seeks to demonstrate that contemporaryart and media strengthen the urban–rural network and the accessibility and exchange of creative ideas and information. In this sense, they express a desire for coevality, or the creation of a shared space for respecting differences and seeking common grounds. I
A lthough few artists today explicitly express an adherence to religious beliefs or congregational affiliations, there has been a resurgence of religious subject matter in contemporaryart. The German philosopher and sociologist Jürgen Habermas, among others, 1 has called the present era the
different readings of the Babel Tower can thus be performed, both semiologically and semantically. The article will trace and compare a select sample of Babel Tower interpretations in contemporaryart, to demonstrate how the structure has been read in different ways through different evaluations of the
Introduction: Why Does Central Asian ContemporaryArt Focus on Islam? “Katipa apai will cure you,” reads an advertisement for Ekaterina Nikonorova’s performances of “Goddess Katipa apai.” In a photo posted on Facebook, a woman in a white gown and headscarf gazes lovingly at her audience while lying
The following article deals with the discursive order of the contemporary art which is constituted by the self-representations of intellectuals engaged into it. The number of positions, tension of choice between roles, forms of intellectual practice as justified by the intellectuals themselves in the space of the specialized art magazine are presented.
Agamben, this image suggests that on the last day, “the relations between animals and men will take on a new form, and that man himself will be reconciled with his animal nature.” 13 3 Dog-man Metamorphoses Contemporaryart takes this idea even further: The images of composite beings shown so far stay on
Richard Long, working as an artist from 1965 until today, has literally walked his way into the annals of contemporaryart. He states in an interview that his work ‘is about simple things, like footsteps, straight lines, time space and miles’. Furthermore, he tells us that ‘it seemed a right and
, the role of the artist in visual art has come into question with a stronger emphasis on conceptuality over and against construction. Is the conceptual art movement of the 1960s, which has influenced so much of contemporaryart, at odds with a creational aesthetic?
I would like to address this
-focus the re-traditional discourses and how nationalist groups continue to shape the debate of national belonging within very conservative and almost Soviet frameworks of ethnic codification.
Contemporaryart in Central Asia has become a viable venue for public engagement on these issues. Contemporary
This article sets out to reconsider the place of landscape in British painting since the 1980s. In doing so, it aims at going against the grain of many common critical beliefs, particularly the one that opposes Land Art as radically modernist to neo-figurative painting seen as a return to the national tradition of landscape-painting. Analysing the works of such painters as Maurice Cockrill, Michael Andrews or Peter Doig, and focusing on the way their technical innovations question or blur landscape, one can see that landscape is not to be merely taken as the subject-matter of their oeuvre It is the tradition of landscape which the artists are interested in, as what allows for reflection over artistic practice, as well as experimentation on the relationship between viewer and artwork. Ultimately, as such aspects bring these painters close to the practice of other contemporary artists, like Julian Opie or Darren Almond, and give landscape both a passive and active status, as object and subject, landscape may appear as a reflection of/on the state of British art at the end of the twentieth century.