Land Art

Atendiendo a la evolución de los discursos mediante los que comprendemos el paisaje recuperamos valores ancestrales para comunicar nuevas ideas pensamientos y sensaciones. Participamos hoy en lo que podrían llamarse "una nueva conciencia social del entorno", la cual incluimos de un modo activo en nuestros proyectos. Así planteamos a nuestros estudiantes,

«Si sa che i nostri gesti sono qualcosa di più che la meccanica risposta a uno stimolo. Il gesto, infatti, risponde a un mondo che lo chiama, lo pro-voca in tutte le possibili modulazioni. Se non fosse per la e-mozione prodotta dalla invitante grazia di un volto, nessun dispositivo interno muoverebbe la mano in una carezza. I nostri gesti vivono nel mondo e contribuiscono a dargli un senso, testimoniano la dolcezza e la durezza, il dolore e la gioia del vivere. La plurale tonalità di un’esistenza è narrata, anzi tutto, dai gesti. Come hanno sostenuto in molti, nei gesti s’intrecciano storia e preistoria di ognuno: biografia, educazione, ambiente, forme di relazione col mondo. Si può dunque affermare che la gestualità congiunge interno ed esterno, l’intimo e occulto con il mondo, unisce carne e verbo, anima l’immobilità della carne affinché divenga segno. I gesti sono “presenti vivi” non isolabili, atti che si dissolvono nella loro esecutività espressiva, senza rappresentare alcunché di chiaro, ma presentandosi nell’evidenza della sensibilità pura. Sarebbe opportuno che uomini di scuola non dimenticassero che si educa anche e prima coi gesti, giacché essi alludono ad altro, al composito paesaggio di una biografia.» (Mimmo Calbi)

What part can a boulder lay in the context of the greatest threat to humanity in the 21st century: anthropogenic climate change? This paper will attempt - using Michael Heizer`s relocation of boulders in 1969 and 2012 as well as a simulation of a boulder by Stefan Sous in front of the new BND building in Berlin - to analyse how boulders become policy. What does it mean for the image of nature when both a museum and an institution geared towards invisibility and secrecy, like the Federal Information Bureau use art to stage themselves as deserts?

This volume explores the biennial phenomenon examining their artistic, geopolitical, and institutional dimensions. While primarily centred on these two major events, as the Venice and São Paulo biennials, the essays in this book also enlarge upon other biennials, exhibitions and institutions, offering comparative and relational insights. Ultimately, the volume highlights the historical complexity of biennials and their roles as cultural devices, underscoring their function as spaces of experimentation and legitimation amid broader political and institutional tensions.

Villa Panza si trova in una posizione sopraelevata a Biumo Superiore, nella provincia di Varese. Questo luogo è stato reso celebre nel mondo da Giuseppe Panza a raverso la sua collezione. Le prime no zie su Villa Panza risalgono ai primi anni del Seicento, quando la villa venne costruita da Ascanio Orriboni, un membro di un'importante famiglia varesina, collezionis d'arte contemporanea dell'epoca. La villa, dunque, aveva già di per sé un richiamo alla bellezza e all'arte, elemen che i proprietari successivi hanno con nuato a valorizzare. Nel 1748, la villa venne acquistata dal marchese Menafoglio, banchiere di Maria Teresa d'Austria. Successivamente, nel 1830, la villa divenne proprietà del Duca Pompeo Le a, appartenente a una delle più importan famiglie milanesi. Con lui, la villa si ampliò con straordinari rus ci, il salone in s le impero, il salone da pranzo e la sala conviviale. La villa fu poi acquistata da Ernesto Panza Biumo e divenne celebre nel mondo grazie alla passione e all'amore di Giuseppe Panza, figlio di Ernesto, che collezionò una delle più importan raccolte d'arte del secondo Novecento internazionale. Villa Panza è circondata da uno straordinario parco di 33.000 metri quadra e da un giardino all'italiana diviso in tre parterre. Ogni parterre è separato da una galleria di carpini, dimostrando il rapporto tra archite ura e natura, che è stato uno degli elemen portan della ricerca di Giuseppe Panza di Biumo. La villa è stata anche la casa in cui Giuseppe, sua moglie e la loro famiglia hanno vissuto gran parte della loro vita, creando una collezione che rappresenta uno degli esempi più coeren della sua visione este ca e museografica, in equilibrio tra archite ura, arredi an chi e opere d'arte contemporanee. Giuseppe Panza è stato uno dei più grandi collezionis europei d'arte americana. La sua collezione iniziò negli anni '50 e contava ben 2.500 opere dei più grandi maestri dell'espressionismo astra o, della Pop Art, del Minimalismo, dell'arte ambientale conce uale, dell'arte organica e dell'arte monocroma ca. Oggi, gran parte di ques lavori fanno parte delle collezioni di importan musei americani, come il Guggenheim di New York, il Hirshhorn Museum di Washington e il MOCA di Los Angeles. Ma il cuore della collezione è rimasto a Villa Panza, che per Giuseppe, sua moglie Giovanna e i loro figli è stato un luogo di sperimentazione di criteri este ci e museografici assolutamente innova vi. In queste sale troviamo l'unione e il dialogo perfe o tra opere d'arte contemporanee, arredi storici e la collezione d'arte primi va africana e precolombiana, il tu o in grande equilibrio ed armonia. I rus ci della villa sono la parte più conosciuta al mondo, dove sono sta alles straordinari capolavori, tra cui le grandi installazioni d'arte minimale ambientale di Dan Flavin, con incredibili luci fluorescen e colorate, oltre ai lavori di James Turrell e Robert Irwin, dove avviene una fusione tra archite ura, spazio e luce. Qui emergono chiaramente i nuovi straordinari elemen della luce e del colore, qualcosa che, pur essendo ineffabile e immateriale, diventa materia quando incontra l'archite ura. Un aspe o fondamentale del collezionismo di Giuseppe Panza di Biumo è stata la sua a enzione a una dimensione spirituale e perce va molto forte, sia nell'alles mento di ques lavori di colore e luce, sia nel rapporto tra archite ura e natura. La natura entra nella villa e noi, percependola e vivendola, sen amo la vibrazione dei colori, della luce e anche dei suoni della natura all'interno dell'archite ura. In questo modo, la natura stessa diventa un quadro di bellezza e perfezione, un tema di ricerca spesso studiato e profondamente amato da Giuseppe Panza di Biumo. Villa Panza è stata donata nel 1996 da Giuseppe Panza di Biumo, dalla moglie Giovanna e dai loro cinque figli al FAI, Fondo Ambiente Italiano, che dal 2000 si prende cura della villa, la conserva, la restaura, l'ha aperta al pubblico e organizza a vità culturali e mostre temporanee. Pertanto, è aperta tu i giorni per perme ere a tu di visitare questo luogo speciale, fa o di luce e di natura. Giuseppe Panza nasce a Milano da Maria Mantegazza ed Ernesto Panza, facoltoso commerciante vinicolo (l'azienda di famiglia era stata fondata nel Monferrato dal nonno Alessandro). Nel 1935, Ernesto Panza acquista Villa Menafoglio Li a a Varese, luogo poi scelto da Giuseppe per ospitare la sua collezione di arte contemporanea. Cinque anni dopo, nel 1940, re Vi orio Emanuele III eleva la famiglia al rango nobiliare con il tolo di con di Biumo, dal nome del rione varesino in cui sorge la villa. Negli anni '50 per Panza iniziava l'avventura del collezionismo. In quegli anni, l'astrazione geometrica non era considerata ca va, ma semplicemente inu le, poiché non riusciva a esprimere le idee con forza. Naturalmente, i grandi collezionis non acquistavano opere di ques autori, preferendo Picasso, Braque e Ma sse. Anche i surrealis avevano subito un calo d'interesse. Negli anni '20 erano sta un fenomeno culturalmente importante e negli anni '30 avevano avuto un grande successo. Ora, però, i prezzi di queste opere erano bassi e il gusto si stava orientando verso l'arte astra a e informale. Esisteva un altro mo vo per il disinteresse nei confron del surrealismo, che risiedeva negli imitatori che sfru avano il mercato, screditando e danneggiando l'immagine dei migliori ar s . Questa crisi durò a lungo e solo negli anni '60 ci fu una ripresa d'interesse. È il classico esempio del mutamento del gusto, del successo ciclico dell'arte, in par colare dell'arte contemporanea, che passa a raverso qua ro fasi:  L'inizio crea vo, ma sconosciuto.  Il successo, meno crea vo.  La con nuazione del successo per inerzia, sostenuta dai ritardatari, che non vogliono fare bru a figura non avendo capito.  Il periodo in cui la crea vità dell'ar sta scompare, poiché lavora per soddisfare la domanda e guadagna mol soldi. Quando tu imitano la crea vità di un ar sta, sulla scia di quel successo, allora sopravviene la crisi. Tu sme ono di comprare e si rivolgono a un nuovo s le, ma non è de o che il nuovo sia un'opera d'arte; è soltanto diversa. Bisognerebbe fare a enzione e condurre una ricerca per individuare quali sono i valori che l'ar sta cerca di esprimere in modo efficace. Solo la vera qualità resiste alla crisi, e il suo pieno valore si recupererà nel tempo. La vera cultura viene compresa con ritardo; molto spesso non si usa l'intelligenza per giudicare il contemporaneo. Bisognerebbe superare la mentalità che deve piacere a tu e comprendere veramente il bene dentro l'ar sta, cioè ciò che questo desidera esprimere con la sua opera. Per un

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.

The Afterlife of the Work: Viewer as Evidence in Post-Interpretive Criticism redefines the locus of art’s truth from the object itself to the residue it leaves in witnesses. Rather than privileging origins, authorial intent, or institutional interpretation, this essay argues that the afterlife of the work—its memory traces, silences, emotional residues, and belated returns—constitutes legitimate evidence. Drawing on philosophy (Levinas, Derrida, Heidegger, Sontag), psychology (Caruth, trauma studies, collective memory), and case studies (Salcedo, Zarina, Margolles, Mendieta, Abramović, Rasdjarmrearnsook, Boltanski), Dorian Vale establishes a methodology where testimony replaces interpretation and moral proximity replaces conquest. The critic emerges not as interpreter but as custodian: a witness tasked with preserving survival rather than producing meaning. By treating afterlife as evidence, Post-Interpretive Criticism inaugurates a paradigm in which criticism becomes an ethics of memory and presence, reframing art writing as an act of responsibility rather than ownership.

A partir de obras que conjugam arte e arquitetura, este ensaio procura discutir meios pelos quais a percepção contemporânea pode ser turvada e ofuscada quando lida com estruturas históricas de amplos efeitos subjetivos, sociais e políticos. Duas obras, produzidas no início do século XXI e promotoras de experiências próprias a uma era de indeterminação, trabalham tais efeitos alegoricamente: as imersivas Blur Building, de Elizabeth Diller e Ricardo Scofidio, e Weather Project, de Olafur Eliasson. Frente à instabilidade desenfreada do contemporâneo, procura-se, assim, pensar suas possíveis manifestações por meio de obras que, carregadas de ambiguidades, conformam alegorias que podem ajudar a decifrar um sistema vigente e expansivo em um contexto global.

Освещение творчества художника-скульптора Анны Семёновны
Голубкиной актуально, так как её работа есть проявление единства опыта
искусства и его теоретического осмысления. В основе теории Голубкиной
лежит сочинение «Несколько слов о ремесле скульптора», а скульптурную
практику представляют ее произведения, в том числе «Старость» и «Идущий
человек». Единство практических результатов творчества и теоретических
изысканий свидетельствует о глубине погружения скульптора в вопросы
искусства, а также о цельности её художественного мировоззрения. Особую
ценность в таком практико-теоретическом единстве имеет субъект-субъектный
характер отношений художника начала XX в. с материалом.

A pesar del repentino fallecimiento del artista el 31 de mayo de 2020 y de los sucesivos confinamientos impuestos en Francia para poner freno a la pandemia de la Covid-19, la serie de “empaquetados” del búlgaro culmina con el del Arco de Triunfo de París, convirtiendo a la capital francesa en la ciudad que más obras ha acogido del autor.

Although what would become the Museum of Fine Arts, Houston (MFAH) was founded early in the 20th century and found a permanent home in a neoclassical museum building by 1924, the MFAH was not early to the collecting or display of ancient American art. The museum’s initial relationship with that art began in earnest in the early 1960s, under the guidance of the recently appointed director of the museum, James Johnson Sweeney (Fig. 1). Although central to the creation of an ancient American collection at MFAH, Sweeney was not a scholar of the ancient Americas, but a seasoned curator of modern art who had amassed a significant reputation in that area. Well before his arrival in Houston, Sweeney was committed to a view of non-Western art that highlighted that art’s utility to the contemporary project of constructing a modernist visual vocabulary. The initial impulse to collect and exhibit seriously in this area was shaped to some extent by Sweeney’s modernist commitments, certainly, but it may also be seen as part of a larger plan to garner national attention for the Museum of Fine Arts, Houston (MFAH) as the decade of the 1960s opened and Sweeney arrived from New York.

This article examines the significant contributions of Helga de Alvear as a gallerist, collector, and patron, a pivotal figure in the evolution of the Spanish and international contemporary art market. Her legacy is particularly notable through the establishment of the Helga de Alvear Museum in the city of Cáceres, intended to share her vast collection of over 3000 works and foster exhibition, research, conservation, and education. The study analyzes her art collection, highlighting its substantial international minimalist art component, contextualizing its development with her personal and professional journey. Furthermore, it explores the institutionalization of her legacy, from the Helga de Alvear Foundation to the creation and evolution of the museum, its innovative architecture and museography, and its impact on Cáceres's urban landscape.

Charlotte Posenenske (1930–1985) was a leading figure in German 1960s minimal and conceptual art. The artist’s contribution to a radical new understanding of sculpture as “usable” or “practicable” or “performative” may be defined as “mimetic Minimalism.” This means that when placed in a museum or other public space, the serial metal reliefs and her ‚Square Tubes‘ appear at first to blend with their environment, thus undermining the difference between artworks and ordinary objects and elements in the room. This is largely due to the fact that the artist always avoids combinations of different materials, something that would imply “more” artistic decisions and “composition.” Similarly, the lack of immediate charm and the emphatically “anti-aesthetic” approach of the metal sheets covered with matte industrial paint, and the visually bland cardboard elements that are part of her work frustrate the viewer’s search for visual complexity. By producing her pieces in unlimited numbersnthe artist directly challenged the rules of the art market.

This introductory paper, "Eco Art: The Fusion of Art and Ecology," by Samanjit Sen Gupta, explores the burgeoning artistic movement that consciously integrates ecological concerns with creative expression. Designed for college students, the document provides a foundational understanding of Eco Art, defining it as a practice that utilizes sustainable materials and actively promotes environmental awareness. It delves into the key characteristics of Eco Art, highlighting its emphasis on natural and sustainable materials, its role in raising environmental consciousness, and its significant contribution to activism and social engagement. The paper also discusses the often site-specific and ephemeral nature of Eco Art, and its advocacy for eco-friendly practices.

The document categorizes Eco Art into distinct types, including Restorative Art, which focuses on ecological restoration; Didactic Art, aimed at educating on environmental issues; Recycled Art, creatively repurposing waste materials; Land Art, using landscapes as a canvas; and Community-Based Art, fostering societal engagement in sustainability. Practical guidance is offered on how to create Eco Art, encouraging the use of recycled or biodegradable materials, working directly with nature (leaves, stones, soil, water), incorporating environmental themes, engaging communities, and advocating for sustainability through artistic endeavors.

Furthermore, the paper examines the powerful intersection of Eco Art and activism, illustrating how this movement promotes awareness of critical issues like climate change, pollution, and conservation. It underscores Eco Art's role in encouraging sustainable behaviors and its application in protests, campaigns, and public installations. To provide concrete examples, the document introduces notable Eco Artists such as Andy Goldsworthy (Land Art), Agnes Denes (Wheatfield Project), Olafur Eliasson (Climate Awareness), Chris Jordan (Waste Photography), and Nils-Udo (Nature-Based Installations), offering brief examples of their impactful work, like Goldsworthy's ephemeral creations and Denes's poignant Wheatfield Project in Manhattan. This paper serves as a comprehensive primer for students seeking to understand the vital connection between art and environmental stewardship.

Approda alla terza tappa nei saloni del Museo del Castello di San Giorgio, a La Spezia, il progetto espositivo di Andrea Benetti, dopo essere stato presentato alla Camera dei Deputati ad aprile 2015 (VR60768 · anthropomorphic figure) e all’Università di Ferrara, a maggio e giugno 2016 (preHISTORIA CONTEMPORANEA). L’attuale allestimento al Castello San Giorgio è costituito da una mostra di Andrea Benetti intitolata “Omaggio alla pittura Rupestre”, curata da Marzia Ratti ed ispirata alle origini della pittura delle caverne. È parte integrante la proiezione di un'opera di video arte, realizzata sul medesimo tema. La vera novità artistica del progetto consiste nelle tele realizzate da Andrea Benetti utilizzando residui ottenuti dal lavaggio dei reperti archeologici e da altro materiale proveniente dagli scavi nella Grotta di Fumane (VR), effettuati nello strato risalente al Paleolitico. Tutto il materiale è stato fornito dall'Università di Ferrara (Archeologia della Preistoria). Oltre alle opere su tela, sono esposti i disegni Neorupestri, realizzati su una speciale carta creata da Benetti. L'ispirazione di base, che anima il progetto, nasce dalla ricerca creativa e dall'intuizione dell'artista bolognese, che focalizza la propria attenzione sull'odierno modo di comunicare, basato sull'esasperata stilizzazione delle immagini. Egli, infatti, evidenzia come i più diffusi mezzi di comunicazione in uso su scala mondiale, interagiscano con l'essere umano attraverso un'iconografia percepita tramite la connessione con i nostri due principali sensi: la vista e l'udito. Televisione, internet, smartphone, tablet, computer sono ormai mezzi di fruizione di massa, coi quali assimiliamo e trasmettiamo la realtà (o l'illusione di essa), proprio attraverso quei due sensi, riavvicinando il nostro modo di comunicare all'arte della Preistoria. Andrea Benetti parte dal concetto che nella pittura Rupestre, seppure in maniera inconscia, l'homo sapiens aveva già delineato le future vie delle arti visive: ovvero il figurativo, l'astrattismo, il simbolismo ed il concettuale.

Beaux Art, Paris, reading
with Gerhard Merz, Kazimir Merz and Lisa Le Feuvre, 2016
conference with speakers: Olivier Christin, Luc Tuymans, Agnès Thurnauer, Pascal Convert, Gerhard Merz, Peter Lewis and Lisa Lefeuvre, Jalal Toufic, Alexandre Kazerouni, Joann Sfar, Fabienne Brugère, Xu Bing, Olivier Blanckart, Claire Fontaine, Erik Bulatov, Igor Sokologorsky and Iouri Albert, Alberto Sorbelli, Adel Abdessemed and Hélène Cixous.

International colloquium: “The irRESPONSIBILITY of the Artist”
Wednesday, April 27–Thursday, April 28, 2016
Beaux-Arts de Paris
Palais des Beaux-Arts
13 quai Malaquais
Paris
www.beauxartsparis.com
More than ever before, the question of the artist’s responsibility—personal, social, political—is a key issue. Hardly a week goes by in the art world without a scandal, an act of vandalism, a matter of censorship or self-censorship making the front page of the newspapers. At a time when the polemic concentrates on preserving freedom and its fundamentals, the freedom of expression and freedom of creation, artists are often taken as a target and singled out, not only when they intervene in the public space but also for what they show in the so-called “dedicated” space of the museum.
It is quite naturally the duty of Beaux-Arts de Paris today to invite artists and intellectuals of all origins and all horizons to reflect together on the multiple implications of the notion of responsibility in art. A colloquium deliberately titled “The irRESPONSIBILITY of the artist” (the title assumes that creators can claim an exceptional status, but also that this status can be debated…) will assemble personalities from across the world to discuss before a broad public the considerable stakes of art in a society that, in a certain way, never ceases to defy it. This debate will be open, evidently inclusive in its format—one does not expect the speech of artists, who share the ability to invent particular answers to unprecedented questions, to be academic.
Responsibility is a contingent notion, subject to historical evolution and cultural dynamics. Certainly, the artist can create islets of resistance, but he can also see himself used by power, all powers.
Edited · 6w
The artist's place in a globalised space where conflict is multiplying, where a dominant market sometimes confuses sense and market value, should perhaps be redefined. Must one invent a new paradigm for the artist? It is one of the hundred complex questions that will be treated during a colloquium that doesn’t pretend to exhaust its subject, but to daringly and rigorously renew a reflection, the urgency of which everyone is aware.

with Thierry Pérez (marine ecology, CNRS).
This position paper explores the artistic value that can be attributed to the ocean through works of art. The starting point is the economic argument used in ocean conservation, which is based on the concept of ecosystem services (ES), primarily considered as goods and services the ocean provides to society. Through an interdisciplinary approach, we briefly discuss the successes and limitations of this concept and the potential role of artistic value in relation to it. We then examine three case studies of contemporary artworks produced between 2015 and 2021, closely tied to marine natural sciences. Through these works, we explore how contemporary art can potentially operate within the ES framework, while also surpassing it through the specific type of value it induces in the ocean. Each of the case studies exemplifies a type of tangible engagement that art can provoke towards the ocean: (1) creating "embodied knowledge" of scientific understanding of the ocean (Nicolas Floc'h), (2) raising awareness through awe (Irene Kopelman), and (3) shaping a different type of concern for marine animals and their environments (Joan Jonas). Finally, through a critical analysis, we argue that a serious consideration of an artistic value attributed to the ocean can serve to place social points of reference that bridge canonical scientific knowledge with a diversity of other types of narratives related to it, thus contributing to a shift towards a new paradigm for supporting ocean conservation.

This article outlines the initial findings from the archaeological investigation conducted at the Gruta da Mesa site, situated within the Templo dos Pilares Municipal Natural Park in Alcinópolis, Mato Grosso do Sul, Brazil. This represents the preliminary phase of a systematic excavation initiative aimed at meticulously documenting the employed methodology, field techniques, and the initial observations of rock art discovered within the shelter. Additionally, it seeks to formulate hypotheses regarding human habitation and to present the radiocarbon dating results obtained thus far. The initial findings suggest that the site has been occupied since the 6th century by hunter-gatherer societies. However, it remains unclear how the rock art correlates with any known historical occupations in the area. Regarding lithic artifacts, a total of 30 items have been cataloged, which include evidence of human activity categorized into tools, cores, flakes, microflakes, chippings, debris, and blocks. While this collection is relatively small, its existence enhances our understanding of the activities conducted within the shelter, supporting the theory of a sustained and varied functional use over time.

Real Presences: Art and Architecture is a body of sculptural work by Irene Rogan that investigates the relationship between the built environment and the human condition. Rooted in a longstanding engagement with funerary and contemporary architecture, the series reflects on themes of spiritual searching, psychological tension, and transformation. Influences include architects such as Santiago Calatrava, Tadao Ando, Glenn Murcutt, Ben van Berkel, and Renzo Piano, whose designs emphasize structural lyricism, minimalism, and symbolic form. Works such as Folly, With Fear and Trembling, Baptism, and Apprehension use materials like steel, glass, and lead to explore metaphorical thresholds—expressing experiences of confinement, transition, and the possibility of renewal. The project also reflects a broader shift in Rogan’s practice toward environmental concerns, informed by research visits to large-scale infrastructure sites, including the Three Gorges Dam in China. Real Presences engages with architecture not only as form and function, but as a potent vehicle for expressing cultural, emotional, and existential realities.

Agradeço aos meus pais, que sempre me apoiaram nos estudos e, acima de tudo, ao Pai Celeste por ter me dado forças para persistir no desenvolvimento desta tese em um período com tantos desafios. Agradeço a Frans Krajcberg pelo seu exemplo de vida e obra desenvolvida, que muito me estimulou a ingressar no doutorado. De forma especial, agradeço ao querido professor Prof. Dr. Edson Leite, orientador nesta tese, por toda a atenção e apoio que me deu. Estendo meus agradecimentos a todos os docentes do Programa de Pós-Graduação Interunidades em Estética e História da Arte -PGEHA, e aos colegas discentes que alimentaram a minha mente e coração com a troca de conhecimentos, em especial aos amigos Arlete de Oliveira, Daniel Siqueira e Marco Antonio S. K. de Barros. Deixo meu apreço por toda a ajuda e dedicação dos queridos secretários do PGEHA, Neuza Brandão e Paulo Marquezini. Agradeço ao apoio dos bibliotecários da Escola de Comunicação e Artes -ECA, da Biblioteca Florestan Fernandes -FFLCH, do Acervo Delfin Netto da Faculdade de Economia e Administração -FEA, especialmente aos bibliotecários e amigos Marta Miranda e Wagner Pinheiro, do Instituto Oceanográfico, e à querida Profa. Jaci Brasil Tonelli, da Equipe do Laboratório de Letramento Acadêmico. O escritor João Meirelles Filho e sua mulher Fernanda de O. Martins, amigos próximos de Krajcberg, que me concederam entrevistas virtuais, material bibliográfico e fotográfico para esclarecimento de dúvidas e acréscimo de informações na presente pesquisa, assim como o Prof. Dr. Uilliam Trindade Oliveira e Marlene Figueiredo Gonçalves, e à assessora do Arquivo Bienal, Ana Paula Marques. Este trabalho foi desenvolvido durante a pandemia e contou com a colaboração de várias pessoas e instituições graças à internet. Muito do que aqui foi explorado não teria sido possível sem a gentileza e generosidade dessas pessoas e sem o apoio das tecnologias. O presente trabalho aborda parte da vida e a obra do artista Frans Krajcberg (1921, Polônia -2017, Brasil), judeu não ortodoxo, que atuou como soldado combatente durante a Segunda Guerra Mundial e posteriormente, no Brasil, tornou-se um artista ambientalista. O tema escolhido para a presente tese origina-se na busca pela compreensão da importância da produção de Frans Krajcberg a partir de troncos, raízes, cascas e partes de árvores calcinadas. O objetivo geral desta tese é demonstrar a importância da produção escultórica de Frans Krajcberg como instrumento de conscientização da civilização contemporânea na conservação do bioma Amazônia. Tem como objeto de estudo o conjunto de esculturas expostas na 32ª Bienal de São Paulo, analisado do ponto de vista da estética. A trajetória percorrida para chegar ao objeto de estudo teve por base a pesquisa bibliográfica e documental, para o levantamento de dados históricos com início na década de 1950 até a década de 1980, período que revela a importância do encontro de Frans Krajcberg com a paisagem natural do Brasil amazônico e para o seu desenvolvimento como artista ambientalista e que culminou com a produção das esculturas expostas na 32ª Bienal de São Paulo.

My review of "Muddy Terrains: Mariana Ramos Ortiz + Estephania González" has just been published on CAA Reviews! It was rewarding to spend time with this exhibition and to engage with the works of Ramos Ortiz & González. And if you take a look, I’d love to hear your thoughts! 🖼️✨ #artwriting #curatorlife #caa #muddyterrains #MarianaRamosOrtiz #EstephaniaGonzález @caareviews CAA Advancing Art & Design

Exhibition Review: Najafi, Roja. “Muddy Terrains: Mariana Ramos Ortiz + Estephania González.” CAA.Reviews, May 21, 2025. https://doi.org/10.3202/caa.reviews.2025.35.

Adnotacja. Celem artykułu jest zbadanie sposobów zastosowania techniki druciarskiej, z której korzystają artyści przy tworzeniu obiektów land art. Podstawą metodologiczną badania jest podejście systemowe, metody analizy porównawczej i historycznej. Przeprowadzono analizę sposobów realizacji dzieł land art za pomocą techniki druciarskiej, które współcześni artyści wykorzystują w swoich pracach. Stwierdzono, że głównymi aspektami zastosowania techniki druciarskiej jest plastyczność, trwałość, odporność na wandalizm i użyteczność materiałów. Zbadano sposoby zastosowania techniki druciarskiej i koncepcji tworzenia obiektów artystycznych poprzez nadanie dziełu własnego składnika merytorycznego, określono kreatywne podejścia do tworzenia obiektów artystycznych. Nowością naukową jest badanie autorskich technik artystycznych i cech tworzenia obiektów land art z wykorzystaniem techniki druciarskiej. Znaczenie praktyczne polega na usystematyzowaniu sposobów tworzenia obiektów land art wykonanych techniką druciarską. Materiały przedstawione w artykule mogą być wykorzystane w badaniach naukowych poświęconych sztuce land art na Ukrainie i na świecie, popularyzacji tradycyjnych technik sztuki użytkowej, oraz do dalszego wdrażania autorskich projektów artystycznych. Słowa kluczowe: projektowanie, sztuka, ekologia, projektowanie ekologiczne, kultura, projekty kreatywne.

The representation and communication of contemporary architecture is going through a moment of paradigm shift in which the presence and use of photography is becoming increasingly prominent both when it comes to images of the actual building and when the image is synthetically generated from a three-dimensional mode. Already during the first modern movement we thought of buildings seen from above, from a biplane flight, and even earlier the bird’s eye perspective showed how on some occasions the compositional effort was concentrated on a part of the building that would never be seen directly, but only perceived through its representation. Nowadays, aerial photography is gaining increasing importance both in communication and in the conception of the architectural project thanks to the existence of satellite applications, which mediate our perception of it to the point that it is possible to argue that the roof has transformed into fifth facade of the building and that this is, at times, the most important one. In this contribution we present a reflection on the importance that the point of view from above has acquired in the photographic narrative of architecture. Proposing an analysis of the various circumstances that have propitiated it such as: the digital use of architecture, the massive use of systems that favor the aerial view of the city and finally the expansion of the possibilities of aerial photography using drones and other devices.

The paper shows positive examples of the use of green architecture design elements through the synthesis of aesthetic and utilitarian principles that fulfill the premises of sustainability as a necessary tendency of contemporary architecture. Starting from the definition of green architecture and its emerging forms that preceded the modern ones, we deal with the visual aspect of biophilic architecture through examples of green walls; suggest implementation of eco-sculpture and explain its peculiarity in the urban environment. The arrangement of gardens, parks and children's play areas also requires a transformation that can be achieved through the synthesis of landscape architecture and land art. As contemporary urban architecture meets the needs of modern society that strives for a healthy and clean environment and sustainability, the implementation of eco-art objects in modern architectural solutions is recommended as a harmonious combination of aesthetic and utilitarian needs of an ecologically conscious society.

Nature, the main source of inspiration for art, has been the focus of artists’s production throughout human history. In the first half of the 20th century, artists began to question gallery spaces and the art market, but in the 1960s
and 1970s, this questioning manifested itself on a wider scale and in a more prominent way, resulting in artists incorporating nature into their artistic production, and nature ceased to be a theme transferred only on the surface.
In the first half of the 20th century, artists began to question gallery spaces and the art market, but in the 1960s and 1970s, this questioning manifested itself on a wider scale and in a more prominent way, resulting in artists incorporating nature into their artistic production, and nature ceased to be a theme transferred only on the surface. Within the scope of this study, the factors that shaped the nature-healing approach of ecological art in the 1970s and the works of artist Bilge Friedlaender based on ecological art are included. It was analyzed how the artist’s sensitivity to nature guided the artistic production process, and a descriptive analysis was made with the artist centered approach method through the material language of the works. As a result of the findings, it was seen that the artist adopted an understanding of art that embraces ecological thought in his works by taking a stance against the materialist world, working with sustainable materials, taking up little space in the physical space, and guided by natural materials such as handmade paper. In the 1970s, it became clear that ecological art encompassed not only artists who supported large-scale land projects but also those, who preferred to stay outside the system with their smaller-scale works but supported the natural.

Although monumental Indigenous earthworks span eastern North Armerica, from the Gulf of Mexico into the Northern Plains and the Canadian Shield, the epicenter for these erathworks is Ohio. Wave after wave of precontact societies–such as the Glacial Kame, Adena, Hopewell, and Fort Ancient–flourished in the rich prairies and woodlands of the Ohio River Valley.

El objetivo de este trabajo de estudio, es la identificación de determinados núcleos despoblados y sus edificaciones, que se consideran patrimonio de un territorio y que mediante su transformación, fomentar la revitalización del municipio y la comarca. El trabajo se centra en varios casos particulares del municipio de Sabiñánigo cuya intervención sería mayormente en edificios propios de la arquitectura tradicional del lugar y que pretende conseguir reactivar la actividad perdida a lo largo de estos últimos años y evitar así que siga disminuyendo su población activa

Seen from above, CITY reveals itself as a complex syntax of positive and negative spaces, a sort of ghost site of dystopian origins – a zone. In this para-photographic experiment of appropriation and variation, Tiane Doan na Champassak "unearths" 41 mysterious shapes, reducing Michael Heizer's gigantism to a refined collection of archetypal forms.

This thesis explores the intersection of existentialism and environmental consciousness through an ecocritical lens, focusing on Leslie Marmon Silko’s Ceremony and Ernest Hemingway’s The Old Man and the Sea. The study examines how literature articulates the complex interplay between human existence and ecological dynamics by analyzing these two seminal works. Silko’s Ceremony, grounded in Native American spirituality and cultural memory, highlights the protagonist Tayo’s healing journey through his reconnection with nature, reflecting indigenous ecological ethics. In contrast, Hemingway’s novella portrays Santiago’s existential struggle against the vastness of the sea, emphasizing the themes of solitude, resilience, and respect for the natural world. Through ecocritical analysis, the thesis reveals how both texts convey existential anxieties shaped by environmental degradation and the characters’ deep, often spiritual, connection to the natural world. The study distinguishes between ecocriticism as a literary method and environmental consciousness as a broader societal concern, while illustrating how literature engages both. Ultimately, the research underscores the ethical imperatives of environmental stewardship and human responsibility toward nature. By examining these narratives' symbolic, ecological, and philosophical dimensions, the thesis contributes to a broader understanding of how literary texts can reflect, critique, and influence contemporary environmental thought and existential reflection.
Keywords:
Existentialism, Environmental Consciousness, Ecocriticism, Indigenous Spirituality, Human-Nature Relationship, Environmental Ethics, Literary Analysis, Environmental Degradation, Existential Anxiety, Nature, Identity.

Arazi Sanatı, altmışlı yılların sonlarında Amerika’da ortaya çıkan bir sanat akımıdır. Akım kapsamında değerlendirilen sanatçılar, doğaya dair farkındalık yaratma fikri ve anti-kapitalist eserler üretme temelinde doğanın kendisini bir sanat eserine dönüştürmek için çöller, nehirler, vadiler gibi insansız alanlarda yapıtlarını gerçekleştirmişlerdir. Sanatçılar doğal malzemeler kullanarak ve coğrafyanın direkt olarak kendisine yaptıkları müdahalelerle sanat yapıtına yeni bir ifade biçimi getirmişlerdir. Arazi Sanatı öncelikle yaşam alanlarından uzakta uygulanan işleri tanımlarken daha sonra Yeryüzü Sanatı, Çevresel Sanat, Ekolojik Sanat gibi başlıklarla yaygınlaşmıştır. Arazi Sanatı sanatçılarının doğada gerçekleştirdikleri çalışmalarda yaklaşım farklılıkları göze çarpmaktadır. Kimi sanatçılar doğa yürüyüşleriyle ya da doğadaki nesneleri bir araya getirerek minimalist bir yaklaşımla kısa ömürlü ve geçici çalışmalar ortaya koyarken; kimileriyse doğaya tahribat derecesinde müdahalede bulunarak kalıcı eserler üretmiştir. Sanatçıların yapıtı izleyiciyle buluşturabilmek için video, fotoğraf gibi medya araçlarına ve sergileme alanı olarak galerilere gereksinim duymaları üretim pratiğindeki farklılıklarının ortak yönü olarak gösterilebilir.
Altmışlı yıllardan günümüze dek gelen süreçte giderek ivme kazanan çevre sorunlarına dair kaygılar sanatçılara doğaya dair farkındalık oluşturma misyonu yüklemiştir. Periferide uygulananlar dışında popülasyonun olduğu yerlerdeki çalışmaların eserin üretim amacıyla bütünleşen görünürlüğe sahip olduğu söylenebilir. Ekolojik Sanat alt başlığıyla da ele alınan akım kapsamında kentlerde gerçekleştirilen çevresel duyarlılığı vurgulayan çalışmalar, yapıtın kendisinin izleyiciyle etkileşime girmesi bağlamında önemlidir. Bu araştırmadaki amaç, ekoloji teması çalışan sanatçıların kentlerde kurguladıkları projelerini inceleyerek, izleyici sanat yapıtı etkileşimini ortaya koyabilmektir. Bu amaç doğrultusunda literatür taraması ve yapıt analizi yapılmıştır. Araştırma bulgularına göre sanatçılar Joseph Beuys, Alan Sonfist, Agnes Denes, Olafur Eliasson, Andy Goldsworty, Nicolas Garcia Uriburu’nun çevresel farkındalığı vurgulayan yapıtlar ürettikleri görülmektedir. Araştırma sonucuna göre, sanatçıların kentsel alanlarda sergiledikleri yapıtları, ekoloji kavramını daha fazla duyumsatarak izleyicilerin yapıtla daha güçlü bir ilişki kurmalarını sağlamıştır.

En Chile, la preservación del patrimonio geológico aún se encuentra en una etapa primeriza, a pesar de ser el elemento fundamental en la creación de los diversos paisajes naturales del país, y por su gran valor a nivel científico. Este desafío inicial motiva una investigación sobre la geología de Chile, destacando la conexión crucial entre el patrimonio
geológico y el turismo, y cómo este último asume un rol primordial en la valorización del geopatrimonio. Se examina la evolución del turismo, vinculándolo con el espacio público y la arquitectura del paisaje, y cómo distintos exponentes de la arquitectura chilena han logrado resaltar el valor del geopatrimonio mediante una interacción clara con la topografía y el entorno natural. A partir de este interés por la sensibilidad que contempla el diseño de la arquitectura del paisaje, surge el Land Art como tema central, como un método artístico que permite aproximar al humano a la escala inconmensurable del tiempo geológico. Para el desarrollo de la propuesta, se escoge como lugar la ciudad de Lebu, al reunir cualidades anómalas desde la perspectiva geológica, que serán utilizadas como materia de proyecto para la Ruta Turística de la Memoria Geológica, que valoriza el patrimonio geológico, patrimonio natural, y el patrimonio cultural de Lebu, asociado a su origen en la minería del carbón. En conjunto, esta investigación y propuesta de arquitectura busca impulsar la valorización del patrimonio geológico chileno y elaborar un método de diseño arquitectónico que busca aproximar la experiencia humana al tiempo geológico, en el encuentro del arte con el paisaje.

In the time known by some as the Anthropocene, arguably one of the most pressing issues faced by humankind and all other inhabitants of Earth is the environmental and climatic crisis which is increasingly exacerbated by human activity. Following Friedrich Nietzsche, researchers such as Suzi Gablik (1998) maintain that the worldviews (or mythologies, as termed by Joseph Campbell (1949)) held by individuals and cultures play a key role in shaping physical reality, including the broader natural environment and the manner in which humans interact with it. Because they are drivers and shapers of culture, artistic practitioners in the Anthropocene are well-positioned to make environmentally responsible work that confronts this crisis. Further, art can serve as a powerful tool for prompting transformation and transmission of ideas, which, if applied successfully, may influence the spread of environmental consciousness. The main aim of this study was to situate the artist within her environment and reinforce her interrelationship with the wider natural world, thereby facilitating the development of a personal mythological approach to Nature, underpinning environmentally responsible art-making that intends to promote the spread of environmental consciousness. Towards this aim, a body of artwork was created following a combined methodological approach drawing from phenomenology, embodiment, and Jungian active imagination. The body of work was created using natural and organic found objects in an effort to contrast and counter the environmentally harmful approaches to artmaking that remain all too prevalent, particularly within the discipline of sculpture. This was made possible by means of an exploratory practice-based study of biocompatible artmaking techniques, materials, and methods, drawing input both from artists who work in line with environmentalist principles and from bushcraft practices. This dissertation presents the contextual background, theoretical framework and conceptual underpinning of this body of artwork and details the creative methodology followed towards its making.  It furthermore presents a holistic visual analysis of select works from the collection as guided by Gillian Rose’s Visual Methodologies (2016).

This text examines the relationship between climate justice, labor, and artistic practice from a feminist perspective. It focuses on four artists who, since the late 1960s, have incorporated issues of labor into their explorations of landscape, ecology, and climate. The visual and performative works of Mierle Laderman Ukeles, Betty Beaumont, Agnes Denes, and Mary Mattingly share a focus on the man-made landscapes that have shaped the Anthropocene in both urban and rural settings. How are landscapes made? What forms of labor do they inherit? Drawing on concepts of care, maintenance, repair, and collective labor, the artists not only create a different image of landscape, climate, and ecological action, but also challenge capitalist production and its extractivist structures. Given that climate justice is only possible

Der Kameruner Politologe Achille Mbembe, bekannt als Theoretiker des Postkolonialismus, sieht die Menschheit in einem "Technozän" gefangen. Um dem zu entkommen, brauche es eine "Reparatur der Welt", argumentiert er in seinem neuen Buch. Als Isaac Newton zum Ende des 17. Jahrhunderts die mathematischen Grundlagen seiner Naturphilosophie ausformulierte, handelte es sich nicht nur um einen bahnbrechenden Fortschritt auf dem Gebiet der Physik. Seine Begründung der modernen Mechanik verhalf auch einem vollkommen neuen Weltbild zum Durchbruch. Auf einmal erschien das große Rätsel des Universums prinzipiell lösbar.

Curated by James Voorhies and Claudia Mattos, Feinstein’s show captures the ambivalence, magic, scariness and mystique of the historic city. There is reverence for the deep, green, stimulating fecundity of nature, and an abiding astonishment at (and enjoyment of) the socially louche non-culture of the 1970s and ’80s Miami scene. With images both wondrously elegant and somehow ingenuously vulgar, both tribute and fabliaux, Feinstein pays homage to the fertile soil of her artistic cultivation. During one of our many conversations about the surreal Miami scene, the sheer, inexhaustible aliveness of the place has been a dominant theme. Even in death there is relentless rebirth, the tremendous activity of rot and decay.