Social History of Art

Wolfgang Laib schlug bei der Vorbereitung seiner Ausstellung "Recollect" (https://www.kunsthaus.ch/besuch-planen/programm/recollect-25-5/)
im Kunsthaus Zürich vor, eine jainistische Skulptur aus Indien, genauer gesagt aus dem heutigen Bundestaat Gujarat oder Rajasthan zu zeigen. Der Jina Rishabha ist eine Leihgabe des Museums Rietberg. Der Katalogtext verfolgt den Weg des Objekts aus Indien nach Europa, ins Rietberg und in die Ausstellung des Kunsthauses.

В российских музейных собраниях есть несколько картин в стиле "a la russe",  которые уже традиционно приписываются итальянскому художнику, уроженцу Болоньи, Мауро Гандольфи (1764-1834). Задачей данной статьи является как анализ как истории происхождения этих работ, так и принадлежности кисти Мауро Гандольфи приписываемых ему картин. Мы приходим к выводу, что итальянский художник не имеет никакого отношения к созданию этих картин, и они являются работами русских художников, скорее всего - учеников арзамасской школы живописи, основанной А.В.Ступиным.

Petr Brandl signed his paintings quite often as compared to his fellow painters who only occasionally signed their artworks, for instance Wenzel Lorenz Reiner, or those who never signed their work at all, such as Johann Christoph Liška. Of Brandl’s original paintings, as many as 30% of them include his personal signature. The artist signed his paintings over the course of his entire career. At times he used the abbreviated signature of “P. Brandl”, sometimes accompanied by the date, at others the expanded form of “Petrus Brandl pinxit” and the date. As a rule, the artist placed his signature in the lower part of the painting, but sometimes he realistically “intertwined” it into the content itself [1–6]. Brandl signed his paintings because he did not operate in a corporate or patronage system but rather on the free market where painters had to establish the value of their own art. Brandl used the signatures he affixed to his largest and most prestigious paintings [8, 9] to establish his reputation as a painter, and the form of the signature itself became a way he used to present himself as a great trained artist. Brandl’s strategy for developing the image of a “famous” painter worked and brought him much success. Despite his constant changes in residence and persistent problems with creditors, this artist, who should have been relegated to obscurity in such a situation, remained well-known and found buyers for his paintings.

· Questo percorso di analisi e di ricerca nasce da una costante osservazione della produzione drammaturgica e narrativa e degli spettacoli di Enzo Moscato, della critica teatrale e degli
studi rivolti al suo lavoro. Questo saggio tenta di scardinare la visione della morte intesa unicamente come fenomeno conclusivo di un percorso e della vita stessa, orientandosi, invece, verso
quell’importante aspetto catartico che la tragedia antica ci ha tramandato e che Moscato ha assunto
spesso all’interno dei suoi testi. Partendo dal presupposto che non si possa sfuggire alla morte,
tutti i suoi personaggi convivono con essa, ossia la morte è indispensabile per il superamento
della questione che tuttavia si protrae attraverso un percorso infinito e circolare. Le sfumature e le
valenze assunte dalla morte nei testi teatrali di Moscato sono caratterizzate anche dalla funzione
martirizzante, dalla festa-lutto, dalla morte dei bambini, soprattutto nei testi connessi ai grandi
eventi storici. Il capro espiatorio, che improvvisamente viene ucciso o ritrovato morto, in genere
rappresenta il personaggio più fragile, ma anche quello più coerente, meno adatto a vivere nella
condizione grama e inaccettabile in cui sopravvivono gli altri personaggi. Il saggio ripercorre tutti i
testi drammaturgici, editi ed inediti, ma anche i Seminari condotti dal drammaturgo presso il Centro Studi sul Teatro Napoletano, Meridionale ed Europeo di Napoli, tenendo conto anche di tutta la
produzione narrativa, fino alle ultime pubblicazioni e agli ultimi spettacoli, da collocare negli anni
o nei mesi precedenti alla sua morte.
Parole chiave · teatro, Moscato, Nuova Drammaturgia Napoletana, Napoli, morte, catarsi, martire,
festa-lutto.

Conceived as a word/image essay, Reasons to Kill a Poet takes a critical look at how creativity and its derivatives are being mobilized as key concepts of neoliberalism, functioning to repress forms of oppositional creativity through structures of discursive, and embodied, policing and punishment. At the same time, counter-hegemonic “creativity” persists, and the essay foregrounds particular exemplary works by writers, including Chilean musician and poet Victor Jara, Estadio Chile (1973); US-based Black journalist, writer and activist Mumia Abu Jamal, Teetering on the Brink: Between Life and Death (1991); and Ugandan queer activist, researcher, and poet Stella Nyanzi, No Roses from My Mouth (2020) These writings are juxtaposed with visual images to create a third space between word and image, and elicit historical resonances on such questions as What is the relationship between social and artistic critique and experimentation? How are their creativities conceived, posited and enacted as anti-capitalist and anti-governmental formations? What threat does radical creative work pose to the common sense of any period, but particularly to the forms of authoritarian impunity that characterize the neo-liberal present?

The exhibition and event program VIRAL INTIMACIES brings together artists, activists, and scholars to reflect on such intersections by addressing the contemporary conditions of HIV/AIDS as they are shaped by politics, biomedicine, and social locations. It assembles positions that linger in the entanglement of HIV and intimacy, in the charged spaces where they meet and transform each other. Twelve contemporary works show how HIV continues to shape life today—across borders and the politics of care. Rather than treating HIV/AIDS as a chapter closed, the exhibition insists on its presence: as stigma, survival, sex, struggle.

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

The subject of the present thesis is the hitherto unknown relationship of Count František Antonín Magnis (1773-1848) to fine art, which can be divided into two basic categories: his own art practice and collecting. The work is introduced by a summary of basic information about the Count's life, his family relations and social position in aristocratic circles in Moravia and Vienna. The first part of the text is devoted to the connections between the Count and his drawing teacher Josef Fischer (1769-1822). These are demonstrated in a representative convolute of works on paper, which relate both to the Viennese artist's stay at the Strážnice estate (1797-1798) and to Magnis's artistic expression. Through archival research, the second part of the text focuses on the process of building the Strážnice collection of paintings and outlines the most important events in the history of the Strážnice Picture Gallery. An integral part of the thesis is an analysis of the subject, authorship, dating or evaluation of the stylistic requirements and sources of inspiration of the paintings, which, thanks to the interpretation of the available information, can be identified with the picture gallery of the Strážnice chateau, which Count Magnis had set up and equipped.

Tutti i diritti riservati. Nessuna parte di questa pubblicazione può essere tradotta, ristampata o riprodotta, in tutto o in parte, con qualsiasi mezzo, elettronico, meccanico, fotocopie, film, diapositive o altro senza autorizzazione dell'Editore e di altri aventi diritto.

The region of 'Mithila' owes its name from 'Maithili' the daughter of king Janak who is not only a source of inspiration for the region but also an epitome of feminine virtues, sanctity and qualities. The region associated with her birthplace is Sitamarhi (Bihar) and Janakpur (Nepal). In 1816, after the Sugauli agreement though the region got divided and half of the area went under the administration of Nepal but the regions still have close cultural affinity. The region is blessed with rivers and in the land of Mithila all the rivers bear significance of matriarchal values. The region enjoys immense greenery and the chief livelihood of the people living here is agriculture since ages. Sowing, irrigating, winnowing, husking and then comes 'labaan' i.e. getting the fruit of toil in the form of new crop. In such a region, there is a varied and vibrant culture of rich cultural heritage. As the grandeur of any cultural heritage is reflected in the life of community which is a collective expression of the mass living together for the development of the community. This expression of community is an incessant process of evolution, creation and experimentation found in most pure and natural form in folk songs and folk dramas. Folk songs are often condensed and impersonal experience of communities expressed as songs of folks, sung through generations. In Maithili folk songs, too 'The Divine Mother-Father' 'Parvati-Shiv' as well as 'Ram Sita' couple pair has been cast in different light and tone. Here descriptions are entirely different from the traditional scripture details. In most of these folk songs even Sita and Parvti have been constructed and cast into experience of pain and potential a feminine body experiences. In many folk songs 'Parvati' has been depicted as daughter of mountainous region doing household courses, solving quarrels among her family members and in the meantime her husband comes, who is angry as she works whole day long to make her household happy and is with left with no time for him. Feminine imagination is seen here penetrating into the deeper realms of functioning of household worries where husband may not be earning enough and the lady of the house has still to ensure that all the members of family are fed or not, including helpers. Here we get a glimpse of every Indian female heart where they are seen worrying and praying for well being and future of their loved ones irrespective of their disability, indolence or idleness. This is imparted to them by dint of their ideal 'Parvati', 'the divine mother'.

The pensive protest at the Mahabodhi Temple in Bodhgaya reveals the extensive structural discrepancies in India’s religious and media outlook. While Buddhists rightfully demand legitimate control over one of their holiest space, the dominant mainstream media, including television channels, newspapers, radio news, and even widely followed independent digital YouTube, Podcast,  audio-video broadcasting platforms have almost explicitly shrugged off the ongoing Bodhgaya protest. This selective omission, elimination, and invisibilization raises fundamental questions about caste, power, and narrative control in India. Why is it that to the utmost, Hindu temples are strictly regulated by Brahminical power, mosques by Muslim authorities, and churches by Christian influence. Yet, one of the most revered Buddhist sites in the world remains under the supremacy of Brahmins. Why is there an apparent indifference from even the so-called Savarna progressive independent journalists in covering this struggle/protest? The answer lies in the caste hegemony penetrating institutionalized religion and media discourses to the state’s actions.

In late-socialist Hungary, the system for the production and distribution of visual arts underwent significant changes. While marketization increasingly took hold, art policy allowed more space for artists who followed Western trends. After the post socialist transition of 1989, these processes accelerated, and the protagonists of the former avant-garde – holders of the most important symbolic capital – became the new elite of the artistic field. However, this process also led to intense conflicts and sharp institutional debates. These conflicts did not stop at the edges of the field of artistic production; rather, they became the subject of political battles between leading market-liberal and national-conservative protectionist factions. In this study, I will present the structure of the economic and administrative system of fine arts under state socialism, examine the history of the successor organizations to the Magyar Népköztársaság Művészeti Alapja [Art Fund of the Hungarian People’s Republic], and describe the debates between the Magyar Képzőművészek és Iparművészek Szövetsége [Union / Association of Fine and Applied Artists] and the Budapest Kunsthalle in post-socialist Hungary.

Русские музыкальные архивы за рубежом. Зарубежные музыкальные архивы в России: Материалы международных конференций, Москва, 01 января 2018 года - 31 декабря 2021 года / сост. И.В. Брежнева. - Москва: Московская государственная консерватория имени П.И. Чайковского, 2023. - 236 с.

Published in 2023, the collection Russian Music Archives Abroad is dedicated mainly to the documentary heritage of musical culture. Twenty articles based on a scientific conference held for over 25 years by the Moscow Conservatory are arranged according to the chronology of the events under consideration. The novelty of the articles is ensured by turning to materials that have not yet attracted the attention of researchers. The authors touched upon a number of important topics, such as the Russian destinies of operas by Western European composers of the 18th century; the foreign trace in the musical history of St. Petersburg and Moscow in the 19th century; foreign pages of the legacy of composers S. V. Rachmaninoff and S. S. Prokofiev; Soviet contacts of Russian emigrants; communication of Soviet performers with foreign correspondents; reviews of archive repositories, etc. Most articles represent scientific research, often with abundant citations of the material under consideration. For example, the article by S. A. Petukhova provides previously unpublished letters from the famous singer M. N. Klimentyeva-Muromtseva to S. I. Taneyev from Paris (1901-1903), which consistently trace not only the preparation for the Parisian performance of the only opera by S. I. Taneyev, but also the events of the musical life of this city in the first years of the 20th century. The publication of the correspondence between G. Puccini and the Russian opera director V. S. Alekseyev can be considered a major event for Russian historiography. The book presents many research findings reflecting the peculiarities of the development of the musical genre in Russia and abroad. It is important to note the researcher’s remark that operas by foreign composers lost their typical genre features when adapted to the Russian stage (vocalized recitatives were replaced by spoken dialogues), which in turn constituted the phenomenon of the original development of secular music in Russia. Considerable additional information is provided, making the narrative both engaging and comprehensive, which is further enhanced by the sequence of articles in the collection. For example, S. A. Petukhova’s article based on letters about the preparation of the opera is followed by V. B. Valkovoe’s article, which reconstructs the conditions and circumstances of S. V. Rachmaninoff’s tour in the spring of 1899 as a pianist and conductor. This is a beautifully published collection, containing a wealth of new valuable information about important figures and processes in the musical culture of several centuries. It will not only serve as a significant aid to modern researchers in their work, but will also attract the attention of an enlightened audience of all those interested in musical art.

From the last third of the 18th century, thanks to factory owners and some officials, items of European art in the then fashionable "Italian taste" began to appear in Nizhny Tagil. By the third quarter of the 19th century, a large collection of paintings and engravings had appeared in Nizhny Tagil, collected by the factory employee D. P. Shorin (1817-1907), which reflected that fashion. The article reconstructs the composition of his Italian collection and identifies the features of its formation. Comparison of descriptions of paintings and graphic works in the surviving handwritten catalog of the owner and reproductions of works of the Italian art school made it possible to attribute some of the images described in the catalog. Reconstruction of the composition of D. P. Shorin's collection introduces these works into scientific circulation for further research and forms a more complete understanding of the cultural heritage of Nizhny Tagil. Identification of copies of famous works in the collection of D. P. Shorin relies on a typewritten copy of a catalogue compiled in the 19th century by the collector himself and kept in the Nizhny Tagil Museum-Reserve "Gornozavodskoy Ural".

“per l'aria volar parean a schiera / i chèrubi fuggiti da Trescore / quei che Lorenzo Lotto il dipintore / alzò sui tralci della vite vera". (G. d'Annunzio, Le Città del Silenzio) Il pittore Lorenzo Lotto nel 1523 accettò l'incarico dall'aristocratica famiglia Suardi di affrescare il loro Oratorio a Trescore Balneario, in provincia di Bergamo. Per la critica d'arte Cortesi Boschi, a Trescore, il Lotto farebbe professione di ortodossia religiosa, anzi si sarebbe posto a difensore dell'ortodossia cattolica nei confronti dell'eresia protestante. Questa tesi è stata rimessa in discussione dalla stessa Boschi, dopo l'attribuzione al Lotto, da 1 parte dello studioso Giovanni Romano, del frontespizio della Bibbia del protestante Brucioli. Per gli affreschi di Trescore tre furono i protagonisti in causa: il Lotto, il committente ossia Giovan Battista Suardi, ed il vescovo Pietro Lippomanno. Quest'ultimo era legato da amicizia al cardinale Gasparo Contarini, che papa Paolo III aveva scelto come pr esidente della commissione cardinalizia incaricata di redigere il Consilium de emendanda ecclesia, e sino alla propria morte, il Contarini fu il punto di riferimento del nascente partito curiale degli "spirituali", partecipando l'anno prima di morire alla dieta di Ratisbona (1541) in cui si adoperò per un accordo che ripor tasse i protestanti all'obbedienza romana. Il suo atteggiamento conciliante suscitò l'indignazione dei cardinali più zelanti. A Contarini, il Lippomanno aveva dedicato il suo trattato "De officio viri boni ac probi episcopi", scritto nel 1517, ma pubblicato nel '75, e la sua attività s'inserisce nell'ambito dei vescovi illuminati del primo Cinquecento, anche se l'atteggiamento del Lippomanno era "di cauta attenzione" e che non si esponesse in prese di posizione troppo radicali a proposito di una riforma della chiesa. 2 L'intento che l'artista e il committente Suardi condivisero, fu quello di riprodurre per immagini una supplica a Dio per preservare la famiglia e la popolazione locale dalla "fine del mondo imminente", prevista dagli astrologi del tempo per il febbraio del 1524, in occasione di una quaresima; tale fine sarebbe stata accompagnata da uno spaventoso diluvio,

This article examines the June 2025 caste-based atrocity in Dandarpur village, Etawah district, Uttar Pradesh, as a lens for understanding the systemic dishonesty and manipulative strategies that sustain Brahminical dominance. Drawing on police reports, credible media coverage, eyewitness testimonies, public statements, and personal observations, this article illustrates a troubling pattern: Brahmins routinely deploy false counter-accusations and misrepresentations to shield themselves after acts of caste-based oppression. Beyond public incidents, Brahminical dishonesty extends into everyday interactions and online discourse, allowing Brahmins to manipulate public perception and betray those who would otherwise engage with them in good faith. This article underscores that Brahminical dishonesty is not an exception but a systemic feature of caste dominance that requires empirical attention and sustained counteraction.

RESUMEN Este artículo se detiene en algunos textos sobre el grabado argentino del siglo XX para considerar el rol que desempeñaron en la construcción de un lugar de reconocimiento progresivo para esta práctica dentro del campo del arte moderno. Se abordan casos vinculados a momentos y propuestas relevantes en el proceso de legitimación del grabado como disciplina artística. Si bien existieron textos suscriptos por críticos o literatos, la mayoría de los planteos provino de la perspectiva de los artistas. En ese sentido, es posible sostener que la inscripción y reconocimiento del grabado argentino como producción artística dentro del campo cultural moderno del siglo XX se debió, en gran medida, a las acciones directas de artistas y gestores, más que a la labor de la crítica de arte y del impulso institucional. Como punto de partida, se consideran aquí algunos de los escritos publicados en la revista El Grabado (1916), y se abordan también textos de Antonio Berni, Gustavo Cochet y Adolfo Bellocq, entre otros autores.

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establecer varias consideraciones de interés: i) se trata de una necrópolis de sepulturas ortostáticas de plantas trapezoidales, poligonales y rectangulares y cortos corredores de acceso; ii) toda las losas utilizadas en la construcción de las tumbas pertenecen a la misma materia prima que fue obtenida en su entorno y iii) la necrópolis fue usada durante una largo período de uso que comenzó en el neolítico final (3525-3195 cal bc), alcanzó su actividad ritual más intensa durante la Edad del cobre y terminó en el bronce antiguo (2125-1980 cal bc).

Drawing on a database of over 160 surviving monuments, this article explores the multi-faceted nature and genesis of Franconia's rich, but under researched late medieval wayside shrine landscape. Part I begins with an overview of the extant corpus of Gothic wayside shrines, before proceeding with case studies that account for the extraordinary popularity of this type of roadside furniture during the two centuries before the Protestant Reformation. Part II sounds out the very beginnings of this sacred landscape during the fourteenth century, proposing three theses about the impact of climate change and its disastrous consequences; the rise of popular eucharistic devotion with its focus on the of the suffering body of Christ; and the formation of "peri-urban sacred zones" around towns in the decades bracketing the year 1300.

Indian society, by its very nature, does not allow an individual self to grow. Since caste system is a fact of life, every individual becomes part of a greater community, thus, losing one's individual identity. The difference between the works of the two kinds of writers is not just because of their castes but also due to differing experiences and their ways of interpreting them. Thus, though caste is at the root of most Dalit literature, as its literary manifestation is based on its experiences, the horizons of Dalit literature is expanding. But the nondalit writers do not like to call themselves Dalits. They feel that to do so is below their dignity. As a result the process of expansion of art is retarded. To use Marxist jargon, many authors avoid joining the 'D' class. This is not only true of non Dalits but also of the educated and the secure among the Dalit themselves. The reason for this is that the word 'Dalit' traditionally connotes wretchedness, poverty and humiliation. Hence the term has become derogatory. The nondalits hence pose the question: Why should we call ourselves Dalits? Dalit means masses exploited and oppressed economically, socially, culturally in the name of religion and other factors. Dalit writers hope that this exploited group of people will bring about a revolution in this country.

Since the end of the 19th century, the modernisation processes of urbanisation and industrialisation taking place in Europe and the transatlantic regions have changed not only the natural environment but also social and geographical relations. The emergence of modern states changed the traditional societies, lifestyles and private lives of individuals and social groups. It is also characteristic of this period that social reform movements appeared in large numbers – as a «counterweight» to unprecedented, rapid and profound changes. Some of these movements sought to achieve the necessary changes with the help of individual self-reform. Life reform in the narrower sense refers to this type of reform movement. New historical pedagogical research shows that in the major school concepts of reform pedagogy a relatively close connection with life reform is discernible. Reform pedagogy is linked to life reform – and vice versa. Numerous sociotopes of life reform had their own schools, becau...

Издание, сопровождающее выставку в Галерее графики, рассказывает об итальянских рисунках и гравюрах XVXVI веков. Произведения эрмитажного собрания позволяют проследить, как рисунок из подготовительного материала для картины, фрески или скульптуры превратился в самостоятельный вид искусства. Подобным образом и гравюра, бывшая поначалу лишь техническим способом тиражирования рисунков, стала для художников особым средством выражения творческого замысла. Развитие двух искусств рассматривается в контексте теоретических воззрений того времени, связанных с понятием disegno. Представлены работы Андреа Мантеньи, Филиппино Липпи, Джулио Романо, Баччо Бандинелли, Маркантонио Раймонди, Франческо Пармиджанино, Уго да Карпи, Джованни Беллини, Паоло Веронезе, Якопо Тинторетто и других известных мастеров Возрождения и маньеризма. Многие произведения публикуются с новыми атрибуциями, несколько десятков впервые демонстрируются публике. Настоящий выпуск посвящен памяти хранителя итальянской гравюры А. В. Ипполитова. Книга представит интерес для широкого круга читателей.

The publication accompanying the exhibition displayed at the Gallery of Prints and Drawings focuses on Italian drawings and prints (engravings) of the fifteenth – sixteenth century. Artworks from the State Hermitage collection allow us to trace the evolution of the drawing from preparatory material for a painting, fresco or sculpture to a full-fledged art form. In a similar vein, an engraving (print) that initially served as a purely technical means of reproducing drawings, transformed into an idiom of creative expression for the artists. The development of both arts is examined through the lens of theoretical ideas of the time, associated with the notion of disegno. On display are works by Andrea Mantegna, Filippino Lippi, Giulio Romano, Baccio Bandinelli, Marcantonio Raimondi, Parmigianino, Ugo da Carpi, Giovanni Bellini, Paolo Veronese, Tintoretto and other prominent exponents of the Renaissance and Mannerism. Many works are published with new attributions and several dozens are exhibited for the first time. This publication is dedicated to the memory of Arkady Ippolitov, curator of the Italian prints collection. The book will appeal to a wide readership.

Este artigo apresenta o estudo de caso de criação de uma narrativa imersiva para Metaverso possibilitando ao espectador imergir em uma exploração histórica audiovisual em um dos episódios das lutas pela independência do Brasil na Bahia: o martírio de Joana Angélica no Convento da Lapa em São Salvador. A narrativa, criada com filmagem estéreoscópica e som ambisonics, se dá no ambiente 3D para óculos MetaQuest aqui chamado de Himersoteca. Conceito criado especificamente para este projeto, a Himersoteca 2 é um híbrido de História, Memória,Imersão e Biblioteca. Ela busca proporcionar experiência de exploração dos olhares e dos tempos, através da imersão em audiovisual nas lutas pela independência do Brasil na Bahia. No escopo deste artigo, tratamos da aplicação do conceito da Montagem Ucrônica (SOUZA,2017) para descrever as múltiplas narrativas imersivas que se basearam nas cartas históricas dos personagens envolvidos. Elas se traram de remontagens, reorganizações, justaposições de uma mesma cena em que se passam as ações de personagens: Sóror Abadessa Joana Angélica, o Brigadeiro Madeira de Mello e Urânia Vanério. Para a análise do caso aplicado, são observadas as múltiplas leituras dos participantes e espectadores, mediante a utilização de óculos 3D para explorar as temporalidades, os cenários, os espaços e os personagens nas três narrativas criadas com as mesmas cenas. Neste estudo, o público-alvo foram estudantes do ensino médio e superior, cuja experimentação foi guiada em eventos de apresentação das narrativas imersivas ou em atividades de estudo de história e artes.

O livro ID_25 resulta de um trabalho coletivo assumido pelo Coletivo de Ação/Investigação (ID_CAI), do i2ADS, que reflete sobre a INVESTIGAÇÃO desenvolvida na AÇÃO realizada nos 25 anos antecedentes, imersa no 'movimento intercultural IDENTIDADES'. As imagens utilizadas no corpo dos textos são dos autores. Este livro tem como integrante a Timeline ID_25 com uma síntese da ação e investigação desenvolvida ao longo 25 anos de existência do 'movimento intercultural Identidades'.

Caillebotte’s Pont de l’Europe (1876) is widely appreciated as being among the most iconic representations of the modernized city that 19th century Paris had recently become. For the 28 year old Gustave Caillebotte, this was the most ambitious canvas he had yet undertaken. He presented it to the public the following April at the Third Impressionist Exhibition with the still larger Rue de Paris: temps de pluie and five other important works. The event marked Caillebotte’s emergence into the effervescent world of Parisian art culture, joining the other artists then striving to break away from the Academie’s many constraining strictures. These not only emphasized the desirable pictorial technique, but more importantly, it defined a hierarchy of subject material deemed appropriate for works of art. The painting shows a striking perspective view of the metal latticework of the bridge looming over a bright sunlit stretch of sidewalk extending far in the distance. Combined with the large size of the painting this creates a truly immersive experience for the viewer. One might be tempted to believe, as does the author of a recent work, that Caillebotte intended to evoke such a time and place, where “everyone, including the dog, knows what they are doing.” (De Waal 2010)
Order and tranquillity should have been welcome in 1877, when memories of the disastrous war with Prussia six years earlier and the bloody suppression of the Commune by the nascent Third Republic were still vivid. However, the reviews of Caillebotte’s works at the Third Impressionist Exhibition speak more of provocation and cognitive- dissonance than of order and tranquility. We are readily able to appreciate that the impressionist paintings of Monet lacked the “finished” qualities that the Academie understood to be those of great works of art. But what could have been provocative about Caillebotte’s perspectives is not as apparent.

This MPhil thesis examines how the Punjabi film Marhi Da Deeva (1990) constructs a counterpublic sphere for Dalit narratives, employing frameworks from Nancy Fraser, John Rawls, and Kimberlé Crenshaw. Through close analysis of land alienation, gendered caste oppression, and subaltern resistance, the study reveals how regional cinema challenges dominant historiography in Punjab. The research further proposes future applications of Indigenous methodologies—particularly Sámi storytelling traditions like yoik—to document marginalized histories. By bridging South Asian and Arctic Indigenous struggles against hydrocolonialism (e.g., British canal colonies/Sámi dam displacements), this work lays groundwork for comparative restorative justice models. Findings contribute to: (1) film-as-resistance scholarship, (2) intersectional decolonial theory, and (3) participatory action research with displaced communities. This thesis pioneers a philosophical framework for analyzing Punjabi cinema’s role in challenging caste hierarchies—a model applicable to other Indigenous media globally. Researchers working on:

Subaltern counterpublics (Fraser/Habermas)

Comparative hydrocolonialism (Öhman/Somby)

Participatory film methodologies
will find immediate applications for this work.

Si nous sommes désabusés des discours attestant de la mort d’un quelconque fait culturel, ces derniers catalysent les angoisses et inquiétudes que l’on peut rencontrer devant de tels bouleversements et des profondes transformations qu’ils impliquent. L’histoire de la photographie est relativement jeune et, pourtant, nombreuses sont les voix qui se sont élevées depuis quelques années pour en signer le glas depuis l’avènement du numérique. Il s’est forgé depuis les années 1980 toute une production historienne, théorique, esthétique, artistique et parfois militante autour de la question du déclin des pratiques photographiques. Cet essai propose de dresser un tableau général des récits tantôt enthousiastes, tantôt nostalgiques ou inconsolables d’une hypothétique disparition de la photographie, en interrogeant particulièrement le sens du terme mort qui contamine de ses imaginaires nos représentations contemporaines. Devant la fièvre historienne qui conduit aux tentations du grand récit photographique à coloration téléologique, comme en témoigne la popularité de la notion de « post-photographie », nous aborderons également les contre-récits et les représentations alternatives qui émergent aujourd’hui et se révoltent à la fois contre l’obsolescence technique et contre une certaine mythologie de l’image photographique. Ainsi, en étudiant ce qui apparaît pour certains comme son crépuscule, c’est la profonde vitalité de la photographie contemporaine qui se révèle et son devenir comme culture visuelle et matérielle.

Кабинетные бюсты Александра I выпускали с самого начала его царствования. За рубежом наибольшее число их появилось в 1814-м и в последующие несколько лет в связи с победой Александра над Наполеоном, заграничными походами и вступлением русских войск в Париж. Венский конгресс 1814 года и международные конгрессы с участием российского императора также подогрели любопытство иностранцев к его личности и способствовали созданию новых изображений Александра, воспроизводившихся в бесчисленных копиях и вариантах.

Introduction: Bahman Mohassess is one of the greatest leading artists in Iran's modernist art, who lived in politically, socially, and culturally tense periods. Expressing issues such as «condemnation of existence», «passivity», and «isolation» are among the most important themes of his works of art. In this research, by adopting a sociological approach and theoretically expanding the basic concepts of «Habitus», «Field», «Capital» and «Theory of Practice», an attempt was made to shed light on one aspect of the reasons for the distinction in the works of this artist. Therefore, the current research, focusing on the authentic and recent opinions of the famous French sociologist, Pierre Bourdieu, seeks to answer two fundamental questions: «What were the social contexts affecting the formation of Bahman Mohassess's artistic habitus» and «What were the social contexts affecting the level of acceptance of Bahman Mohassess's artworks by the audience of his works?» The current research aims to find social factors influencing the distinction of specific works using the concept of Bourdieu's Practice. Accordingly, this study is fundamental and qualitative. Research Method: This research is qualitative and fundamental. Its method is descriptive-analytical, and the data was collected using a library-based technique. Findings: According to Bourdieu, people's habitus is built over time and based on social conditions. Thus, Mohassess's specific personal, social, and family experiences have formed his artistic character. On the other hand, the social contexts of the period in question had caused the formation of cultural fields that were different from the artistic capital of the artist, and this caused a low level of acceptance of his works by society. Conclusion: According to the research conducted, it can be concluded that individual, social, and family experiences played a role in forming Mohassess's artistic character. On the other hand, the social contexts of the period in question had caused the formation of cultural fields that were different from the artistic capital of the artist, and this caused a low level of acceptance of his works by society.

Introduction: Artificial Intelligence (AI) has become a significant force in reshaping various aspects of social, economic, and industrial life, making it a hallmark of technological advancement and future-oriented thinking. It appears that the domain of Iranian carpet design is also on the brink of transformation under the influence of this emerging power. While scholars have long debated the tension between artistic creativity and technological innovation, this study explicitly focuses on how carpet designers adapt to the advent of AI-based software capable of modifying and designing carpet patterns. The primary aim is to explore how Iranian carpet designers perceive their career prospects in the face of AI-driven design software. The central question is: How will the future of professionals in this field unfold, given the presence of AI-based design tools? Research Method: This research employs a mixed-methods approach, combining quantitative and qualitative analysis through descriptive-analytical methods backed by library research and field studies. The researchers used behavioral analysis tools, observation, and surveys to evaluate the capabilities of four AI platforms currently available for carpet design. Subsequently, an electronic questionnaire was distributed to 132 prominent Iranian carpet designers, of whom only 50 participated. Findings: The results reveal that, at the time of the study, only one AI software could modify existing carpet patterns, yet it lacked the sophistication to serve as a genuinely creative assistant. Despite being positioned as innovative design tools, the other available AI-based software solutions had not undergone sufficient machine learning training to be effective in the intricate field of carpet design. Additionally, the examination of experts in this field reveals that they have either not utilized AI-based software or, if they have, it has only been for resizing and modifying existing patterns. None have encountered a software solution capable of creating carpet designs from start to finish. Furthermore, 57% of the designers view AI as merely a tool to assist their work rather than a potential replacement for their profession. Conclusion: AI-based software in carpet design can currently be seen as a tool that facilitates the design process. Whether or not AI will eventually replace designers in this field, there is an immediate opportunity to develop AI platforms that can function as design assistants. Such platforms can expedite tasks like design, color selection, pattern adjustment, and resizing-tasks that designers find particularly time-consuming and complex.

Following the murder of George Floyd in 2020, monuments became a focal point: protestors toppled or spray-painted them, even danced on them. These politically, visually, and emotionally potent events may have looked instantaneous, yet frequently sprang from years of activism, as well as protracted political and academic debate. Toppling Things challenges stereotypical notions monument topplings as riotous, spontaneous, or irrational. Bringing together the ideas and emotions, the uncertainty and convictions, of artists, activists, and academics, the volume rejects a neatly tied-up, distant narrative. As it sheds light on the global, personal, immediate, and historical processes around the fall of a monument, the volume engages directly with the complexity of toppling activism and monument removal as a form of lived experience.

Cet article interroge l’apparition de la date au jour près sur les dessins de paysage au XVIIIe siècle. Alors que de telles dates sont auparavant très rares, toutes iconographies confondues (avec de célèbres exceptions comme le Paysage du val d’Arno de Léonard), elles se multiplient au XVIIIe siècle sous l’effet de phénomènes d’ateliers (Nicolas Vleughels transmet cette pratique à ses élèves) et d’une redéfinition de la temporalité de l’image. Le paysage devient ainsi le lieu privilégié de la date, dans une quête croissante d’instantanéité. L’article se termine en singularisant les significations de cette inscription, qui place l’œuvre à la fois dans une temporalité cyclique ou saisonnière (tel dessin est du 12 mars) et linéaire (du 12 mars 1762, moment unique de l’histoire).

Шишанов, В. А. «Картины Репина – 8 кило» (к истории коллекции работ И. Репина в Витебском областном краеведческом музее) / В. А. Шишанов // Наследие – современность: Репин навсегда : сб. материалов международной научно-практической конференции, посвящённой 180-летию со дня рождения И. Е. Репина (1844–1930) / ред. коллегия А. Л. Шахматова, Т. А. Петрова, Л. Ф. Васильева; отв. ред. Д. Ю. Сысоев. – Самара: Издательство СамНЦ РАН, 2024. – С. 80–87.