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Family photos and memory: shifts of contemporary art Fotografia de família e memória: deslocamentos da arte contemporanea  [cached]
Nina Velasco e Cruz
Discursos Fotográficos , 2011,
Abstract: The article aims to discuss, through the analysis of three works by contemporaries artists, the complex relationship between family photographs and memory when displaced from their everyday and familiar context to the field of art. One of the best known functions of social photography is to help the individual and collective memory. This becomes even more evident when it comes to family photos, that help to build a chronological narrative of a particular family group. However, what happens when these images are displaced from their usual contexts (being the home of a member of the family, or history museums and archives of everyday history) to be part of artwork? This paper reflects on the Rosangela Rennó’s work Bibliotheca (2002), I am my family (2008), from Rafael Goldchain and Time-capsule (1997), Eduardo Kac, as examples of how contemporary art can reveal new perspectives for this type of photographic practice. O artigo pretende discutir, por meio da análise de três trabalhos de artistas contemporaneos, a rela o complexa entre fotografias de família e memória quando deslocadas de seu contexto cotidiano e familiar para o campo da arte. Uma das fun es sociais da fotografia mais conhecidas é servir de auxiliar à memória individual e coletiva. Isso se torna ainda mais evidente quando se trata de fotografias de família, que ajudam a construir uma narrativa cronológica de um determinado grupo familiar. No entanto, o que acontece quando essas imagens s o deslocadas de seus contextos usuais (seja a casa de um dos membros da família, sejam museus e arquivos da história do cotidiano), para fazer parte de trabalhos artísticos? O artigo refletirá sobre as obras Bibliotheca (2002), de Rosangela Rennó; I am my family (2008), de Rafael Goldchain e Time-capsule (1997), de Eduardo Kac, como exemplos de como a arte contemporanea pode revelar novas leituras para esse tipo de prática fotográfica.
O ensino contemporaneo da arte e a hipótese de Bergala: diálogos e convergências Contemporary art teaching and Bergala's hypotheses-cinema: dialogues and convergences  [cached]
Greice Cohn
Pro-Posi??es , 2013,
Abstract: Este trabalho pretende estabelecer um diálogo entre o ensino da arte na contemporaneidade e a Hipótese-cinema de Alain Bergala, que prop e a inclus o do cinema como arte no espa o escolar. Constatamos a existência de pontos de convergência entre as propostas de ensino-aprendizagem da arte desenvolvidas no Brasil na atualidade e o plano elaborado pelo professor e cineasta para as escolas públicas francesas em 2001; e este artigo tece uma reflex o sobre esses aspectos, sob a luz do pensamento do cineasta Jean-Luc Godard, com o objetivo de imaginar novas proposi es de arte dentro da escola, a partir da intera o das duas propostas. This work tries to establish a dialogue between contemporary art teaching and Alain Bergala's "Hypotheses-cinema", which proposes the inclusion of cinema as art in the school scenario. We evidence that there are several converging points in the proposals of art teaching developed nowadays in Brazil and in the professor's plan for the French public schools in 2001, and this article presents a reflection on these aspects, illuminated by Jean-Luc Godard's thoughts, intending to conceive new proposals of art inside the school, based on the interaction of both practices.
The recreated image. The experience of the sacred in contemporary art followed by an interview with James Elkins L’immagine ricreata. L’esperienza del sacro nell’arte contemporanea seguito da Intervista con James Elkins  [cached]
Marta Gabriele
PsicoArt : Rivista on line di Arte e Psicologia , 2012,
Abstract: The essay tries to analyze the relationship between the sacred and contemporary art in the light of recent studies of the American professor James Elkins. According to the author of On the Strange Place of Religion in contemporary art, art and religion, in the past, in their mutual dependence revealed the essential and original dimension of man; they revealed the ritual, cultish, individual and collective condition that responds to the primary sacredness of life. This kind of osmosis has been replaced by individual entities that no longer overlap in the secularized era. In an epoch dominated by rationality of technology, for most contemporary art the religious theme seems to be inherent and intertwined with the creative work. To avoid the risk of making art as "propaganda" for religion, according to Elkins, the figure of the artist, meditative and uncertain both on art and religion, must appear: ambiguity, irony and self-criticism must penetrate the work of art in order to demonstrate its belonging to the statute of membership of the fine arts. Religion, like mythical thought, symbolic thought and reason are part of man, they are innate in religious and a-religious man; similarly psychology, like religion in the past, has dealt with “healing” the soul, discovering the hidden sphere of individuality. The destruction or rather the separation of these languages ??has led to a weakening of the ego, a move away from the center, a disorientation expressed visually by the artist. The loss of orientation results in a lightness of existence, made ??up of multiple directions, and infinite Weltanschauungen, in which meet languages??, cultures, religions, ideals and values ??that generate empowering different and plural paths. The exclusivity and intimacy of the relationship between the viewer and the work that generates astonishment, wonder, fascination (or the contrary), allowing you to put yourself in a position of sensing the spirituality, the sacredness of the religious feeling, of perceiving spirituality as a sensation without necessarily needing to recognize it within the style, forms or symbols of the tradition. The sacred refers to an idea of the extraordinary, it evokes awe, veneration, something inviolable because it is absolutely confidential; sacred space means a limited space separated from the ordinary one, and the time is a time outside the normal order, suspended. Il saggio tenta di analizzare il rapporto tra il sacro e l’arte contemporanea alla luce dei recenti studi del professore americano James Elkins. Secondo l’autore del testo On the strange p
Luce, Trasparenze e Cinema tra Arte e Scienza - Light, Transparency and Cinema between Art and Science  [PDF]
Marcella Giulia Lorenzi
Physics , 2009,
Abstract: From light and physical phenomena to cinema, an interdisciplinary percourse between art and science, from historical and critical references to the ultimate digital frontiers, including digital movies revolution, stereoscopy, holography, interfaces. ----- Dalla luce ed i fenomeni fisici al cinema, un percorso interdisciplinare tra arte e scienza, dalle citazioni storiche e critiche alle ultime frontiere del digitale, inclusi il cinema digitale, la stereoscopia, la olografia, le interfacce.
Subjectivation modes on cinema and art: a regard over Eija-Liisa Athilas installations Modos de subjetivao no cinema e na arte: um olhar sobre as instalaes de Eija-Liisa Athila
Victa de Carvalho
Galáxia , 2012,
Abstract: The recurrent multiplication of cinematographic works in museums and galleries allows us to reflect on possible changes in cinema and art institutions, and the regimes of subjectivity historically involved. This article intends to conduct a reflection on the modes of subjectivity in contemporary cinematographic and artistic experience through the works Consolation Service and Today from Eija-Liisa Athila. Her human dramas transverse questions about the limits of self and others in situations where reality and fiction cannot be separated. A recorrente multiplicao de obras cinematogrficas expostas em museus e galerias nos permite refletir sobre possveis mudanas nas instituies cinema e arte, e nos regimes de subjetivao historicamente implicados. O presente artigo pretende conduzir a uma reflexo sobre os modos de subjetivao na experincia artstica e cinematogrfica contempornea atravs das obras de Eija-Liisa Athila Consolation Service e Today. Seus dramas humanos permeiam questes sobre os limites do eu e do outro em situaes nas quais realidade e fico no podem ser separadas.
Estética da indiferen a: o tédio, sentimento paradigmático da arte contemporanea  [cached]
Barbara Formis
Comunica??o, Mídia e Consumo , 2005,
Abstract: O presente texto trata do caráter ordinário da arte contemporanea, segundo o qual a técnica tem valor menor no conjunto da obra de arte, assim como esta n o traduz de alguma maneira a essência da beleza, e o tédio e a insensibilidade s o seus elementos fundamentais. A essa estética poderíamos chamar, de acordo com a autora, de estética da indiferen a. Desse modo, na estética da arte contemporanea o sentimento está ausente e o que permanece é a indiferen a. O sentimento de anestesia da sensibilidade tem sua express o máxima no tédio. N o obstante a indiferen a, a insensibilidade e o tédio serem constitutivos da arte contemporanea, esses aspectos n o a fazem algo absolutamente dispensável à vida. Palavras-chave: Arte; estética; indiferen a; tédio; arte contemporanea. ABSTRACT The actual text deals with the ordinary character of contemporary art, in which its technique has less value than the art itself as well as it does not translate the essence of beauty whatsoever, boredom and insensibility are its fundamental elements. According to the author, this aesthete can be called as aesthete of indifference. So, in the aesthete of contemporary art, feeling is absent and what remains is indifference. The anesthetic feeling in its sensibility has its main expression in boredom. Despite indifference, insensibility and boredom are part of contemporary art, these aspects do not however, make of it something unessential to life. Key words: Art; aesthete; indifference; boredom; contemporary art.
A intera o na arte contemporanea  [cached]
Ana Claudia de Oliveira
Galáxia , 2008,
Abstract: Na arte contemporanea, o sentido se desenrola no presente da situa o de exposi o da obra, um texto que só se faz enquanto tal com e pelo outro que, interagindo presencialmente, o processa, ou seja, vivência o fazer sentido que faz ocorrer. Enquanto uma forma de vida viví-vel, a investiga o interconecta esse regime de sentido como uma das saí-das ou escapatórias, segundo as postula es de A. J. Greimas em De l-Imperfection. Seriam pois as instala es, performances, happenings, land art, obras minimalistas, anima es em 3D, sentidos sentidos. Do interacional, a arte, sensivelmente pelas sinestesias que desencadeia, ressignifica a sua própria produ o de sentido. Palavras-chave arte contemporanea, sentido, intera o, presen a, experiência estésica. Abstract In contemporary art, an artistic work, as such, literally cannot exist on its own. It constitutively requires the presence and the cooperation of an observer. In other words, meaning, in such a context,arises only in the very moment of the exhibition of the object, and never previously to the active participation, upon the sensitive level of a receiver. Such an analytical perspective derives from A. J. Greimas-s semiotic postulations about aesthesis experience (in De l-Imperfection, 1987), as well as from E. Landowski-s more recent approach to the notion of presence. Installations, performances, happenings, land art, minimalist artand 3D animations represent privileged terrains in which to study the way contemporary art exposes, on the sensitive level, its own conditions of making sense. Key words contemporary art, sense, interaction, presence, aesthesis experience, meaning.
As imagens mescladas: express es da arte de rua, a pop art e o cinema Mixed images: street art expressions, pop art and cinema  [cached]
Jheison Holthausen,Gláucia da Silva Brito
Discursos Fotográficos , 2010,
Abstract: This article discourse about the hybrid images in contemporaneity. It establishes a relation among “Le fabuleux destin d’Amélie Poulain” movie images used by graffiti artists in Curitiba. It has recourse to semiotics, parody and the invention and simulation process such as pop art collage, the relation between the street graffiti, photography and cinema, as well as its relation with the worldview and politics. The image hybridism and the appropriation of new languages points to a new synergy between the archaic and the technological. O artigo pretende discorrer sobre as imagens híbridas na contemporaneidade. Para tanto, recorre à semiótica, à paródia e aos processos de cria o e re-cria o, como a colagem da arte pop, bem como a rela o entre os grafites de rua, fotografia e o cinema, e também sua rela o com vis es de mundo e da política.
Arte, só na aula de arte? =Art, only in the art class?  [PDF]
Martins, Mirian Celeste
Educa??o , 2011,
Abstract: A pergunta que dá título ao artigo é o mote da conversa que o texto deseja compartilhar. O convite é para percorrer trajetos em encontros com a arte, com a palavra “estética”, com a potencialidade da arte contemporanea, com o “olhar de miss o francesa” que teima em considerar a arte como express o da beleza. No percurso, a proposi o da leitura de uma imagem incompleta, tenta provocar idas e voltas conceituais na percep o do próprio ato de leitura oferecida como curadoria educativa na processualidade da media o cultural. Declanchar, tirar a tranca. N o será esta a tarefa maior da media o cultural: abrir o que estava travado, libertar o olhar amarrado ao já conhecido para ver além? N o será este o sentido da educa o estética? Os territórios de arte de arte & cultura, instigando o pensamento rizomático, n o seriam nutri o estética para ir além das obras de arte conhecidas e das biografias dos artistas? Na amplia o de horizontes, cabe ao leitor a resposta: Afinal, arte, só na aula de arte? The question asked by the title of the article is the theme of the conversation which the text wishes to share. It is an invitation to take pathways in encounters with art, with the word “esthetics”, with the potential of contemporary art, with the “look of the French Mission”, which insists on considering art as the expression of beauty. Along this pathway, the proposal of reading an incomplete image tries to provoke conceptual comings and goings in the perception of the very act of reading offered as an educational curatorship in the procedures of cultural mediation. Triggering, unlocking. Is not this the main task of cultural mediation: opening what was locked, freeing a look fixed on what is already known to see beyond? Is not this the meaning of esthetic education? Would not the territories of art of art & culture, instigating rhizomatic thinking be the esthetic nourishment to go beyond known works of art and the artists’ biographies? When broadening horizons, the reader has to provide the answer: After all, art only in the art class?
Sobre Gombrich y el arte contemporáneo About Gombrich and the Contemporary Art  [cached]
Sergio Rojas
Aisthesis , 2009,
Abstract: El historiador del arte Ernst Gombrich ha sido un crítico de los supuestos filosóficos de la iconología de Erwin Panofsky, debido a que en ésta, tanto la obra de arte como su creador, se diseminan en la generalidad de la cultura . Sin embargo, proyectadas sobre el arte contemporáneo, ambas teorías historiográficas deben reflexionar sus límites. Basándose en la filosofía de Karl Popper, Gombrich expresa su distancia respecto al historicismo del arte moderno en general, se alando el hegelianismo dominante en la producción y reflexión estética del siglo XX. Sostenemos en este artículo que en esta crítica Gombrich elabora una lúcida caracterización del arte contemporáneo. The Art-Historian Ernst Gombrich has been a critic of the philosophical assumptions of the iconology of Erwin Panofsky because in this theory, both work of art and its creator scatter in the generality of culture . Nevertheless, projected on contemporary art, both historiographic theories must reflect their limits. Basing on the philosophy of Karl Popper, Gombrich expresses distance in relation to the historicism of the Modern Art in general, indicating the dominant hegelianism in the production and aesthetical reflection of the XX Century. We maintain in this article that in this critic Gombrich elaborates a perceptive characterization of Contemporary Art.
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