Video Installation

Habilitar un marco discursivo para analizar las convulsiones y transformaciones a las que se someten los discursos de la memoria supone verbalizar la producción artística contemporánea de la última década. Sin embargo, las producciones artísticas que nos interesa mencionar aquí son aquellas que abordan temas sociales, políticos y económicos desde una perspectiva donde estos ideales no se autoproclaman, no se decretan, sino que están insertados en el proceso de producción, en la forma en la que se hacen y se piensan las relaciones con imágenes y son estas relaciones las que liberan su carácter ideológico. En definitiva, aquellas que desarrollan una problemática representacional que ahondan en la confrontación de mundos dispares y globales para conformar imaginarios concretos y locales. Este operativo se gesta mediante parámetros

Διαχρονικά, η καλλιτεχνική δημιουργία εκφράζει τα μεγάλα κοινωνικά διακυβεύματα και τα ζητήματα που απασχολούν την κάθε εποχή. Σύμφωνα με την Rioux (2017), η Τέχνη δύναται να είναι μοχλός κοινωνικών εξελίξεων, να προωθεί κοινωνικά αιτήματα ή πολιτικά συμφέροντα, να ξυπνά και να εξεγείρει συνειδήσεις, αλλά, την ίδια στιγμή, μπορεί να χρησιμοποιηθεί για να τις αποκοιμίζει.
Είναι γεγονός ότι η Τέχνη χρησιμοποιεί την Πολιτική, την ίδια στιγμή που η πολιτική χρησιμοποιεί την Τέχνη. Αυτό διεφάνη πολύ καθαρά, στη Ναζιστική Γερμανία, όταν το Γ’ Ράιχ χρησιμοποίησε τους καλλιτέχνες για προπαγανδιστικούς λόγους.
Η Τέχνη παίζει καταλυτικό ρόλο στην πρόσληψη των κοινωνικών αιτημάτων από το κοινό, στην πραγματικότητα λειτουργεί ως καθρέφτης της κοινωνίας. Στην πορεία της Ιστορίας είδαμε παραδείγματα, όπου η Τέχνη χρησιμοποιήθηκε προκειμένου να καταγγείλει τις ασκούμενες πολιτικές (πόλεμος στην Αλγερία, πόλεμος
στο Βιετνάμ), αλλά και ως μέσο νομιμοποίησης και προπαγάνδισης αυτών των πολιτικών, όπως το παράδειγμα που αναφέραμε παραπάνω, της Ναζιστικής Γερμανίας.
Η Τέχνη, μέσα από τον υποκειμενισμό της, αλλά και την αυθεντία που
συνοδεύει καταξιωμένους εκπροσώπους της, μπορεί να δημιουργήσει ρήγματα, να απομακρύνει, αλλά και να φέρει εγγύτερα τους πολίτες και την Πολιτική.
Ουδέτερη Τέχνη δεν μπορεί να υπάρξει, αφού ο καλλιτέχνης δεν λειτουργεί in vitro, αλλά δρα και δημιουργεί ως μέρος του κοινωνικού συνόλου, με το οποίο βρίσκεται σε ένα συνεχή διάλογο και αλληλεπίδραση και με το έργο του μας δίνει την δική του οπτική πάνω στο κοινωνικοπολιτικό γίγνεσθαι, μεταφέροντάς μας μηνύματα και ιδέες.
Στον αντίποδα της Ουδέτερης Τέχνης, βρίσκουμε τη Στρατευμένη Τέχνη, όρος που ενέχει, εκ προοιμίου μία αντίφαση. Η Τέχνη αντικατοπτρίζει αισθητική, ιδέες, αξίες προσωπική οπτική του καλλιτέχνη στα πράγματα, συνδηλώσεις, πώς μπορεί,
λοιπόν, να δεχθεί, και να ανεχθεί, ως επιθετικό προσδιορισμό το «στρατευμένη» που υποδηλώνει την εμπλοκή με την Πολιτική και τον Ακτιβισμό, αλλά και την υποταγή της καλλιτεχνικής ελευθερίας στην επιτέλεση ενός σκοπού, όσο υψηλός και αν είναι αυτός; Ο Picasso, με τη δήλωσή του “Η ζωγραφική δεν είναι για να διακοσμεί τα διαμερίσματα, αλλά είναι ένα πολεμικό όπλο επιθετικό και αμυντικό ενάντια στον
εχθρό», σίγουρα δεν είχε στο μυαλό του τους καλλιτέχνες που προπαγάνδισαν τη μεξικανική ή την Μεγάλη Οκτωβριανή Επανάσταση, πιθανόν ούτε την κραυγή αγωνίας που εξέπεμπε το διάσημο έργο του Guernica, αλλά αναφερόταν στην καταγγελτική δύναμη της Τέχνης και στην άοκνη προσπάθειά της να υπερασπίζεται την Ειρήνη (Maldonado, 2009).
Παράλληλα, η Πολιτική υπήρξε πάντα ένα συστατικό στοιχείο των
συγκροτημένων κοινωνιών και συνετέλεσε καταλυτικά στη διαμόρφωση των συλλογικών και ατομικών ταυτοτήτων. Υπήρξε αναπόσπαστο στοιχείο της Δημόσιας σφαίρας ως έκφραση των κοινωνικών και ατομικών αναγκών κάθε εποχής, όπως και η
Τέχνη.
Και οι δύο έννοιες, ως εκφράσεις της κοινωνικής ολότητας συχνά εκφράστηκαν από κοινού, με αποτέλεσμα να αναδείξουν κοινωνικά και πολιτικά αιτήματα.
Θέμα του παρόντος άρθρου είναι η ανάδειξη της επίδρασης της Ιστορίας και της Πολιτικής στη διαμόρφωση των ρευμάτων και τάσεων στη ζωγραφική στη προεπαναστατική Ρωσία και στη Σοβιετική περίοδο, μέσα από τους βασικούς εκπροσώπους ρευμάτων και Σχολών. Θα αναδειχθούν τα βασικά εκφραστικά μέσα και οι συμβολισμοί με τα οποία οι καλλιτέχνες εμμέσως ή άμεσα τοποθετούνται πάνω στην
επικαιρότητα, κοινωνική και πολιτική, θα διερευνηθούν οι πιθανές αλληλεξαρτήσεις τους με πολιτικά κέντρα και η προσπάθεια της Πολιτικής να ελέγξει και να εργαλειοποιήσει τους καλλιτέχνες και την καλλιτεχνική δημιουργία, προκειμένου να τους χρησιμοποιήσει για την μεγιστοποίηση της προβολής και αποδοχής από την κοινωνία των μηνυμάτων της.

This paper tries to address the rising tension between the spectacle and the narrative and also addresses the probable distraction that a 'spectacle' can cause while setting a narrative for the film but also how it contains a lot of potential to attract the audience to watch the film because of what it is and what it brings to the table.

This afterword examines the paradoxical nature of Black anti-bodies, as highlighted by Dána-Ain Davis's insightful opening call. It discusses how timely responses in this collection provide valuable frameworks for understanding what I call Black anteanti-bodies, with the hyphens serving as essential analytical tools to complicate the relationship between Afro-pessimism and Afro-futurism. This approach encourages a Black feminist praxis that effectively navigates the complexities of objectification and subjugation while also emphasizing the potential for joy and resilience. Ultimately, this afterword advocates for an ontology of Blackness that remains open to possibility, revealing its dynamic and richly layered realities. We experienced, recognized, and lived subjection, we did not simply or only live in the subjection and as the subjected.-Christina Sharpe, In the Wake: On Blackness and Being (2016, 4) This article is part of the special section of American Anthropologist titled "Anti-bodies, Anti-body: A Black Feminist Call and Response."

This paper, drawing on the theoretical insights of Barbara Creed and others, argues that the female characters in Emily Carroll's graphic novel, When I Arrived at the Castle (2019), manifest the monstrous-feminine through their grotesque physicality and metaphorical monstrosity. The paper posits that the image of the monstrous-feminine is created through the depiction of the characters' grotesque physicality and their metaphorical monstrosity. In addition to analyzing the facets of the monstrous-feminine, the research categorizes these into grotesque physicality and metaphorical monstrosity. By analyzing the graphic novel, this paper offers a new perspective on the representation of women in media and provides a new reading of Carroll's work.

Il volume racconta, con parole e con molte immagini, una bellissima avventura. Community Specific Archive è un progetto selezionato nell’ambito dell’avviso pubblico PAC 2022–2023 – Piano per l’Arte Contemporanea, promosso dalla Direzione Generale Creatività Contemporanea del Ministero della Cultura, su proposta del CSAC Centro Studi e Archivio della Comunicazione – Università di Parma. Un progetto di Paola Di Bello e Valerio Rocco Orlando, i quali hanno realizzato rispettivamente una serie di fotografie e una videoinstallazione nate dal confronto con alcuni materiali conservati al CSAC e con un gruppo di studenti del corso di laurea in Comunicazione e media contemporanei per le industrie creative dell’Ateneo di Parma. Attraverso alcuni laboratori gli artisti hanno sviluppato, insieme alle ragazze e ai ragazzi, una ricerca fondata sull’autocoscienza e sulla condivisione di saperi, valorizzando in questo modo anche la collezione del Centro, che ha svolto la funzione di innesco di questa esperienza. Le opere sono l’esito quindi di un processo partecipativo confluito in una produzione fotografica costituita da una serie di collage, frutto di un dialogo visivo con gli studenti, che attinge alla sezione fotografica usata come materia grezza e in una videoinstallazione che va intesa come la sintesi formale di una metodologia pedagogica fondata sulla pratica dell’ascolto attivo, su esercizi di scrittura non creativa e sulla rielaborazione drammaturgica e audiovisiva quale azione collettiva.

Ce qui avance en moi n'a pas de voix mais beaucoup d'espace. Ce qui pousse en moi a des mains agrippées. En moi comme une falaise. En moi, qui ne suis pas lisse. J'ai des saillies pour ce qui pousse en moi, des figurines vissées dans mes parois, des crochets, des points d'appui. Je ne sais pas où ils sont mais ce qui grandit en moi le sait. Je l'entends se mesurer à mon corps, je le sens prendre ses mesures. Ce qui s'ajuste en moi est un chat, ce qui s'ajuste en moi est une maison : échafaudages et nécessité imminente de tout meubler. Ce qui s'installe en moi refroidit, réchauffe, nourrit, accueille, isole. Aurai-je assez de place pour tout contenir, où ira-t-il creuser après moi ? Je sais ce qui se passe dehors. Je sais que je suis un terreau fertile. Mes falaises sont douces et pleines de saillies. J'ai des fissures pour l'amour et les semences. Le sens est-il une partie du corps, qui grandit avec ce qui grandit en moi, qui combat, qui est défaitlambeaux sur les parois de mon corps, humus en devenir. Tout ce qui se décompose dans mon terreau fertile, récupéré par ce qui n'a pas de voix, qui se démène en moi et mon espace, ce qui transforme, Ciò che avanza in me non ha voce, ma molto spazio. Ciò che cresce in me ha mani che si aggrappano. Dentro di me come una scogliera. In me, che non sono liscia. Ho protuberanze per ciò che cresce in me, figurine avvitate nelle mie pareti, uncini, punti di appoggio. Non so dove siano, ma ciò che cresce in me lo sa. Lo sento misurarsi con il mio corpo, lo sento prendere le sue misure. Ciò che si adatta in me è un gatto, ciò che si adatta in me è una casa: impalcature e bisogno imminente di arredare tutto. Ciò che si insedia in me raffredda, riscalda, nutre, accoglie, isola. Avrò abbastanza spazio per contenere tutto, dove si andrà a scavare dopo di me? So cosa succede fuori. So che sono un terreno fertile. Le mie scogliere sono morbide e piene di protuberanze. Ho fessure per l'amore e le semenze. Il senso è una parte del corpo, che cresce con ciò che cresce in me, che combatte, che viene sconfittolacerti sulle pareti del mio corpo, humus che si forma. Tutto ciò che si decompone nel mio terreno fertile, recuperato da chi non ha voce, ciò che si agita in me e nel mio spazio, ciò che trasforma,

Aux prises avec la nostalgie d'un passé que je n'ai pas connu et avec des souvenirs imaginés, j'ai pu observer dans mon environnement immédiat un phénomène de perte des savoir-faire et des techniques de fabrication traditionnelles. Par la constitution d'un héritage technique personnel, ce travail de recherche-création constitue une reprise de possession du geste manuel dans un espace intermédiaire inhabité entre passé et présent. Ce mémoire dresse un parcours historico-artistique qui prend ses bases au XIXe siècle, passe par la période minimaliste et fait un rapprochement avec l'héritage moderne. D'abord est expliquée ma nostalgie grâce à une compréhension romantique du sentiment de l'éphémère, où interviennent la période impressionniste en peinture et l'arrivée de la photographie. Grâce à l'ethnologie est non seulement exploré le phénomène de perte des savoir-faire, mais également celui de la régression de la main, utilisée comme outil depuis le fondement de l'humanité. Dans un contexte actuel, cette recherche s'insère dans un retour au traditionalisme marqué par la révolution industrielle, tel qu'a pu le souhaiter William Morris avec ses créations. À travers le minimalisme, la ligne aplatie et sans vie devient l'arête d'un volume chargé d'une symbolique. Enfin, l'art de la fibre, qui connaît de plus en plus de popularité, ouvre une voie d'investigation quant à la mémoire des matières. Ensuite, sont relatées les étapes d'un processus personnel de création. À travers les pratiques d'Anselm Kiefer et de Jérôme Fortin, le mémoire présente aussi quatre paramètres opératoires : la méthode par associations libres de souvenirs, la pratique de l'attente et de l'expectation par la marche, le journal poïétique et les expérimentations en atelier. Aussi, il est démontré comment mes préoccupations plastiques se réverbèrent dans la forme de mon mémoire et comment les thématiques de l'effacement et de la trame se sont manifestées au fil des expérimentations. Grâce à des mots ayant le préfixe « re-», la question du renouveau des techniques est interrogée sous l'angle de la récupération culturelle et de l'apport de la technologie dans le traditionnel. De l'éphémère à la répétition, les expérimentations réalisées au cours de la maîtrise exposent un parcours logique qui met en lumière le travail final de l'exposition. Enfin, ce mémoire est soutenu par un travail pratique de deux ans en atelier duquel ont résulté cinq projets exposés dans POINTS DE REPÈRE | matières sensibles au Centre national d'exposition de Jonquière. Il se termine par l'explication de ces propositions artistiques qui passent par la sculpture, le bas-relief, la photographie numérique et la vidéo, et les constats tirés à la suite de leur mise en exposition, notamment l'apport sensible du technologique dans un processus davantage matériel transcrit par des matières de type fibre.

The Accuser Theory is the term this thesis awards a new trope of transgressive fiction. The principles of the trope are explained throughout via an examination of post-millennial transgressive novels for discourses that privilege male sexualized violence. To this, the project asks how does male sexualized violence construct woman in transgressive fiction and how can she be radicalised in the current digitised era? This is answered through a 75-per-cent textual analyses of prominent transgressive novels of a late Western capitalist context followed by a creative critique which radicalises woman through sexuality by turning the novelist’s transgressive frame back on itself. The aim of the thesis is to theoretically and creatively illustrate the aspects of woman that are transgressed in ‘transgressive’ novels under study that derive of what is the newly coined sex-buyer ideology, a way of seeing that’s become prevalent in the early twenty-first century Western landscape.

Bret Easton Ellis, Irvine Welsh and Chuck Palahniuk ‘write transgressive fiction’ says Douglas Keesey in Understanding Chuck Palahniuk (2016:11). The mode, Robin Mookerjee in Transgressive Fiction: The New Satiric Tradition says ‘make[s] a socially relevant statement’ (2013:1). Imperial Bedrooms by Ellis (2011), Snuff by Palahniuk (2008) and Sex Lives of Siamese Twins by Welsh (2014) are selected because they offer a window into the contemporary heteronormative lens which is altered by a new, more brutally pervasive sex industry. These writers are known for their earlier transgressive works. However, a change has arisen, notable when compared with their later less radical works which articulate greater apathy towards the violence against women taboo. The deconstruction reveals inward shifts in the fiction that are more in thrall to a phallocentric capitalist patriarchy which maintain hegemony. The thesis links this literary structural alteration to a rechannelling of conservativism – a response to masculine identity in flux in postmodern times.

Woman’s renewed object status in these books represents the operations of taboo and transgression through themes of punishment and control. The critical discussion is accompanied by a 25 % practice-led creative component – a transgressive novella – which offer inverted masculinist visions of transgression, departing from the rigid constructs which centre the three novels under study toward new pathways out of a language that’s split in half through the anchorage of discourse. A Hatred That Smiles is a creative response to the latest instalment of this split. Through opening the inextricable link between form and content using the experimental form to transgress her, meaning which confines her to discourse is breeched.

The key to unlocking the transgressive window (transgressive fiction’s link with the novel’s point of production) is discourse. This link is concretized by the transgression and taboo process that regulates women’s sexuality in culture and thus creates the semantic borders of how we make sense of her today. By using Teun Van Dijk’s ideological approach (2011) together with Norman Fairclough’s Critical Discourse Analysis (2014), the ways of seeing that shape woman in transgressive fiction become available. The immersion of digital media to unprecedented levels have created a new sex industry which has impacted the subject in profound ways and directly inform what woman means within industrial forms of sexuality. Van Dijk proved discourse structures prevalent in society are revealed through the modal verb operators in text - which point to cultural obligatory ways of seeing – and can detect the presence of ideology governing the lens in which the fiction is told. Locating woman in the transgressive novels emerge from the rogue narrator’s use of taboos and Mookerjee’s ‘confrontation with death’ (2013:3) - the transformative trope – and thus reveal if the oppressive ideology is at play as transgressive fiction is characterized by its ‘zero moral optic’ (2013:1) says Mookerjee.

Through Julia Kristeva’s Powers of Horror (1982) in Ellis, Michel Foucault’s Preface to Transgression (1963) in Welsh, and George’s Bataille’s Eroticism (1928) to Palahniuk - it is possible to approach these works as products of a new culture - from deeper philosophical estates. Transgression, Bataille says, ‘has a limited character...and does not affect the intangible stability of the [taboo] since [it is] its expected compliment’ (1928:65). However, when the literary articulation of death is present, transformation takes place, promoting ‘equality rather than hierarchy’, says Kaja Silverman in Flesh of my Flesh (2009:2), the meta-aim of the novella.

Informed by a Western twenty-first-century sex industry context, the classic theories are re-historized to the present because of their perennial ability to engage taboo and transgression; the stratums of which are more visible today than ever. Additionally, the study is more fully rounded by the critique of Emily Spiers who comparatively examines novels from queer feminist authors in Pop-Feminist Narratives: The Female Subject under Neoliberalism in North America, Britain, and Germany (2018). Spiers considers successful twenty-first-century feminist writers such as Michelle Tea of Valencia (2012) and Maggie Nelson of Argonauts (2018) with some late twentieth century ones. The feminist strand operates at the borders of transgression by virtue of its political frontier to offer greater contextualization to the transgressive literary landscape whilst simultaneously exposing cultural shifts in the articulation of the sex industry of big tech. The thesis concludes in a literary radicalisation which transgresses beyond the brittle bounds of a late capitalist patriarchy - in a culture where transgression has become commercialised - to find woman’s inexorable sexuality.

Diese Arbeit untersucht die Beziehung zwischen Demokratie, Medien und Identität im
Kontext klassischer Medientheorie anhand zweier ausgewählter Videoinstallationen
von Candice Breitz. Im Fokus steht Breitz‘ dekonstruktive Auseinandersetzung mit
mediengeprägten Dynamiken und Machtstrukturen, insbesondere im Hinblick auf die
hybride Verschmelzung persönlicher und öffentlicher Narrative. Anhand der Werke
wird analysiert, wie mediale Performanz Formen neuer Vergemeinschaftung
hervorbringt, andererseits jedoch Mechanismen der Vereinzelung und Konkurrenz
reproduziert. Die Untersuchung greift auf theoretische Konzepte wie Joshua
Meyrowitz‘ Unterscheidung zwischen „Onstage“ und „Backstage“ zurück, um
aufzuzeigen, wie Breitz stereotype Vorstellungen dekonstruiert und demokratische
Werte wie Gleichheit und Gemeinschaft kritisch hinterfragt. Die Arbeit verdeutlicht, wie
ihre Werke neue Perspektiven auf soziale Gerechtigkeit und Inklusion eröffnen, und
wie das Kunstdispositiv zu einem vertieften Verständnis der Funktionsweisen von
Popkultur und zur Medienkompetenz beitragen kann.
- - - - -
This paper examines the relationship between democracy, media, and identity in the
context of classical media theory through the analysis of two selected video
installations by Candice Breitz. The focus is on Breitz’s deconstructive engagement
with media-driven dynamics and power structures, particularly regarding the hybrid
merging of personal and public narratives. Her works are analyzed to reveal how media
performance fosters new forms of community while simultaneously perpetuating
mechanisms of isolation and competition. The study draws on theoretical concepts
such as Joshua Meyrowitz’s distinction between “onstage” and “backstage” to
demonstrate how Breitz deconstructs stereotypical notions and critically interrogates
democratic values such as equality and community. The paper highlights how her
multimedia installations provide new perspectives on social justice and inclusion, and
how the artistic dispositif contributes to a deeper understanding of the mechanisms of
pop culture and the development of media literacy.

Este comentário explora o projeto "Debaixo d'água flutuamos entre musgos: mostra de audiovisual experimental no Pará", realizado nos dias 25, 26 e 27 de outubro de 2023 no Museu da Imagem e do Som do Pará, na cidade de Belém. Utilizando o conceito de mergulho para a realização da curadoria, esse projeto mapeou e exibiu um total de quarenta e uma obras de audiovisual experimental produzido entre 1978 e 2022 majoritariamente na cidade de Belém, mas também em outros territórios do Pará e da Amazônia brasileira. A partir dos conceitos-chave fluxo, afeto e memória como elementos de resistência e sobrevivência no mergulho no território Amazônico. Essa mostra se configurou como importante espaço de circulação dessa produção, de modo a solidificar essas obras como decisivas para a escrita de outras histórias do audiovisual experimental no Brasil.

Issues of domestication, minority, and discrimination have frequently put women in inferior position in society. When women seek equality, they are often framed as embracing monstrous attitudes. This study focuses on François Mauriac’s novel titled Thérèse Desqueyroux (1927) with the intention of exploring the meanings and the significations in its construction of women as monsters. It has been observed that women are depicted as monsters because their struggle for freedom is seen as a challenge to the patriarchal system. The aims of this study are to find out and to describe the influential aspects in the construction of women as monsters and how such construction creates meanings. The study relies on content analysis method and follows three steps of analysis: collecting data relevant to monstrosity, classifying data based on the themes and problems related to the topic, and analyzing the data using Barbara Creed’s theory of the monstrous feminine (2007). The study results in the ...

Progettare il Caos manifesta la volontà progettuale utopistica di mettere ordine nel disordine per eccellenza: il Caos. Come in uno spettacolo di tragicommedia, l'ilarità è immediatamente smorzata dalla portata tragica dei soggetti e, viceversa, la serietà è miserabilmente compromessa per mezzo dell'ironia della quale sono intrisi. Non di rado, è lo stesso Levini a celarsi all'interno delle opere, attuando un meccanismo di camuffamento tipico dei maestri del Rinascimento, capace di far entrare l'artista nelle pieghe della storia per ri-raccontarla attraverso nuove chiavi di lettura. Uno sconfinamento che arriva fino alla terza dimensione, come nel caso del letto presente in Vittoria, opera esposta già alla Biennale di Venezia del 1988. Confusi dal Caos della terra non ci si salva neanche alzando gli occhi al cielo: fra parà che diventano angeli, navi da battaglia e animali, satiri e ballerine, navigatori e cantanti, ci si può rendere conto, forse, che abbiamo perso da un pezzo le redini di ciò che siamo.

The catalog accompanies the exhibition of the 63th edition of Premio Termoli, curated by Cristiana Perrella, for which I nominated three artists: Diego Cibelli, Chiara Enzo and Eugenio Tibaldi. The exhibition took place at the MACTE Museum in 2024.

2015至2025年之間台灣XR場景的一些觀察 撰文-王柏偉 2024年台北市立美術館推出「北美館開放網絡計畫(TFAM Net.Open)」，其線下計畫「共域」之三，由在地實驗ETAT推出「VR 圖書室」計畫，呈現國內外10件VR與XR作品，包括許家維〈一位來自金三角的演員〉、郭文泰《遺留》等，並舉辦專題講座。 (圖版提供：台北市立美術館) 李亦凡〈不好意思…請問一下這個怎麼打開〉影像截圖 (圖版提供：李亦凡) 陶亞倫 幻滅No.5 2015 AR擴增實境、3D數位影像、Unity互動程式、平板電腦、燈、鋁架 尺寸依場地而定 2015年於伊通公園「幻滅中的幻滅─陶亞倫個展」展場一景(圖版提供：陶亞倫) 右． ．陶亞倫VR作品〈國美館No. 1〉於2018年國立臺灣美術館「定製真實：數位藝術之魅」展場一景(圖版提供：國立臺灣美術館)

Résumé

Ce texte conteste l’idée selon laquelle la musique précèderait les formes symboliques telles que la religion, comme le suggère Whitehead et ses prolongateurs contemporains. S’appuyant sur le modèle Possest–PQF, il propose une substitution radicale à la chronologie vibratoire : celle d’une topologie différentielle de l’accessibilité.
La musique n’y est plus conçue comme forme originaire ou révélation esthétique, mais comme résidu filtré, effet différentiel d’une intensité non entièrement contractée. Ce qui se fait entendre n’est pas l’origine — mais l’échec d’une disparition silencieuse.
En mobilisant des concepts hébraïques tels que \texthebrew{שֵׁם} (le nom), \texthebrew{קוֹל} (la voix), et \texthebrew{דְּמָמָה} (le silence vibrant), l’analyse reconstruit la logique de l’audibilité non pas comme phénoménologie du son, mais comme brèche intensitaire bifurquée. La musicalité devient ainsi une singularité temporaire d’un champ de condensation topologique.
Ce document est à la fois une critique philosophique, une proposition mathématique minimale, et un acte de désancrage épistémologique. Il s’adresse à toute pensée qui veut déjouer les fictions de l’origine au profit d’une cartographie immanente de l’inentendu.

Citational Media foregrounds the potential of a body of counter-archival practices that have emerged in contem­porary visual media outside the traditional space of the cinema.

Each chapter focuses on examples of visual or performance culture that appropriate, re-use and so progressively ‘archive’ other media or footage, as they critique dominant ideologies in an age of new technologies and ongoing global turbulence. The resulting case studies, drawn from the late twentieth century to the present day, range from critical re-uses of television footage that undercut the medium’s original meanings, to popular videos screened on social media platforms, that performatively cite smart technologies and their software interfaces. Such citational media practices, while ambivalent in their meanings, have the potential to recast narratives and archives that have governed — and if left unquestioned, risk further constricting and exploiting — contemporary life.

In Artist Credo-Miroslaw Rogala (2025), the artist articulates his lifelong commitment to transforming perception into participation. Rooted in decades of work across interactive media, video installation, and generative drawing, this statement foregrounds the role of the viewer as a (v)user-an active co-creator in the artwork's unfolding. Through concepts like outerpretation and gesture as inscription, Rogala redefines the boundaries between technology, art, and agency. From early analog plotter works to immersive PhyGital environments, he explores how freedom manifests through responsibility and relational interaction. Citing thinkers like Sean Cubitt and Roy Ascott, Rogala positions art as a space of provocation, co-presence, and shared authorship. This credo invites not passive consumption, but an encounter with art as a dynamic, living architecture of meaning.

Este trabalho trata de uma pesquisa exploratória sobre as influências do cinema no âmbito da arquitetura. O objetivo é investigar e identificar as características que já foram utilizadas em obras reconhecidas de forma que se possa estudá-las. Para tal, parte-se do conceito de promenade arquitetônica, que ao gerar um percurso preconizado tem como prerrogativa certas intenções ao deixar à mostra ou esconder certos aspectos do espaço construído. Dentro desse espectro a linguagem do cinema é examinada como um conjunto de ferramentas que geram sentido no filme, e por consequência, potencialmente na arquitetura. A pesquisa se apoia nos conceitos desenvolvidos por Le e Sergei Eisenstein (2002), em relação, respectivamente, as intenções da arquitetura, limites e espaços sequências, e a montagem cinematográficasuas ideias são exemplificadas apresentando duas obras, o parque La Villette (1982) e um trecho específico do filme Columbus (2017). Palavras-chave: Promenade. Arquitetura. Cinema. Narrativas visuais. Sequencias espaciais.

Relatos barrocos contados por un gorrión, segundo acto presenta la obra de Gonzalo Vargas como una experiencia multisensorial anclada en un imaginario barroco y articulada en torno a relatos narrados por un gorrión andino, figura que conecta la memoria personal del artista con dimensiones históricas, espirituales y naturales. La muestra entrelaza materiales diversos —como cerámica, pan de oro o cera de abeja— con referencias estéticas al anime japonés y a símbolos de la cosmovisión andina, construyendo un universo visual híbrido y emotivo.

This paper addresses questions of contemporary gender and feminist theory through an analysis of the figure of the little girl in La Rabia (2008), a film by Albertina Carri, one of the leading young figures of what has been called New Argentine Cinema. La Rabia is a horrific tale of family violence set in the arid Argentinean pampas, focused through the eyes of Nati, a mute little girl who acts as a silent spectator as she watches her mother's submission to her authoritarian patriarchal father, and witnesses her sadomasochistic sexual relations with another man. Nati unconsciously identifies with her mother, both in the domestic scene with the father and in the sexual act with the perverse lover, and mimics her through a set of autistic symptoms that echo the gendered violence inflicted on the maternal body. Nati expresses herself through three set of symptoms: firstly, letting out some primal, inarticulate, animal yells; secondly, taking her clothes off in public compulsively and spontaneously; and thirdly, drawing some terrified scribbles that take on a life of their own (which are represented in the film through watercolor, ink based animation). In these three ways, Nati turns her helplessness her disability, her speech and general linguistic impairment, into a repetitive performance of gender violence. In Clip1, for example, the father Poldo shouts at the mother and Nati, in turn, compulsively starts yelling (55'19 ), while in Clip2, she witnesses a perverse sexual scene and reacts almost automatically and unconsciously by taking off her clothes (1'06'08'). 2. I want to propose that Nati, the figure of the mute girl, can help to rethink some of the key theoretical questions of feminist theory. Conceived of as a children's tale, according to what

This study examines how post-structuralist visual identities and counter-hegemonic practices are expressed through digital street art on the Instagram account specifically onn @visual.jalanan account. Using a qualitative content analysis, this research focuses on posts made between January to May 2024, coding visual and textual elements to identify themes of hybridity, fragmentation, and resistance. This study selected 127 posts based on relevance to socio-political discourse and public engagement metrics such as likes and comments. The findings reveal that Instagram serves as a platform for cultural expression and social critique, enabling artists to bypass traditional gatekeepers. The artworks analysed in this study challenge dominant narratives related to nepotism, political propaganda, corruption, and cultural homogeneity. These artworks foster fluid identities and critical dialogue through visual satire and audience interaction, exemplifying post-structuralist principles. This research highlights InstagramÕs role as a counter-hegemonic medium that contests mainstream narratives by amplifying marginalised voices. The study contributes to the scholarship on digital media art and visual identity by demonstrating how digital platforms enable innovative artistic expression and resistance to socio-political structures. Future research should explore the evolving role of digital platforms in sustaining counter-hegemonic movements and engaging with political advocacy in Indonesia.

This article, grounded in the psychoanalytic theories of Jacques Lacan, examines the role of the female body in conceptual art and performance after the 1960s. Drawing on Lacan's concepts of feminine jouissance, the "not-all" (pas-toute) structure, the gaze, and the limits of symbolic inscription, this study argues that women's body art is not an erasure of subjectivity but a strategic evasion of phallic capture. Through works by Eleanor Antin, Mary Kelly, Susan Hiller, Cindy Sherman, and others, the body emerges as a surface resistant to symbolic fixation, invoking a jouissance that remains irreducible to the phallic economy. This exploration is conducted in the rigorous academic style suitable for scholarly platforms such as Academia.edu, with careful referencing and structured argumentation.

This MBA research seeks to analyze how effective use of color both in digital and physical stores, in combination with appropriate marketing strategies (7Ps strategy), can enhance the identity of a clothing brand, position it effectively within the market, and make it more appealing to consumer purchasing preferences.

Presenting a comprehensive overview of the expansive landscape of contemporary South Korean documentary cinema, "Activism and Post-activism" sheds light on the oeuvre of renowned auteurs and emerging talents alike while paying close attention to distribution networks and global cinematic revolutions that inspired key developments in Korean independent film production. The book offers rich textual and contextual analyses that would appeal to both experienced scholars and emerging researchers alike, while also serving as an excellent textbook for introductory courses on Korean documentary cinema at the undergraduate and graduate levels.

Within their decompositional erotics, speech does not signify; it excretes. These entities are infected with grammatical rot: their mouths are sealed, their reproductive systems fused with circuitry, their utterances mere proto-semantic discharges. Language, here, is not spoken but secreted—an autoimmune response to the failure of symbolic containment. Through references to Sartre’s slime, Kraftchenko’s necro-fashion, and biolinguistic glossophagy, the essay reads these images as visualized abject syntax: recursive feedback loops of erotic failure where pleasure is neither repressed nor expressed, but infected and deferred. The image becomes a lipogrammatic wound, a mycose of the subject, where linguistic parasites colonize dermal syntax, dismantling identity, propositional coherence, and gendered legibility. These are not symbols of the future; they are flesh-machines of linguistic extinction, animated by the spore logic of a failed semiotic evolution.

Louisa Frauenheim's Arbeiten verknüpfen biographische, persönliche Erinnerungen mit kollektiven Erinnerungskulturen. Das Haus ihrer Großmutter bildet dafür einen zentralen Ausgangspunkt: als Fundort für Gegenstände, die Eingang in Frauenheims Werke finden, aber auch als Sujet ihrer Videofilme, die häufig um die Fragen kreisen, was Räume und Objekte speichern und wie diese wiederum erinnert werden können. Ihre Arbeiten sind also biographisch motiviert, sie sind eine Auseinandersetzung mit ihrer Herkunft, ihren Erinnerungen und denen ihrer Familie, weisen aber auch über das Private hinaus, verweisen auf gesamtgesellschaftliche Zusammenhänge und Strukturen. Insbesondere interessiert sie das Phänomen des Matriarchats, das innerhalb ihrer Familie in einem strikt patriarchal strukturierten Umfeld eingebettet war. Diese Themen setzt sie auch mit den verschiedenen Facetten ihrer eigenen Mutterschaft in Verbindung. Abhängig von Thema und Fragestellung arbeitet sie mit unterschiedlichen künstlerischen Formen wie Fotographie, Installation, Video oder Performance. Eines ihrer Hauptmaterialen, welches auch titelgebend für die Ausstellung ist, ist Porzellan. Dabei interessiert sie dessen Verbindung zu Weiblichkeitsstereotypen – steht Porzellan zum einen für Kostbarkeit und Zerbrechlichkeit (der zufolge man eine Frau besser „behutsam“ behandelt), assoziiert man das Material auch mit der „Hysterikerin“, die Teller gegen die Wand wirft, oder schenkt es Fußballspielerinnen als Siegprämie für einen EM-Titel. Frauenheims Scherbenhaufen beinhalten weniger Zerstörung denn Befreiung, was nicht heißt, dass man sich nicht an ihnen verletzen kann.

Editor: Anna Maria Linder
Gestaltung: Büro Mannherz
ISBN 978-3-9825428-8-1

Alle Rechte vorbehalten / Nachdruck und andere Vervielfältigungen, auch
auszugsweise, sind nur mit Genehmigung der Herausgeber:innen gestattet.

https://gastgarten.eu/publikationen/p/louisa-frauenheim-scherben

There's something lurking at the edge of language. A murmur in the flesh, a disturbance just beneath the grid of meaning, pressing against the confines of discourse. For psychoanalysis, this isn't just a curiosity-it's a rupture, a confrontation with what language cannot hold. And it's deeply embodied. To think psychoanalytically, as Derek Hook invites us to do, is to reckon with a domain that precedes and resists the symbolic-an ontological space of raw corporeality. The body here is not just flesh and bone but a site of excess, a stubborn remnant that eludes capture by words. It's what Lacan calls the Real, Kristeva the abject, and Freud the uncanny. It is the place where meaning collapses, and what remains is dread. Where Language Fails, the Body Begins In the psychoanalytic tradition, particularly post-Freud, the body is more than a passive vessel-it's the problem to representation. It is the limit-case of discourse. According to Elizabeth Grosz, the intertwining of the body and signifying systems is what allows for the production of stable identity and meaning. But what happens when that stability falters? Moments of horror, nausea, and existential vertigo often signal this rupture-moments when discourse reaches its limit, when language fumbles and cannot contain what is happening. Here, the body "speaks" in a different register, not through articulation but through affect. This is not the body as medical object, but the body as a wound, as Kristeva's abject-a liminal horror that draws us toward the place "where meaning collapses.

Η παρούσα έρευνα επικεντρώνεται στις αναπαραστάσεις της Μικρασιατικής καταστροφής μέσα από έργα που ανήκουν στο λογοτεχνικό είδος του graphic novel.
Η απόπειρα αποσαφήνιση του όρου graphic novel και παρουσίασης της ιστορικής
εξέλιξης και των χαρακτηριστικών του παρουσιάζει δυσκολία, καθώς πρόκειται για
σχετικά νέο είδος που τελεί ακόμα υπό διαμόρφωση. Τα τελευταία χρόνια
παρατηρείται πληθώρα ελληνικών εκδόσεων graphic novels, και ιδιαίτερα με
ιστορικό περιεχόμενο για την ελληνική πρωτίστως ιστορία. Μέσα σε αυτό το πλαίσιο δημιουργήθηκαν και έργα που θεματοποιούν τη Μικρασιατική Εκστρατεία και την τραγική κατάληξή της, καθώς και τα αίτια και τις συνέπειές της. Η μελέτη μας εξετάζει τους τρόπους με τους οποίους παρουσιάζονται τα γεγονότα της
Μικρασιατικής Καταστροφής από τους σύγχρονους συγγραφείς, έναν αιώνα μετά από το γεγονός και τα θέματα που τους απασχολούν. Επιπλέον, διερευνάται κατά πόσο χαρακτηρίζονται από τη νοσταλγία και από μια τάση εξωραϊσμούτων χαμένων
πατρίδων. Τέλος, αντικείμενο εξέτασης αποτελεί και η ιδεολογία που επιχειρούν να μεταδώσουν οι δημιουργοί μέσα από την αφήγηση και την εικονογράφηση των
graphic novels.
Για τη μελέτη των παραπάνω ερωτημάτων αξιοποιήθηκαν τέσσερα έργα που εντάσσονται στην κατηγορία των graphic novels και πραγματεύονται τη Μικρασιατική καταστροφή: Αϊβαλί (2014) του Soloúp (Αντώνης Νικολόπουλος), το
1922. Το Τέλος του Ονείρου (2021) και σε συνέχεια το 1923. Εχθρική Πατρίδα (2022) του Θανάση Πέτρου και το Μανώλης (2022) των Allain Glykos (κείμ.) και Antonin (εικον.). Η κριτική ανάλυση των έργων οδήγησε στο συμπέρασμα πως μέσα από το είδος του graphic novel παρουσιάζεται με ρεαλιστικό τρόπο η βία του πολέμου και οι άσχημες συνθήκες που βίωσαν οι πρόσφυγες της Μικράς Ασίας. Οι δημιουργοί μεταφέρουν μέσα από τα έργα τους ένα αντιπολεμικό μήνυμα και στέκονται αναστοχαστικά απέναντι στα γεγονότα ωθώντας τους αναγνώστες-θεατές να διερευνήσουν τις έννοιες της αποδοχής του «άλλου», της αλληλοκατανόησης και της συμφιλίωσης.

Neste artigo, exploro os modos de espacialização utilizados por pessoas artistas brasileiras contemporâneas para estabelecer relações entre conteúdos audiovisuais experimentais e seus espaços de instauração em galerias e museus. Foco, mais especificamente, na operação que chamo de microespacialização e em seus respectivos modos de espacialização, a saber: vídeo-espaço, aparelho-espaço e vídeo-distensão. A mi-croespacialização problematiza o espaço dentro do quadro da imagem audiovisual e as extensões de sua narrativa a partir do espaço plástico da imagem em direção ao ambiente de instauração da obra, agregando elementos que estão dispostos na galeria lado a lado ou ao redor da tela. Realizo esta análise por meio de um estudo de múltiplos casos, a partir das obras de Ayrson Heráclito e Danillo Barata, Breno Filo, Giselle Beiguelman, Luciana Magno, Marcus Bastos, Melissa Barbery, Val Sampaio e Victor De La Rocque.

The concept of the male gaze given by Laura Mulvey has been discussed thoroughly regarding cinema. Mulvey has arguably given a platform for a psychoanalytical framework that discusses the role of the woman inside the frame. Julia Ducournau in her Titane (2021), a psychological drama using body horror interestingly elucidates Mulvey’s theory. The film starts with an obvious use of the male gaze where the woman protagonist becomes the bearer of the look. But in between, the film shifts to a different gaze altogether. The gaze is not just questioned but an anti-male gaze is presented to the spectator where the term woman itself comes into question. The chapter attempts to analyse this shift in gaze and the uniqueness of this approach to filmography where the spectator is allowed inside the frame but only to be horrified by the body horror elements of the text itself. This analysis will use Mulvey’s articulations to understand the anti-male gaze and try to present a kind of filmography that is not determined by the male gaze. The body horror elements are also subversive as they are used to present a nonheteronormative form of sexuality and gender on the screen. Even though the movie discusses quite a lot of nonconformist gender ideology the chapter will be focused on the abovementioned gaze and its implication regarding Mulvey’s formulations.

In these notes I explore current questions of feminism and femininity as well as subjectivity and film, drawing on my work over a number of years and in recently published essays. These notes are themed around the question of horror - the horrible - in an engagement with the groundbreaking study of the horror film by Barbara Creed. Addressed here is the seen and the heard -the gaze and the voice - in film and new media,
What has remained for me a central issue for  film and feminist theory is the concept of the subject who is addressed.

Tapeçaria de luz laser, interactiva que mistura escultura, arquitectura, instalação e performance. O "tear" designado para urdir este "tecido" utiliza o principio da reflexão múltipla, produzindo uma trama visual, cuja aparência é modificada pela movimentação da audiência, que ao participar nesta experiência artística colaborativa, se torna co-criadora da obra. Obra de arte interactiva analógica, que não utilizou processamento digital, mas que, se apresentou como nova configuração óptica e ambiental, bem como referência da arte contemporânea pós digital. Computar sem computador, e calcular mais rápido do que o computador, apresentou-se como hipótese contrastante e de teor crítico à sociedade computadorizada e digitalizada da actualidade.

±MaisMenos± é um projecto do artista e activista portuense Miguel Januário, em contínuo desenvolvimento há quase duas décadas. O projecto une elementos da street art ou urban art com objectos artísticos, performances, o mundo digital e o circuito das exposições institucionalizadas.  ±MaisMenos± parte de uma visão da arte urbana como uma actividade política, e, nesse sentido, configura-se como um projecto multimédia de natureza poético-política. Aqui ofereço uma breve descrição e análise da vídeo--instalação intitulada On/Off (A Caverna),2 apresentada em 26 de Setembro de 2022, no auditório do Camões — Centro Cultural Português de Vigo, no contexto da VII Conferência da Cátedra Internacional José Saramago da Universidade de Vigo.

As billowing masses averse to stillness and defined by perpetual variability, clouds, fog and mist share common ontological properties. This article will group them together under the rubric of the "nebulous," and probe its conceptual and aesthetic relationship with film. Fog, smoke and mist are pervasive through the entire history of cinema and crop up in an array of genres and modes. What would film history look like if traced from the perspective of these cloud forms? The article hopes to sketch out the first contours of such a history by honing in on a durational cinematic tradition, from the "landscape film" of the 1970s through to contemporary slow cinema. It will conceive of such a history as intermedial both in the sense that it extrapolates the boundaries of the film medium and in that it treats fog, mist and clouds as elemental "media" in their own right.