Installation (Art)

Anyone who enters the drawing installations and graphical artworks of Nic Hess (*1968, Zürich, CH) must be prepared to travel a long way: on upward, downward and diagonal paths, on circuitous paths, on side paths—and on what Paul Klee calls Hauptweg und Nebenwege [Highway and Byways]. This description applies on a physical level and on a mental level. Physically, a drawing installation by Nic Hess may extend over several storys—across the full height of the space’s walls and across ceilings and floors. The viewer is expected to access the installation in its totality through movement and from different perspectives—but also to be aware of all the dimensions of the space, to look forwards and to look back in order to develop a vision that unites the miniature details with the huge, bill-board-like surfaces and signs. The mental requirements that Nic Hess’s installations impose on the viewer are still more complex—he draws his graphical rhetoric from a freely and imaginatively deployed reservoir of art history, from the language of signs, from the aesthetic of our everyday lives, from symbols from the worlds of politics and fi-nance and from a number of other spheres. [Renate Wiehager, Nic Hess. History Pictures of our Aesthetic-Political Situation, in: Renate Wiehager, Christian Ganzenberg (Ed.), Nic Hess. Drawing Installations 1995 – 2014, Snoeck Verlag, Cologne 2014, German/English. 304 pp. ISBN: 978-3-86442-079-5]

Contrary to the view of Modernism (Michael Fried) that works of art should create a “static image” that can be grasped by the observer at first glance, Robert Morris advocated a dynamic perception of the observer moving around and within the work (as a multi-part installation). With in the work Morris reflected on the work: the production process, the form of presentation, and the changing circumstances of presentation. Morris' installations with mirrors, the “Blind Time” series begun in 1973, and works from the 1980s (until 1987) show how Morris addressed the modern “delusional identity.” He responded to the postmodern debate in a way that provokes the question of whether this had always been inherent in his work.

An apparatus (10) mounts a telephone, particularly the handset (15) of a portable telephone, to a wall A.C. power outlet (11) and supplies power from the power outlet to the telephone. The apparatus comprises a chassis ( ), at least one A.C. power plug (30.31) carried by the chassis for electrically connecting to, and mounting the chassis on, the A.C. power outlet, at least one A.C. power socket (40, 41) connected to the A.C. power plug and carried on the chassis so as not to deprive a user of the use of the power outlet, a cradle ( ) carried by the chassis for the telephone handset (15) of a portable phone, and a power converter (18) carried by the chassis for obtaining A.C. power from the A.C. power outlet through the A.C. power plug, converting the obtained power into D.C. power, and supplying the D.C. power to the telephone handset through the cradle.

Nietzsche gehçrt zu den wichtigsten unter jenen Philosophen, die man als Wissenschaftsphilosophen in einem breit-angelegten und somit explizit kontinentalen Sinne als Wissenschaftsphilosophen bezeichnen kann. 1 Doch dies gilt gerade nicht ohne einen gewissen Zwang zur Apologie der Begriffsverwendung: entweder will man die Wissenschaftsphilosophie auf einer Metaebene betreiben (und dann kann man eine Vielzahl von Gelehrten darunter summieren, einschließlich Goethe, Hegel und viele andere) oder, und dieses kommt eher vor, ist Nietzsche aufzuputzen und zu glätten, um ihn in diese Rubrik zu bringen. Es ist dann dies und jenes wegzuerklären, gemäß der anständigen Etablierung in einem bereits vorgeprägten wissenschaftsphilosophischen Verständnis, ganz ordentlich, fachgemäß. Hier sollte man jedoch nicht vergessen, dass es noch nicht lange her ist, als Arthur Danto betonen musste, Nietzsche sei "als" Philosoph zu betrachten, was nur unter gewissen Schwierigkeiten im Sinn der etablierten ,mainstream-', oder ,analytischen' Philosophie mçglich ist, jener philosophischen Richtung, die bis heute definiert, wer ,richtig' oder philosophisch respektabel philosophiert (Danto [1965]]). Im deutschen Sprachraum hat Jürgen Habermas, fast zur gleichen Zeit wie Danto, durch altmodischere Denker der kritischen Schule wie Jacob Taubes und Theodor Adorno selber dazu motiviert, seinen Lesern in den 1960ern geglaubt versichern zu kçnnen, dass Nietzsche doch endlich "nichts Ansteckendes mehr" an sich habe (Habermas 1968, 257). Ein Wort, das in dem Sinne gewirkt hat, dass Nietzsche aus dem Umkreis der Frankfurter Schule bis heute verbannt werden konnte. Und in den dreissiger Jahren, hat auch Martin Heidegger in einem tief ironischen Sinne fast die gleiche Geschichte seinen Studenten noch damals erzählen kçnnen. Aehnlich wie bei Danto und Habermas, so blühte auch in der Zeit von Heideggers Nietzsche-Vorlesungen eine damals weit verbreitete Gelehrtenmeinung, wonach, so Heidegger, der: "Nietzsche kein strenger Denker [sei], sondern ein Dichterphilosoph. Nietzsche 1 Siehe dazu Babich (2009a, 210 -232). In diesem Sinne sollten wir Nietzsche an vorderster oder führender Stelle unter die kritischen Wissenschaftsphilosophen einreihen. Man vergleiche dazu die ersten beiden Absätze in: Babich (2010b, 344 -353).

Frage nach Nietzsches Wissen schaftsverständnis beschäftigen. Es gilt dabei im Voraus zu bemerken, dass die Art und Weise, wie Nietzsche die Wissenschaft auffasst, als einesolche dem philosophischen Diskurs, insbesondere der Wissenschaftstheorie, fremder sein könnte, und zwar von der Geburt Tragödie an, wo "als problematisch, als fragwürdig" Versuch einer 2) bezeichnet wird, d. h. als das zentrale Problem eines Buches, Nietzsche selbst retrospektiv als von Grund auf "fragwürdig" Versuch einer Selbstkritik 1) betrachtet hat. In der modernen post modernen und "globalisierten" Welt der Gegenwart nimmt die Wissen schaft ungeachtet gewisser Ausnahmen 1 nicht nur unhinterfragt, sondern in wachsendem Maße Platz der Philosophie ein, ein Wechselspiel insofern, die etablierte Philosophie lange durch das besetzt war, was Richard "Physikneid"2 nannte und als die "Sorge, auch ja ausreichend wissen schaftlich vorzugehen "3 charakterisierte. Doch die meisten Forscher, ob nun Spezialisten oder nicht, si nd relativ dass Nietzsche nur unzureichend "wissenschaftlich" ist, und Zusammenhang nicht ganz unerheblich, dass sein von Anfang an nicht als Philosophie im wahren Sinne betrachtet kritische Auffassungen der Wissenschaft sind in der akademischen Philo selten; Autoren wie Th. W Adorno oder Martin Heidegger, die sich hier erwähnen ließen, blieben einander fremd.

Белград  2024 с б о р н и к с т а т е й Корнелия Ичин (Белград) МЫСЛИТЬ СВЕТ, ИЛИ ТВОРЧЕСТВО ЭРИКА БУЛАТОВА Э рик Булатов, неоднократно называвший своим учителем Владимира Фаворского, также много раз упоминал имена Малевича, на супрематизм которого был ориентирован весь московский концептуализм, и Всеволода Некрасова, стихи которого находили свое пространственное воплощение в картинах художника. Все они пытались разрешить вопрос предела картины (а заодно и картины мира), ее плоскости и пространства, устремленности за горизонт, к бесконечности и свету. Об этих задачах говорит Булатов в статье «Поверхностьпространствосвет», называя поверхность картинымиром в профиль, а пространство картинымиром анфас, который есть «стремление за его пределы, направление пути»¹. Данная проблематика, осознанная в юношеские годы благодаря разговорам с Фаворским, когда картина представлялась ему не только как плоскость, но и как пространство со всеми присущими ему элементами («она имеет центр, периферию, край, располагающие разной по характеру и по количеству энергией, у нее есть свой горизонт и две диагонали»)², оказалась существенной для творчества Булатова. В статье «О картине и о себе» Булатов писал о том, что Фаворский «сумел теоретически артикулировать, классифицировать опыт мирового искусства в построении пространства на плоскости», и что он на основании этих сознаний Фаворского пытался создать пространство картины, которое «развивалось бы в обе стороны от поверхности: и к зрителю, и в глубину картины»³. Это двойственное направление пространства картины Булатов разрешал с помощью слова, адресованного зрителю, и заодно находившегося «между картиной и зрителем», что давало ему «естественную возможность владеть пространством»,

Oppenlaender, J., Johnston, H., Silvennoinen, J. M., & Barranha, H. (2025) "Artworks Reimagined: Exploring Human-AI Co-Creation through Body Prompting". In: Proceedings of the ACM on Human-Computer Interaction, 9(4), Article EICS012. https://doi.org/10.1145/3734189

The art critic and curator Nicolas Bourriaud and artist and EHESS researcher Roberto Cabot exchange on the work of Roberto Cabot discussing epistemological and philosophical issues of Art related to the practice of the artist. Text published in the catalog of the solo Exhibition "The Search for the Aleph" at the Museu de Arte Moderna do Rio de Janeiro. (https://issuu.com/villegagnon/docs/cat_ing_apresentacao)

本論の目的は、1950 年代にフランスにあらわれた音声詩の二つの起源を明らかにすることである。20 世紀前半の前衛詩の成果を引き継ぎつつも、独自の発展を遂げた音声詩の発生の経緯からして、きわめて還元主義的で、テクストやその意味作用よりも声や音に重きを置いたレトリスムの詩の影響は否定できない。なぜならそのレトリスムで活動行っていたフランソワ・デュフレーヌが発明した「叫びのリズム」が初期の音声詩とされるからである。しかし彼自身、『ピエール・ラルースの墓』(1958)においてテクストの意味作用に回帰し、またフランス音声詩の中心人物ともいえるベルナール・ハイツィックも同様に意味作用を決して放棄することなく、レトリスムとは全く違う文脈から音声詩に独特なアプローチを行っている。そこで本論では、フランスの音声詩を特徴づけたこのテクストの意味作用への回帰が、20 世紀前半にその活動を行い後の詩人たちに多大な影響を及ぼしたアントナン・アルトーの詩学と関連づけることで、フランスにおける音声詩の「退行」とも呼ぶべき現象を理論的に明らかにする。The present article lights two theoretical sources of French sound poetry that appearedin the 1950s and originally developed succeeding the fruits brought by the avant-garde poetry of the first half of the 20th century. Historically the influence of Isidore Isou and the lettrism\u27s reductionist theory, according to which the text - more exactly the signification of language - must be left, is important because François Dufrêne, whoparticipated in lettrist movement, creates phonetic poems called "Crirythme&qu...

O artigo explora os desafios dos museus ao integrar a arte da performance em suas coleções, uma vez que são espaços que tradicionalmente estão focados nas características materiais das obras. Algumas linguagens artísticas, como a performance, provocam reformulações de práticas e de teorias, bem como de processos institucionais, contribuindo para que profissionais e demais pesquisadores (re) considerem os modos de preservação, pesquisa e comunicação. Neste sentido, obras de arte podem contribuir para a criação de novos modos de documentar e apresentá-las ao público, envolvendo o desenvolvimento de protocolos de preservação. Assim, a partir de pesquisa bibliográfica e pesquisa documental com abordagem exploratória, o texto dedica-se ao projeto Performance at Tate: Into the Space of Art, investigando a presença da performance na Tate e analisando três obras abordadas no projeto para entender como performances influenciam a documentação, os processos institucionais, especialmente, o desenvolvimento de protocolos de preservação.

las -er las es mehrmals, zunächst mit freudigem »Schrecken« und »als wars ein Stück von« ihm/ zuletzt dann noch während der Arbeit am Doktor Faustus2 -, setzte er die Bemerkung »Hchstplr« neben Nietzsches Prophetie von der Wiederkunft des griechischen Geistes, die Vision vom ganzheitlichen Menschen, die Nietzsches Art der »Theodizee« verkündet: »Solche vollkommenen und wohlgeratenen Menschen empfinden an sich eine Art Vergöttlichung des Leibes . . . Von jener Höhe der Freude, wo der Mensch sich selber und sich ganz und gar als eine vergöttlichte Form und Selbstrechtfertigung der Natur fühlt, bis hinab zu der Freude gesunder Bauern und gesunder Halbmensch-Tiere: diese ganze lange ungeheure Licht-und Farbenleiter des Glücks nannte der Grieche, nicht ohne die dankbaren Schauder dessen, der in ein Geheimnis eingeweiht ist/ nicht ohne viele Vorsicht und fromme Schweigsamkeit -mit dem Götternamen: Dionysos.«3 Gleichzeitig schrieb er -ein seltener Vorgang -einen Teil dieses Passus ins Tagebuch ab und identifizierte ihn erneut mit dem »Griechisch-Goethesche[n] Element im >Hochstapler<«/ nachdem er die Bertramsche Nietzsche-Goethe-Parallele (»Faust -Zarathustra«) zustimmend notiert hat.4 Mit Sicherheit waren es zwei Reizwörter, die die Reaktion Thomas Manns veranlaßten: einmal das von der Vergöttlichung des Leibes/ zum ändern das vom Glück. Beide treffen den Kern der KruJJ-Konzeption;

“Belgian artist Johan Muyle found his voice 40 years ago with "La Modification" (1984), an aptly named assemblage sculpture that borrows its title from Michel Butor's celebrated 1957 novel. Consisting of a recliner attached to ropes and nooses, with a crate suspended between bicycle wheels placed behind, the entire ensemble evokes an instrument of torture or execution. This grim assisted readymade may echo Dadaist or Surrealist practice (and the spirit of Kienholz at his best), but Muyle's intent runs deeper than provocation. His frequently motorized assemblages and cryptic performances create enigmatic and often unsettling allegories that burrow down into the state of the world and the contradictions of human nature. The range of themes, ideas, forms, and sensations that he has explored through his collection, assembly, and modification of objects is astounding. And yet, no matter how dark the subject, he adheres to his humanist faith and never loses his questioning spirit or his interest in people-their beliefs, rituals, images, and stories producing work that simultaneously mirrors and transforms the real world”.

Artists have been looking at the world for thousands of years, and thus paintings and drawings can be considered to form a  -year-old corpus of experimental psychology of perception. Through observation and trial-and-error they have exploited the principles of how our brains interpret the input from the retina, giving priority to only certain regularities of the visual pattern. Thus, a study of pictorial cues can tell us about the way that the brain recognizes objects, understands spatial depth, and uses illumination information in natural environments. Conversely, a better understanding of visual perception may help to explain the effectiveness of certain techniques used by artists. Therefore this essay will focus on some basic techniques in pictorial depiction that allow blobs of paint or charcoal marks to evoke objects, depth, movement, transparency, illumination, and refl ection. The development of these pictorial techniques by artists can be considered as fundamental disco...

The Interrogative Design Symposium is organized as a celebration of the artistic and intellectual legacy of Krzysztof Wodiczko, ACT's Professor Emeritus, with the launch of the book Interrogative Design, edited by ACT alumnus Ian Wojtowicz SMACT '12 and published by the MIT Press. The Symposium examines the role of art and design in activating the public sphere and enriching public discourse through the production of critical questions. These events are free and open to the public. Pre registration is strongly encouraged. Register here.

The intrinsic objectuality of photography and the enduring myth of the photographer as a lone genius, together with the historical use of this medium for the creation of consensus, seem to hinder the potential role of photography as art in public space, thus leaving little space to anti-objectual, participatory, and conflictual practices. This paper, therefore, aims to present Rebecca Momoli and CHEAP’s project HER Name Is Revolution (2021) – a series of posters collectively installed on billboards in Bologna city center depicting naked female subjectivities − as an attempt to collaboratively challenge the sexualization of the female body produced by advertisements and the exclusion from visual and political representation of subjects diverging from dominant aesthetic models. a discussion of the following vandal attacks undergone by the photographs further reinforces the framing of the city both as a normative space for the reiteration of the social roles in the patriarchal system and as a place within which to perform a collective re-appropriation of public space.

Wenn Wissenschaftler zusammenkommen, die normative Ordnungen erforschen, präsentieren sie jene Muster, die in ihrem Fach aktuell nachgeahmt werden, damit man sie später kritisieren kann. So widmete sich der 44. Rechtshistorikertag, nicht mehr als „Deutscher“ ausgewiesen, der Sprache der Quellen

In this presentation, I have assembled a collection of works, images and concepts, predominately of 3d nature, and presented them chronologically, so as to serve as a starting point for further exploration and development.

My artistic practice is characterised by an evolving trajectory, with each piece informing the next. While fundamentally conceptual, my work also actively engages the viewer/participant on a somatosensorial level. Context is integral to my process, and I carefully consider the circumstances and architectural setting, which ultimately shape my final proposals.

In this essay multi-disciplinary artist Etty BenZaken describes her creative process working on the installation “Amulet for the Widening of the Heart” – a large fabric art work she created, to be accompanied by composer Eitan Steinberg’s original soundtrack, to be shown in the 2025 “Memory and Fiction” exhibit in Jerusalem. Recalling her family elders’ works with textiles, and drawing inspiration from folk and traditional fabric artworks, BenZaken shares her artistic search for a form that would suit this installation: a large-scale work that contains dozens of short texts that she and Eitan Steinberg recorded and transcribed from their family members as well as from the “Memory and Fiction” research group they were part of. In a story-like manner she shares her work process as she transforms the inspiration of Jewish traditional amulets and Torah curtains into a personal and contemporary piece of art.

This paper outlines lessons and suggests future strategies of an on-going transferrable approach to an international and multidisciplinary collaboration entitled `Border Crossings&#39;. Influenced by research led practice and blended learning ideals three art and design partner institutions –operating across three year period and three time zones, encouraged mainly year two undergraduate students to share their creative process, methods, skills and responses to porous notions of place within a digital network. At its core, however, are two interconnected themes of identity and culture which contributed to the learning experiences of students and staff from Duncan of Jordanstone College of Art & Design, University of Dundee, Scotland; the Faculty of Design Ljubljana at the University of Primorska in Slovenia and the College of Visual Arts & Design at the University of North Texas, USA. Since its inception in 2011 over four hundred participants have collaborated in the Border Crossing...

Este artigo está centrado nas análises comparadas de obras de Iole de Freitas (Belo Horizonte, 1945) e Olafur Eliasson (Copenhague, 1967) que, em momentos distintos, foram situadas em um dos pátios internos do edifício da Pinacoteca do Estado de São Paulo. Esse espaço, originalmente projetado por Ramos de Azevedo (São Paulo, 1851 – Santos, 1928), sofreu importantes alterações após a reestruturação concebida pelo arquiteto modernista Paulo Mendes da Rocha (Vitória, 1928 – São Paulo, 2021), junto a seus colaboradores, finalizada em 1998. Com o intuito de delinear similaridades e diferenças entre os trabalhos dos artistas, realizamos exercícios de espelhamentos e justaposições entre as obras e o espaço, investigando, por fim, de que modo a sobreposição de conceitos e imagens reflete na relação composta entre instalação artística e arquitetura.

(In the western world) our inner reality, needs, and desires to be, and to share, do not necessarily get along with the external reality, often overstructured and overscheduled, and always centered around work. The need to travel and escape from this individualistic present, only temporarily gives relief to the burnout of the working (wo)man. But what can we learn from working in what are generally considered places of "escapism" such as a Mediterranean island or, specifically, a small rural village in Sardinia? What is it that fosters sociality in these places, what constitutes our moments together with others, what ignites publicness*?

This essay presents the artistic process of Zenovia Toloudi, a Greek architect/artist based in the United States, during a brief residency in Sardinia, in the town of Milis. In presenting two temporary installations created in the streets of Milis, the essay suggests an approach to contemporary public space as a place most influenced by the lives of its inhabitants, imagining the creation of new hypothetical architectural elements that foster subjective time, slow time and "we" time. The essay seeks to redefine public space by focusing on places far from cities and wondering how public and social dimensions fit into remote landscapes in close contact with nature.

Статья посвящена наиболее актуальной проблеме изучения инсталляции как основополагающего вида современного искусства -- проблеме определения. Анализируются история термина и контекст становления инсталляции в мировом искусстве, применимость к ней таких категорий, как «жанр», «медиум», «практика», а также круг понятий и черт, который характеризует инсталляцию, начиная с момента ее возникновения и на современном этапе.

Статья посвящена малоисследованной в литературе проблеме того, насколько советские неофициальные художники были осведомлены о развитии в современном им мировом искусстве жанра инсталляции. Этот жанр появился и быстро распространился на западной сцене в 1960–1970‑е годы, однако буквально через десятилетие и в условиях железного занавеса инсталляция появилась и в СССР. Задача настоящей статьи — реконструировать источники и объемы информации, поступавшей советским художникам, принимая во внимание проблему того, насколько в принципе возможна документация работ этого жанра. Кроме того, в статье рассматривается история вхождения терминов «инсталляция» и «энвайронмент» в отечественный дискурс.

Статья посвящена одной из проблем исторического изучения инсталляции — проблеме определения хронологических границ этого художественного явления. Несмотря на то что становление инсталляции в западном искусстве можно уверенно датировать 1960–1970‑ми годами, в литературе крайне сильна тенденция к ретроспективному распространению понятия «инсталляция» на модернистские проекты первой половины ХХ века или же на памятники, созданные задолго до этого периода, вплоть до пещеры Ласко. В статье рассматриваются основные типы и прецеденты «инсталляций» avant la lettre и обосновывается, почему их нельзя назвать инсталляциями в строгом смысле слова, — в частности, с опорой на романтическое понятие Gesamtkunstwerk.

Since its emergence at the international scene in the 1970s, installation has been one of the artforms central to the contemporary art system. Yet at the theoretical level the issue of its categorial framework remains unresolved, which in turn reflects the situation within contemporary art's categoriality in general. Concepts and terms such as "genre", "medium", "intermediality", "post-medium" and "postconceptual" condition have all been applied to installation art. This article attempts to analyze whether these labels are appropriate to the installation art phenomenon, especially with regard to the recent developments within genre, literary and media studies. Hence, the article provides the historical and modern definitions of the terms, while special attention is paid to their usage within art history and installation art discourse. The resulting conclusions are intended to situate installation art within a viable categorial framework and to shed light on several areas of contemporary art categoriality at large.

Статья посвящена проекту «Рай» (1972–1975) В. Комара и А. Меламида, который часто называется первой инсталляцией в истории российского современного искусства. Несмотря на знаковый статус этого произведения и его описание, и анализ его роли в истории отечественной инсталляции остаются в литературе крайне редкими. В статье предлагается наиболее полная из существующих на данный момент реконструкция «Рая», составленная с опорой на архивные материалы. Рассматриваются предпосылки возникновения и место этого проекта в творчестве Комара и Меламида, а также его значение для истории советского неофициального искусства и влияние на других мастеров инсталляции.

Today, artists determine their own trajectory in an environment where they can communicate with the audience in the context of spatial experience, use of materials and offering artistic suggestions. Through spatial approaches such as installation and performance that activate our sense of taste, smell, touch and hearing as well as sight, and through dialogue, interaction, collaboration and participation, which are relational art arguments, artists offer the audience with an environment that is not limited to a 'frame' or a space. In this study contemporary art examples will be included and an evaluation will be made based on the food production / presentation, which is the basic need in these examples. The appearance in the artistic production and exhibition space and the food theme in the artist's work; It will be examined together with the relationships between their formal purposes, applications and material preferences.

"Belgian artist Camiel Van Breedam launched his career in the late 1950s, when peinture informelle (abstract gestural painting) was still going strong. At an early stage, he made the leap from abstract geometric painting, with an emphasis on matter, to assemblage sculpture and collage—works, both formalist and historicizing, made from ordinary laborer’s tools and the remnants of shuttered factories, and often fraught with meaning. Van Breedam has always been drawn to the early Modernists, who embraced mostly abstract principles of design, but his work blends those principles with influences from other times and cultures to form a hybrid language that serves his personal and political convictions".

This paper assumes that in an information-rich and time-poor society, mental shortcuts that discourage rational thought are important in shaping decisions among selections. The research focuses on understanding and forming the taste of people on architects' identities. The broader scope aims to establish an architectonic language of communication based on the links emerging among identity-taste dyads. The methodology consists of surveys, social networks analysis tools and PICANICO game: they all gather, classify and eventually form this language's mental shortcuts. A possible application of this experimentation is an interface between the architect and the client, where the learning yields out of a left right arrow.

Με έκπληξη και με συγκίνηση έλαβα το παρακάτω κείμενο για τη δουλειά μου από τη Δρ. Έφη Παπαευθυμίου, Αρχαιολόγο- Μουσειολόγο, Αν. Προϊσταμένη Δ/νσης Πολιτισμού- Τουρισμού Δήμου Λαμιέων.
Το παραθέτω με την άδειά της.
Oι εικόνες είναι από το έργο μου «Ιεροί Λόγοι/COVID-19” που πραγματοποιήθηκε με ανάθεση του Φεστιβάλ Αθηνών Επιδαύρου στο μικρό αρχαίο θέατρο Επιδαύρου την περίοδο μεταξύ 13/8 έως 5/9/2021.
Αιμιλία Παπαφιλίππου
Both surprised and moved, I received the following text about my work from Dr. Efi Papaefthymiou, Archeologist-Museologist, Dep. Head of the Directorate of Culture and Tourism of the Municipality of Lamia.
I present it herewith with her permission.
The English translation can be found after the Greek text.
The images are from my work "Sacred Tales/COVID-19," which was commissioned by the Athens and Epidaurus Festival and took place at the Little Ancient Theater of Epidaurus between 13/8 and 5/9/ 2021.
Aemilia Papaphilippou

“Opinião 65”, exposição realizada em 1965 no Museu de Arte Moderna do RJ (MAM), ressalta a postura de autonomia da produção artística brasileira em plena década de 60, reflexo do boom cultural com a entrada da Pop Art, Nova Figuração, cinema novo, entre outros. As obras de arte da exposição eram originalmente criativas durante o período da Ditadura militar, possuíam caráter propositalmente antiestético, brutal e provocativo, com uma série de inovações que gerava um choque, causando um grande impacto no público que esperava apreciar o prazer da arte estética e “tradicional” como de costume até então. O presente estudo tem como objeto um das obras expostas na exposição, vinda da série dos Bólides, a “B33 Bólide Caixa 18 - Homenagem a Cara de Cavalo” de Hélio Oiticica. A obra foi analisada através do exame organoléptico baseado em registros fotográficos, para que seja elaborado um diagnóstico para documentação e uma possível proposta de tratamento baseada nos princípios da Conservação-Restauração. Este projeto de pesquisa fundamentou-se em uma análise qualitativa por meio do estudo de autores como Fernanda Lopes, Paulo Reis, artistas como Carlos Vergara, Antônio Dias, Roberto Magalhães, Jean Boghici, Hélio Oiticica, fontes secundárias como vídeos de entrevista com os artistas e exposições, além de autores com trabalhos pertinentes.

By applying persuasion and consumer research findings to art appreciation we have checked whether and how artwork framing affects the evaluation of non-representational, abstract contemporary paintings. The frame can be treated as a cue signaling the value of the framed work—the more expensive it seems, the greater the value attached to the painting. However, the frame can be also seen as a means of exhibiting or promoting the picture. Exhibiting a painting in a frame that is perceived as excessively expensive can lead to a lowered rating of this painting. Both of these effects can be moderated by the perceivers’ interest in art. We conducted one experimental study, where participants evaluated paintings viewed either without a frame or framed in a simple or decorative frame. The results showed that decorative frames make paintings seem less valuable. Moreover, although simple frames do not affect the evaluation of the paintings by respondents with little interest in art, they impai...

Recent research on empirical aesthetics conducted in a laboratory setting has shown that the beauty felt in response to an artwork depends on its interactivity and suggested that interactivity might shape aesthetic experience. The current study tested the role of availability of interacting with installations on naïve viewers' understanding, liking, and affect. Participants were presented with contemporary installations alongside differing levels/degrees of interactions with them: (a) own-interaction, that is, own interactions and optional observing other viewers when interacting (in an art gallery), (b) other-interaction, that is, observing the viewer when interacting (in a laboratory setting), and (c) nointeraction, that is, interaction unavailable at all (control condition-in a laboratory setting). In Conditions B and C, artwork reproductions were presented. The results showed that in the own-interaction condition, participants liked the artworks more than in the laboratory setting conditions (when data from other-interaction and no-interaction conditions were combined). However, this result should be explained by the gallery effect rather than the degree of interactions. At the same time, subjective understanding and affective state did not differ depending on the level of interaction. Moreover, we tested what kind of affective state correlates with a greater tendency to interact with installations when viewing them in the art gallery. The variance of engagement in interaction with installations was statistically significantly positively explained (overall 42%) by valence (more positive states), subjective significance (more significant) and origin of affective states (metaphorically originating more from reasons of the mind, i.e., more deliberated upon and rational).

Kevin Scott considers the various challenges presented to Aesthetics by images which are generated by Artificial Intelligence. Not least amongst those challenges is the age-old cocktail party question: But is it Art?
This provides an opportunity to re-examine the necessary and sufficient conditions for a creation to be considered Art.
This paper was deliberately written as an 'entry-level' discussion of Aesthetics. Nevertheless the academic underpinning is robust.

"Ghislaine Leung takes on the readymade, among many other things, and manages to extract new meanings out of it, more than a century after this act of appropriation was initiated. I am often astounded when thinking of the brushstroke—applied, say, with oil on canvas—how after centuries of practice there are still artists who manage to develop their own idiosyncratic touch. A readymade, assisted or not, doesn’t have the same flexibility or malleability as a stroke of oil, but still, it is surprising what vast range of expression and meanings artists are able to squeeze out of this method of artistic production, so many years later. A brush stroke, which amounts to making a mark, is a signature of sorts, while the readymade moves away from the hand, and thus muddies the issue of creativity, and authorship, as it emphasizes intention, and thus the mind of the artist who appropriates and recontextualizes the inventions, and designs, of others."

Art movements began after the industrial revolution, has brought a new dimension and lead artists and designers unprecedented forms and new different perceptions. This approach which was shaped though to art and design movement turned to an individual interrogation style witli postmodernism. Designers approached the problem with an intuitive way. emotionally closer, 􀀡ncl created conceptual works thought an experimental and individual approach. Typography conventionally used in graphic design which reshaped witli the usage of different techniques has developed a level of perception in art and design. In the 21st century 'thought' based on the association of art and design, without any doubt has began to shape with technology. Socio-cultural typographic installations in public spaces added value to the city and get a bit of peeling off the shadow of graphic design capitalism has transformed the phenomenon of contemporary art. Accordingly to tliree-dimensional installations has created consciousness in socio-cultural and carries the city and the people to the future.

Werk des 20. Jahrhunderts, die ausschließlich für die Ausstellung im Wiener Kunstforum ergänzt wurde. Hierin erörtert Markus Brüderlin den Rahmen in dem von mir behandelten Jahrhundert. 12 Ein Jahr zuvor hat sich der Autor in mehreren Texten zum Thema der Aura in Verbindung mit dem Bilderrahmen im Zuge der Ausstellung Aura. Die Realität des Kunstwerks zwischen Autonomie, Reproduktion und Kontext in der Wiener Secession beschäftigt. 13 Das Ausgangs werk dazu ist der Aufsatz Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit von Walter Benjamin aus dem Jahr 1936. 14 Bernhard Kerber verfasst 1997 einen Abriss über den Bilderrahmen im Blick von Künstlern Rahmen ohne Bilder-Eine Zitat-Montage in einer Ausgabe von Kunst und Ästhetik. 15 Die theoretische Auseinandersetzung mit der Thematik hat mich zum Werk Die Wahrheit in der Malerei von Jacques Derrida in der deutschen Auflage von 1992 geführt, der sich mit der Frage nach der Kunst auseinandersetzt und in diesem Zusammenhang auf den Rahmen in der Funktion des Parergon kommt, wodurch ihm jegliche Eigenständigkeit aberkannt wird. 16 Ausgehend von dieser literarischen Arbeit habe ich mich in einige Positionen zur Ästhetik eingearbeitet. Hilde Zaloscer gibt in ihrem Versuch einer Phänomenologie des Rahmens in der Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft von 1974 einen umfas senden Ausblick auf weitere Theoretiker und rekapituliert gleichzeitig die historische Ent wicklung. 17 Aufgrund der Fülle an Abhandlungen habe ich mich auf einige Autoren beschrän 9

Geometry, in the modern sense of the term, is based on the study of transformations. The diversity of those transformations has recently been used to understand the diversity of spatio-temporal representations in the brain. I argue that this new association between geometry and neuroscience can also change the way we consider drawing. The role of transformations is thus evaluated here in three differing examples, all involving the drawing of living bodies: drawing from the nude, drawing a sequence of movements, and life sketching. This analysis indicates that "strokes", rather than "lines", play a fundamental role when drawing living beings. On this basis then, it is possible to put aside the classical approach to dealing with spatial representations through "central" or "linear" perspective, and to highlight alternative principles of spatial composition such as drawing "without a point of view". This attempt to connect drawing with modern geometry and neuroscience leads to a re-evaluation of the epistemological importance of digital animation tools, according to their geometrical premises. I will discuss in more detail the role of morphing-based animation, which is based primarily on texture transformations rather than virtual cameras. The development of such a complete approach to drawing, including all its static, moving and transformational aspects, will emerge as a vital step in addressing the new challenges raised by the representation of life in the twenty-first century.

ÖZ Bu araştırma ile, küreselleşme sürecinde değişen paradigmalar, kapitalizm ve enformasyon sistemleri ele alınacaktır. Araştırmada, tüketim toplumunun bir aracı olarak, küreselleşme süreci ile ortaya çıkan yeni teori ve arayışlar, sanat ve tasarıma yansımaları bakımından incelemek amaçlanmaktadır. Tüketim nesnesi olarak sanat ve tasarımın, içerisinde tüketici davranışları, kültürel oluşum, popülerizm, markalaşma, vb. gibi bu sürece ait olan kavramlar ile sürekli devinim içerisinde ilerlediği görülmektedir. Bu devinimi oluşturan değer kavramı, metalaşma eğilimi içerisindeki toplumun çevresinde şekillenmektedir. Bu bakımdan incelendiğinde; araştırmanın temel problemini bir tüketim nesnesi olarak sanat/ tasarım, toplumsal süreçte değişen paradigmalar üzerinden şekillendiği anlayışı belirlemektedir. Sonuç olarak, tüketim toplumunun oluşumunda kültürel ve toplumsal normların belirleyiciliği faktörü kitlelere ulaşma/erişim bakımından oldukça önemli görülmektedir. Bu bağlamda, içerisinde yaşadığımız zaman diliminin nasıl bir şekle/nesneye bürüneceği yani nasıl metalaşacağı, süreç içerisindeki paradigmaların oluşumuna göre değişkenlik göstermektedir. Araştırmanın, konuya bu bakış açısıyla sunularak, kuramsal olarak alan yazına büyük ölçüde katkı sağlayacağı öngörülmektedir.

Helsinki Biennial 2023 publication with an introduction by curator Joasia Krysa and texts by Curatorial Intelligences/co-curators: Museum of Impossible Forms (Giovanna Esposito Yussif and Ali Akbar Mehta), TBA21– Academy (Markus Reymann), Critical Environmental Data (Jussi Parikka, Paolo Patelli, May E Wong), ViCCA@Aalto ARTS (Patrizia Constantin and Bassam El Baroni), Digital Visual Studies, University of Zurich (Dario Negueruela del Castillo, Valentine Bernasconi, José Ballesteros Zapata, Iacopo Neri, Ludovica Schaerf, Jason Armitage, Tristan Weddigen).

Artist contributions: Matti Aikio, Ahmed Al Nawas & Minna Henriksson, Dineo Seshee Bopape, Danielle Brathwaite-Shirley, Golden Snail Opera (Anna Tsing, Yen-ling Tsai, Isabelle Caronelle, & Joelle Chevrier), Asunci.n Molinos Gordo, Alma Heikkil., INTERPRT, Keiken, Sonya Lindfors, Tuula N.rhinen, Lotta Petronella with Sami Tallberg & Lau Nau, PHOSfate (Mohamed Sleiman Labat & Pekka Niskanen), Diana Policarpo, Sepideh Rahaa, Bita Razavi, RED FOREST, Remedies (Sasha Huber & Petri Saarikko), Tabita Rezaire, Yehwan Song, Jenna Sutela, Emilija Škarnulytė, Suzanne Treister, Adrian Villar Rojas, and Zheng Mahler.

Visual contribution by creative collaboration of the design studio The Rodina and spatial consultancy Diogo Passarinho Studio.

Colophon

New Directions May Emerge
Published by HAM Helsinki Art Museum and Helsinki Biennial 2023
Publications no. 154
ISSN 2489-3889 / ISBN 978-952-5939-44-6
Editors:  Petronella Grönroos, Joasia Krysa
Writers: The artists, The Curatorial Intelligences, Petronella Grönroos, Joasia Krysa, Johanna László.
English Translations and Proofreading: Silja Kudel
Visual Identity and Layout: The Rodina

Mekan bir tüketim toplumu nesnesi olarak ele alındığında; tüketimin sadece edilgin bir unsuru olmakla kalmaz, aynı zamanda etken bir unsuru olarak da ait olduğu toplumda estetik ve etik belirleyici, sırf bu sebeple bile kültürel ve politik düzlemde hem ayraç hem de anlam manzumesi olarak yer alabilmektedir. Süsden ve pratik işlevi olmayan her türden göstergeden uzak mekan anlayışındaki elitist yaklaşım günümüz Türkiye'sinin uygulama alanında tamamen değersizleştirilmişken, akademik ve teorik zeminde oldukça gelişkin bir eleştiri ortamı ve eleştirmen zümresi olması da bir o kadar ironiktir. Neredeyse hiç pratik işlevi olmayan tamamen imitasyon, hiç olunmamışı olunmuşlaştıran, hiç bulunulmamışda bulunulmuşlaştıran, zaman ekseninde değer taşımayan, obje demeye bile imtina edilesi nesnelerin ekonomik ve kültürel olarak ikinci veya daha alt sınıf göstergeleri olup olmadığı tartışması da üzerinde kısa da olsa durulması gereken bir açmazdır. Kültürel bağlamda eleştirilebilecek bu türden süs ve/veya anı objesi yerleştirme eyleminin politik olarak da doğruluğu veya yanlışlığı da hitap ettiği gözlemciye bağlı olarak tartışmaya açık bir tavırdır. Bu türden bir tavır günümüz tüketim toplumunun tüm ideolojilerini açıklıkları veya ima ettikleri ile sergileyen, tanıtan ve ne yazık ki tartışmaya sokan bir tavırdır. Kültürel veya daha dar bir çerçevede estetik olarak doyuma ulaşmış bir mekan böylesi bir tüketim deneyimine de büyük bir kuvvetle direnç gösterebilirken kırsalın kenti kuşatıp kent yaşamını ele geçirmesi kente ve kentliliğe dair tüm kültürel ve politik tavırları iğdiş etmesi sonucu ne olduğu tanımlanmayasıca bir kültürü de beraberinde getirmektedir.

Bu araştırmanın amacı, sanat eserinin var olan diğer nesnelerle nasıl bir ilişkisi olduğunu ve onlardan nasıl ayrıldığını incelemeye almaktır. Bunun için Heidegger'in "sanat eseri" üzerine yaptığı analiz temel alınmıştır. Heidegger sanat eserini, esere yüklenen ve ona ulaşmanın önünü kapatan bilgileri hesaba katan bir yaklaşımla değerlendirir. Böylece eser, sanat eserini malzemeden ibaret gören anlayıştan ya da salt nesneye indirgeyen tutumdan sıyrılarak okunabilir. Bunun için araştırma kapsamında nesne ve sanat eseri ayrımı üzerinde durarak var olan nesneler içinde sanat eserinin nasıl konumlandığı incelenmiştir. Sanat eserinin diğer nesnelerden nasıl ayrıldığını anlayabilmek için sanatsal yaratım sürecine bakılması gerekliliği ortaya çıkmıştır. Bu süreci örneklemede, eser ve malzeme ilişkisi üzerinde durulmuş ve sahip olduğu tarihsel bilgiyle birlikte malzemeye dair bir hafıza kaynağı taşıdığı için seramik eser örnekleri seçilmiştir. Araştırma sonucunda, sanatsal yaratımın, bir aracın üretilmesinden farklı olarak, özel bir bilme türünü içeren yapısının sanat eserini bir nesne ya da üretildiği malzeme olmanın ötesine taşıdığı görülmüştür.

In this article, the themes of the novel A Space Odyssey (1968) and how these themes are relevant to the context of the 1960s are analysed. Secondly, the relationship among the themes of the novel, the reader's expectations and the reason for the popularity of the novel is scrutinized. As a result, it is claimed that the novel (thus, Clarke)-as a product of popular science fiction-successfully reaches popularity through reading and responding to the minds of the 1960s contemporary readers who are bewildered by the recent changes in the world. However, the calendars show the year 2021 but the media, Hollywood, the public and scientific researchers still look for extra-terrestrial life, aliens, Mars and other possible artificial and robotic intelligence. It is a truth that the projections may occur in a long period of time but unlike the popular opinion since the publication of the novel and the film, there seems no tremendous development for 60 years. It is true that some of the futuristic guesses and technologies came alive from the novel and the movie, however, thinking about space travel, artificial intelligence, nuclear warfare and the dystopian images of the world remain unchanged in basic level with a few exceptions in the internet technologies.

Abstract: This essay builds upon recent work in the environmental humanities, and that of various
writers and journalists, on the emerging topic of environmental grief and mourning. I consider a
spectrum of responses to Anthropocene-era crises like climate change and extinction, with particular
emphasis on how we are oriented toward the past and the future. These perspectives range from
positions that explicitly reject grief and vulnerability, to voices urging us to embrace grief as part of an
essential moral and spiritual environmental practice. At one end of the spectrum, we find articulations
of what I call climate humanism, a style of response focused on defending and perpetuating human
civilization in the midst of environmental crisis, but with little or no explicit concern for the broader
web of living and dying beings. For climate humanists, to grieve for the past and its mistakes is to
halt progressive, optimistic movement into the future. At the other end of the spectrum, we find
scholars and writers who take profound grief, and sustained reflection on death and loss, as the
starting point for genuine, transformative change and the possibility of hope. Drawing on this range
of responses to environmental threats and losses, I endorse narratives that ground themselves in the
past, in all its surprises and mistakes, as a vital resource and repository for moving hopefully and
purposefully into the future. Moral, religious, and religious-like dimensions of environmental grief
(or its denial) are recurring themes throughout, and many crucial insights are found in scholarship
outside of religious studies.
Keywords: grief and mourning; hope; Anthropocene; climate change; extinction; climate humanism

It is about the procedures concerning Santos Dumont's natural-sized photo painting restoration, made by the photographer Giovanni Sarracino. All the phases that comprehend from the diagnosis, criteria, definition and restoration methodologies to the reproduction and image-digitalized treatment are discussed.

Take the sea away in a bottle and it remains the sea with all its imperceptible currents and identical tides. "Bottled Ocean" is held as water within four clear walls. A small part of the vast whole; it is an installation by a pool of artists exploring "Pacific Islandness" in New Zealand. They are Polynesians with dual concerns; their New Zealand homes and their cultural ties to the Pacific Islands: Samoa, Tonga, Niue, and the Cooks. With exhibitions of this sort one wonders how Pacific cultural origins and traditions can be made a source of creative possibilities rather than constraints. Some works refer to the past, or express themes of transition and current entrapments. The artists are exploring their uneasiness with their blurred identity. Conflict exists between their assumed heritage and their urban experience. These artists have a commonality. They feel the same tidal pull from the Pacific which is their provenance. They also have a need to position themselves against and within the modern tribal art market. What they have in common is heightened by the pure sound of the pacific ocean. jim vivieaere, Bottled Ocean