Body of evidence, gestures of dysfunction. Technology as practice in the work of Natascha Sadr Haghighian (Texte zur Kunst, n. 108) (original) (raw)
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Editorial introduction: Special Issue “Ethnographies of Artistic Work”
Qualitative Sociology Review, 2022
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Technological Accidents, Accidental Technologies, 2023
How have technologies been coincidentally developed and anticipated in the arts? How does this relate to the reintegration of art and everyday life? What are some of the issues and traps involved? "Often, the accidental invention of technologies occur in art practices that are not technologically driven and primarily think of themselves as social and cultural experiments. In other words, communal-experimental inventions of everyday technologies, such as 'practices of everyday life' can be fully manual and offline technologies but also automated and operationalized any time. It may not be upscaling that is the most problematic, but rather hitherto unacknowledged issues, glossed-over conflicts, and hidden dark sides that, when amplified in this process, metastasize into catastrophes. [...] With the distinction between the concept of the accident from that of coincidence, we hope to reach an alternative imagination of the productive use of resources. [...] The real question is whether the artificially separated realm of the arts should not be taken out of the sandbox and reintegrated into everyday life and social practices. [...] If such divisions between art, technology, research, and society — where signals transmute into carriers and vice versa — were once again to become disputed, their relations need to be renegotiated." ___ Originally published in: Joke Brouwer and Sjoerd van Tuinen, Eds, _Technological Accidents, Accidental Technologies_ (Rotterdam: V2_ Publishing, 2023) 60-80. ISBN 978-90-828935-8-8
Pixel, Gesture, Sculpt: Space and Perspective in Rashid Rana's Photomosaics
Bowdoin Journal of Art, 2021
Rashid Rana (b. 1968, Lahore; lives and works in Lahore) uses pixels as his brushstroke. His Transliteration (2011–) and Language (2010–) series recreate western artworks by carving paintings into squares and manipulating these fragments to forge a new, unified image. The larger unity of the recast artwork remains at tension with the smaller pixelized snapshots making up the whole’s component parts. This paper will argue that, through his fracturing of space, language, and disciplines, Rana reconsiders the linear history of art and definitions of modernism espoused by key figures in the field, from Johann Winckelmann (b. 1717, Stendal, Germany; d. 1768, Trieste, Italy) to Clement Greenberg (b. 1909, New York; d. 1994, New York). In so doing, Rana challenges how we come to view works of art: his pixelation and juxtaposition of perspectives confront the flattened, global narratives that have historically amassed around discussions of “non-western” art.
Art and Technology: An Innocent Relation or a Dangerous Affair
The technology has brought into our lives new means of expression, on which artists picked up very quickly and exploited in their work. Latest developments in sensor networks, robotics and visual technologies have stimulated various attempts to fuse the technology with the human body, either as a scientific experiment or as a new means of artistic expression. We perceive this merger of Art with Technology as a necessary and unavoidable result of our contemporary societies, considering at the same time Art as the means of the human expression. In this work we follow the way in which Art integrates with modern technologies, starting from Telepresence and Telematic Art towards the Cyborg Performance and Second Life like experiences. By examining the fusion of Science, Technology, Art and the Human Body we analyse the social effects that might result from such a fusion. We may notice that the growing use of technology in Art advances the communication between people, but at the same time separates audiences from performers. Virtual technologies offer illusionistic worlds and exciting experiences but they often alienate the actor from his stage and the spectator from his spectacle. We ask a question: is the merger of Art and the Technology an innocent relation or a dangerous affair?
From hardware to gesture: articulations of materiality in the work of Yucef Merhi
2019
Partiendo de la lectura de Georges Didi-Huberman sobre cómo la imagen puede exponer su propia fragilidad a la vez que se vuelve soporte sensible de la memoria política, queremos indagar de qué forma no solo la imagen como exposición sino la fragilidad material como proceso y medio intervienen en el campo político. La potencia de la fragilidad radica en su inestabilidad materialidad, en su incerteza de poder perdurar. Sin embargo, lo frágil no implica un fallo físico, sino una resistencia a partir de lo más mínimo. Así, este panel explora una serie de artistas latinoamericanos quienes han trabajado a partir de materialidades frágiles para pensar, en parte, cómo la vulnerabilidad funciona, como diría Judith Butler, como modo de acción y resistencia pol&iacut! e;tica. M aterialidades frágiles son aquellas cuya imposibilidad de permanecer fijas una forma y a un tiempo inscriben su condición en un estado momentáneo e inestable y cuyo destino parece ser la inminencia de su destrucción. El papel, el agua, el polvo, el sonido, cuyas formas son mutables hablan también de una forma de intervenir políticamente a partir de lo, en apariencia, más insignificante y quebradizo. Las materias que se deterioran, se deshacen, se desarman nos hacen preguntarnos ¿de qué manera la desmaterialización del arte de cuenta de la fragilidad? ¿Cómo las materialidades frágiles ofrecen otra forma de leer lo contemporáneo? ¿Cómo se articulan en ellas la memoria, el tiempo y la condición de su propia forma? ¿Cómo se interviene políticamente desde lo frágil?
The Question Concerning Technology as Art
Communications in Computer and Information Science, 2013
This paper presents that politics and the aesthetic meet in creative tensions between art, technology and humanities. The coincidence of politics and the aesthetic comes from the doubleness of technology performed by collaborative action of "We" human-and-technology. The way of technology posing the pairing of politics and the aesthetic in contemporary art opens a new way of understanding of relationships of humans and technology in collaborative action rooted in interdependent perspective.
Book review, 2019
Book review by Dr. P. Khosronejad, Dec. 2019. For being published in: Journal of the Anthropology of Contemporary Middle East and Central Eurasia Special Issue, Spring 2020 The Portrait of Prophets and Saints of Islam: Prophetic Images, Sacred Portraitures, and Visual Devotion. (1) An Album of Artists' Drawings from Qajar Iran, Roxburgh, D. (ed.), New Haven: Yale University Press, 2017 ISBN- 10: 0300229186, 244 pp. $ 50 (2) Technologies of the Image: Art in 19th-Century Iran, McWilliams, M. and Roxburgh, D. (eds.), New Haven: Yale University Press, 2017, ISBN- 10: 0300229194, 174 pp. $ 42 (3) A Collector's Passion: Ezzet Malek Soudavar and Persian Lacquer, Farhad, M., McWilliams, M. and Retting, S, Cambridge: Harvard Art Museums, 2017, ISBN-10: 0934686416, 176 pp. $ 30