSümer

This report offers aggregated national data and some selected personal testimonials about Asian American experiences with anti-Asian violence. The data is presented by types of discrimination and violence experienced, the ethnic breakdown of those being targeted, and the locations where Asian Americans were targeted.

Informality Higher arts education poses several specific challenges. The specificity of art in the contemporary age demands the development of unique strategies. Following a conceptual framework defined by Infection, Participation and Informality the School of Arts at Universidade Católica Portuguesa adopted since 2018 a strategy comprising a project-based methodology, informal tutoring sessions with artists, a Cultural Programme and an artistic residencies programme. This paper presents the early results of this strategy, and analyses how it could foster the critical artistic practice of the students.

Focusing on object as agent of faith or identity, the inaugural exhibition of the Greensboro Contemporary Jewish Museum (GCJM) shines a light on everyday objects that facilitate contemporary Jewish identity in its varied forms.  Contributors, Jewish residents of Greensboro, North Carolina, were prompted to “share about a personal object imbued with significance” to them as a Jew.  Moving beyond the universally identifiable objects to the particular, these household objects, their stories and the stories of their keepers are the content for a living archive that makes up the opening exhibition of the GCJM, 36+2.

What will successful international collaborations between universities look like in the future? As part of ifa's Research Programme 'Culture and Foreign Policy' Annika Hampel attempts to answer this question in a study. In an interview with ifa, Hampel makes it clear that successful cooperation requires dialogue at eye level.

Kendi halinde güzel olan her şeyi sevmiyoruz. Sevebilmemiz için başka dinamiklere de ihtiyacımız var. İlkçağ felsefesi ''sevme,hoşlanma'' anlamına gelen philia kelimesini kullanır. Aynı zamanda dostluk anlamına da gelir yanlış kullanım olsa bile. Asıl gözden kaçan anlamı şudur; dostluğun başlangıcında yer alan hoşlanma, karşılaşma halindeki ilk temastır. Kendisine yakınlık duyduğumuz, sempati duyduğumuz, bize bu izlenimi verecek şeyde, yani kendisiyle dostluk kuracağımız her şeyde, ''bir başka dünyadan''lık,hali arıyoruz. Bir tür beceriksiz hali, bir tür tuhaflık olmazsa asla dostluk kuramadığımızı yaşam tecrübesi olarak sizde fark etmişsinizdir. Bir tür beceriksizlik, bir tür afallama, yer-yön kaybı karşısında duyduğumuz belli bir duygu vardır ve bu doğrudan doğruya bizi o yöne doğru çeker. Çağdaş Türk resim sanatının başarılı temsilcilerinden Mustafa Horasan'nın resimlerinde yer alan figürlerin içinde yer aldığı durumda buna benziyor. Figürlerin hareketleri ile renkleri arasında yer alan tezatlık izleyicisinin önce afallatıyor. Figürlerin hareketi, birbiriyle girdikleri ilişki içerisinde, izleyici kendisini oyuna dahil edilmiş buluyor. Boyutları değişmiş uzuvlar, birbirinin içine geçmiş gövdelerde estetik bir kaosu oluşturuyor. ''bir dünyadan hali'' diye tanımlayabiliriz bunu, sanki kendi dünyalarından kopup o anın görüntüsü eşliğinde bizlerin dünyasına düşmüş gibiler. Teknik acıdan mükemmel olsa bile, içerisinde yatan imgenin; fizyolojik, biyolojik, anatomik özelliklerine bağlı eksiklikler ya da fazlalıklar barından halin içinde kayboluyoruz. Leibniz acısından baktığımızda '' başka dünyadan'' kavramı daha iyi anlatacak kendisini. Bu dünya için gerçeklik algımıza uymayan imgeler başka bir dünyaya ait. Bu dünyanın kendine özgür bir zarafeti, farklı bir hareke rejimi var, tümüyle farklı bir hareket düzeneği, akışkan bir yaşam… Hayal gücümüzü yararak geçen ya da hayal gücümüzün izin verdiği yerlere girerek, onların içiresinden geçerek var olan yaratıklar, varlıklar, gerçek dünyadakinden çok farklı bir aisthesis… Aisrhesis / Estetik kavramını da Ulus Baker'in dediği

© Bu eser ancak referans verilerek kullanılabilir ve izin almaksızın çoğaltılamaz.

“Bazı kadınlar her seferinde biraz, bazıları ise tek seferde silinir. Bazıları yeniden görünür. Görünür olan her kadın, onu görünmez yapan güçlerle mücadele eder. Kendi hikayesini onun  adına anlatan, onu hikayenin, soyunun, insan haklarının, hukukun dışında tutan güçlerle mücadele eder. Kendi hikayenizi kelimelerle, görüntülerle kendinizin anlatması zaten kazanılmış bir zafer, bir isyandır.” Rebecca Solnit

Trump and his administration brought with them an inflammatory rhetoric that reduced complex issues into the simplified polarity of "us" and "them." With this as the dominant paradigm, racism was encouraged and spread like a virus throughout the nation, appearing in heightened jingoism against other nations, anger towards fellow citizens and violence towards neighbors. When the pandemic Covid-19 spread throughout the nation and the world, it became politicized, used by Trump as a novel corona vehicle help inflame intolerance. He repeatedly associated China and Chinese people with the virus to forward his political agenda regarding US trade with China and he used the resulting demonization of China as a foil for his complicity with Russian crimes. In response to increased and well- publicized acts of violence against Black Americans, systemic racism against Black people is finally being noticed. However, anti-Asian violence has largely been disregarded. This paper discusses both the increased violence against Asian Americans and the lack of attention to it. Dividing the paper into three sections, I correlate an artwork to the main issue in each section: the state-of-affairs provide a context in which to understand the artworks. Reciprocally, because artworks evoke an embodied understanding, involving our senses as well cognition, artworks change our relationship with issues from topical to personal. The artworks recontextualize what we thought we already knew and present possibilities for constructing the world differently.

http://www.thegranitetower.com/ :::: Ji Su Oh interviewed Alexa Alice Joubin on strategies to fight anti-Asian racism and misogyny in the United States. The interview appeared in the Granite, published by Korea University, Seoul, South Korea :::::: Race, like many identity markers, is social shorthand for articulating differences. Re-thinking racialized discourses estranges what is taken for granted. We study race historically not only to find roots of modern racism, but also to discover other views that may have been obscured by more dominant ideologies such as colonialism. :::: Popular media often portray the Asian community as perpetual foreigners who are defined by their inscrutable languages and food. On the other hand, the media also spin stereotypes about Asian-Americans as a model minority who are hard-working and assimilate well into North American society. However, these seemingly positive stereotypes are harmful by rendering an entire community politically invisible. Further, films and television programming either lack Asian representation or focus only on negative portrayal of Asian characters, such as the idea that Asian women are either dolls or cunning femme fatale.

Amsterdam merkezli sanat kurumu Framer Framed'de Srebrenitsa ve çevresnde meydana gelen soykırımın temsilini konu alan bir sergi düzenleyen küratör Natasha Marie Llorens ile yapmış olduğum söyleşi ilk olarak Sanat Dünyamız'da yayınlanmıştır.

Amerikalı sanatçı Valerie Hegarty, eserlerinde, tarihinin temel konularını ve 19. yüzyıl Amerikan sanatının bugüne ulaşan mirasını araştırmaktadır. Amerika’nın siyaseti, tarihsel revizyonizm, milliyetçilik ve bölgesel deformasyon gibi konuları ele aldığı mekan düzenlemelerinde gösterge, gösteren ve gösterilen arasındaki ilişkileri tersyüz etmeyi amaçlamıştır. Hegarty, postmodernizmin eleştirel söylemi olan yapısöküm yöntemi ile hem Amerikan rüyasının büyüme politikası olan sömürgeciliği sorgulamış hem de kültürel belleğin baskılanmasına karşı alternatif okuma yöntemleri geliştirmiştir. Sanatçının “Alternatif Tarihçeler” ve “Amerikan Çılgınlığı” başlıklı sergileri; Amerika Birleşik Devletleri ve mevcut siyasi ikliminin iç dinamiklerine, ikon kırıcı bir yaklaşımla odaklanarak izleyiciye yeni bir bakış açısı sunar. Makalede Hegarty’nin enstalasyonları çerçevesinde, kültürel bellek göstergelerinin değer yitimine uğraması ve “görünen” ile “gerçeklik” arasındaki ilişkiyi ele alınmıştır.
Anahtar Kelimeler: kültürel bellek, enstalasyon, Amerikan kültürü, yapısöküm, çağdaş sanat
DECONSTRUCTION OF CULTURAL MEMORY IN VALERY HEGARTY'S INSTALATIONS ABSTRACT
Valerie Hegarty, who is an American artist, scrutinizes the fundamental notions of history and the heritage of American art. She aims to reverse the relationships among the sign, signifier and signified in the space arrangements that she deals with the politics of America, revisionism, nationalism and regional deformation. With deconstruction that is the critical discourse of postmodernism, Hegarty both questions the colonialism that is the development policy of American legend and she improves reading alternatives against the suppression of cultural memory. Her exhibitions entitled as Alternative Histories and American Berserk present a new perspective to audience by focussing on U.S.A. and internal dynamics of the current political climate with an icon breaking approach. In this study, within the scope of Hegarty’s installations it is dealt with the devaluation of cultural memory signs, and relationship between visible and reality.
Keywords: Cultural memory, installation, American culture, deconstruction, contemporary art

Higher arts education poses several specific challenges. The specificity of art in the contemporary age demands the development of unique strategies. Following a conceptual framework defined by Infection, Participation and Informality the School of Arts at Universidade Católica Portuguesa adopted since 2018 a strategy comprising a project-based methodology, informal tutoring sessions with artists, a Cultural Programme and an artistic residencies programme. This paper presents the early results of this strategy, and analyses how it could foster the critical artistic practice of the students.

Mesa II. Arte y Conflictos bélicos en la Historia: de la Aldea al mundo Global Introducción Walter Benjamín fue premonitorio en dos afirmaciones acerca del siglo pasado: el de un ángel empujado por la historia, que deja atrás un reguero de cadáveres y catástrofe, simbolizado en el Ángelus Novus de Klee y la estetización política producida por el fascismo que llevaría a la guerra 1 . Observaba lucidamente lo que sería una de las características de la estética del poder, si entendemos que los totalitarismos -ya que el filósofo alemán escribe desde una perspectiva materialista-establecen una ruptura epistemológica con la historiografía artística del XX. Esa fractura destruye la línea argumental y vuelve a operar sobre los mitos de la tradición -"ficciones sobre lo divino, mentiras sacrílegas " -en naciones que no tienen una identidad definida y para las que es imposible afrontar la modernidad "o por el contrario una exaltación en la voluntad de hacer de esta modernidad una nueva potencia mítica" 2 . Se trataba de volver al orden, de instaurar una mirada que afirmara la identidad buscando en raíces que sólo existían en mentes delirantes. George Orwell, asqueado con los acontecimientos de la revolución socialista, lo definiría como una incoherencia sustituida por una entelequia que terminaba construyendo una falseada historia de lo inexistente. La producción artística ligada a la masa establece un referente netamente político que trasciende el carácter artístico para convertirse e integrase en la propaganda. Lo señaló Chaplin en El Gran Dictador (1941): la retórica se amplificaba a través de los micrófonos, unos micros blandos, surrealizantes, que se plegaban ante los deseos paranoides del líder que adoc-trinaba y seducía a las masas. La radio se convirtió en un medio capaz de unir a toda la población en torno a los discursos, se hacía presente en cada uno de los lugares a los que llegaba su señal. La alocución totalitarista insiste en los espacios unificados físicos y virtuales. La separación topográfica se eliminaba a través de los medios de comunicación donde la masa seguía al líder en su eucaristía desmedida, una praxis cercana a la Gesamkunstwerk wagneriana y que con tanta sutileza adaptaron los totalitarismos. Ese agresivo discurso supuso el proemio de un conflicto saldado con la eliminación de millones de personas. El individuo se disolvía en un engranaje de la máquina estatal, era materia para la guerra que supuso el desplazamiento del conflicto estético al militar.Todas las facciones establecieron sus propias imágenes, sus espacios para animar a sus combatientes y sembrar desconcierto y desánimo en los contrincantes. El prólogo de la guerra civil española sirvió como experimento para el desconcertante conflicto mundial. Finalmente sólo quedaron sombras: las imágenes de los campos de concentración, cuerpos fantasmales, desmaterializados en su desnutrición, hacinados en fosas comunes -la preocupación no era matarlos, era hacerlos desaparecer, eliminar cualquier vestigio no sólo físico, sino también espiritual-; los cuerpos desintegrados, con el único vestigio de una línea de sombra en Hiroshima y Nagasaki. La técnica borraba de la faz de la tierra a la carne, su esplendor certificaba la derrota de la humanidad.

Paisagens excluídas: projeto da fotógrafa Alice Miceli registra campos minados em zonas de conflito-ZUM-ZUM https://revistazum.com.br/radar/paisagens-excluidas/
Em cartaz no Rio de Janeiro, a exposição Em profundidade: (Campos-minados), da artista carioca Alice Miceli, apresenta pela primeira vez a série completa de fotografias do seu projeto. Feitas em campos minados no Camboja, em Angola, na Bósnia e na Colômbia, países que sofreram recentemente com guerras e conflitos armado e que ainda possuem localidades infestadas com minas terrestres. Segundo Miceli, é "um desafio interessante pensar o meio de fotografia para justamente considerar o que não pode ser visto, e como se dá nossa visão, do que ela feita, de como é mediada". VISITE ACERVOS INSTITUTO + IMS    

Marina Abramovic é, talvez, a artista mais paradigmática da performance. Seja por ter explorado situações limite ao longo de mais de cinquenta anos, ou por ter percorrido um caminho no sentido de trazer o espectador para o lugar de sujeito desde a década de 60, tem sido protagonista de exposições retrospectivas nos últimos anos. Em 2010, com uma exposição entitulada de The Artist is Present (2010) e agora com The Cleaner (2018), Marina Abramovic submete o público, cada vez mais alargado, a novas leituras da sua obra.
Após ter participado na exposição retrospectiva The Cleaner, no Palazzo Strozzi em Florença, vi-me envolvida em alguns questionamentos sobre a sua prática performativa e o seu processo que parece ver na reperformance uma extensão do seu próprio processo criativo. Se, no caso de Imponderabilia (1975) ou de “Freeing the Voice” (1976), parece haver uma recriação da performance original (com todas as alterações óbvias que o input do performer e dos novos espectadores introduzem à obra), a reperformance de The Artist is Present (2010), em 2018, altera o seu sentido original. A reperformance torna-se uma reinterpretação, senão um paradoxo da primeira: a artista não está presente. A sua ausência é a evocação da presença exclusiva do performer- espectador. Marina Abramovic reinterpreta a sua performance de 2010, reconfigura os seus intervenientes, faz dela um statement e, consequentemente, confere à obra de arte uma nova aura. Uma aura, diria, mais de encontro ao rumo que a sua obra tem vindo a encontrar.

Durante el primer año de gobierno, el régimen nazi creó una de sus entidades oficiales más poderosas: la Cámara de Cultura del Reich. Este organismo tenía por objeto centralizar el control sobre cualquier hecho cultural que se pudiera desarrollar en el país, un control que se deseó férreo y en el que se invirtieron enormes esfuerzos, pero que sufrió incontables fisuras debido al mal cálculo sobre la realidad. Cuando Adolf Hitler creaba, el 14 de marzo de 1933, el Reichsministerium für Volksaufklärung und Propaganda 1 buscaba, ante todo, tener dominio absoluto sobre la sociedad alemana. Ese mismo día se lo entregaba a su hombre de confianza, Joseph Goebbels. Astuto y leal, este nacionalista convencido, y ex-voluntario de la Gran Guerra (como lo fuera también Hitler) se hallaba en paro en 1924 cuando se afilió al NSDAP 2. No tardó en demostrar su valía realizando brillantes campañas propagandísticas que catapultaron el partido hacia la enorme celebridad que adquirió a principios de los años treinta, y que culminó con el nombramiento de Hitler como Canciller del Reich en enero de 1933. Uno se pregunta, a la vista de los datos, por qué razón le urgía tanto al nazismo tomar el control de la cultura. Por una parte, cabe recordar que Hitler tenía la frustrada vocación de la pintura. Por dos veces intentó ingresar en la Academia de Bellas Artes de Viena en 1907, no siendo admitido porque en los dibujos que presentó "aparecían pocas personas", según consta en la correspondiente acta 3. Tampoco podemos olvidar su gran admiración por la arquitectura, a la que consideraba un poderoso medio cuando había que impresionar al mundo exterior. Y también fue un destacable melómano, no reduciéndose su gusto a Wagner, como se quiere asegurar. Su amor por el arte (dejemos, por el momento, su gusto) está fuera de dudas, con razón uno de los apelativos más populares que recibió fue el de "Führer artista". Por otra parte, Goebbels era hombre de letras. Su alto rendimiento académico le dio acceso a varias becas que le permitieron visitar ocho universidades alemanas en las que estudió Historia, Arte, Lenguas Clásicas y Literatura, terminando el periplo en Heidelberg, donde se doctoró (1921) con una tesis sobre Wilhelm von Schütz, un escritor menor del romanticismo alemán. Por cierto, que su director de tesis, Max von Waldberg, era judío, aspecto que en aquellos años no pareció importarle demasiado 4. Ambos hombres, por tanto, eran buenos conocedores de la cultura y de la capacidad de infiltración que ésta tenía en todas las capas sociales: era un vehículo de propaganda (ergo 1 Ministerio del Reich para la Iluminación del Pueblo y Propaganda. 2 Partido Nacionalsocialista de los Trabajadores Alemanes, popularizado como "partido nazi". 3 https://www.was-war-wann.de/personen/adolf_hitler_wien.html 4 BÄRSCH, C.E.