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Lo Stato dell’arte. Fascismo e legittimazione culturale’, Scienza & Politica, 48 (2013), 135-148
We asked a series of questions to Monica Cioli and David Rifkind, authors of two important books which focus on the process that enabled art and architecture to acquire a specific political meaning under fascism. The outcome is a dialogue that shows how the relationship between fascism and art is not characterized by a mere appropria- tion or a mutually functional exploitation between the artist or the architect and the fascist regime. Art prepares a specific appropriation of technology and serves to introduce the political anthropology of the fascist man. Similar- ly, architecture establishes an organization of urban spaces coherent and necessary to the hierarchical order of the corporatist society.
Deadline for proposals: Nov. 13, 2017 — Feb. 15, 2018 This first issue of La región central explores the idea of intervention: reciprocal interventions between cinema and contemporary art, but also interventions on the social sphere that may help think the political dimension of contemporary art practices. On the one hand, cinema intervenes in the art sphere, as someone occupying a space that is not her own. Not only because, in the last two decades, film and video practices have entered the white cube and substantially modified the visitors' experiential coordinates. Above all, the incorporation of cinema into the art world has transformed a whole set of production practices and dynamics beyond the aesthetic framework of apprehension. This intervention also signals a transformation in the poetics of artistic practices as well as in the distribution of weights through the tensions that constitute them: the most basic relations between the I and the other; individual authorship and collective work; in-disciplinarity and technical qualification; the event and representation; visual codification and the mute potency of apparition; the specific sites of production and the global circuits of exhibition; etc. On the other side, art intervenes in cinema, as someone coming to the rescue of an exhausted body. We are also interested in mapping these so-called strategies for healing: how—and which, and in what centers or peripheries—art spaces intervene in cinema as a shelter for a critical practice or, on the contrary, as the last site for the fetishization of the projected image. Thus, we would like to question the current valence of
Biblioteca Teatrale, 2020
Essays: Roberto Ciancarelli, “Nota di presentazione”; Raimondo Guarino, “Opera delle convulsioni, patologia, ‘enrichment’: dal surrealismo alla cura delle pratiche”; Nicola Shaughnessy, “Acting in a World of Difference: Drama, Autism and Gender”; Aleksandra Jovićević, “Per sempre disobbedienti al patriarcato, alla guerra, al nazionalismo e al militarismo: le performance delle Donne in nero della Serbia”; Helen Nicholson, “For the Love of It: Theatre, Participation and Partnership”; Sruti Bala; “Theatre and the Risk of Fire”; Sergio Lo Gatto, “Il teatro contemporaneo come strumento culturale. Il caso di Spettatori Migranti”; Valentina Esposito, “Il teatro dentro e fuori gli spazi della reclusione”; Martina Storani, “Il Teatro Carcere come teatro: compagnie, repertori, drammaturgie”; Fabiola Camuti, “‘Affect’ vs ‘Effect’? Riflessioni sulla valutazione dell’impatto del teatro sociale”; Andrea Porcheddu, “L’ambiente che arricchisce: il teatro sociale come orizzonte di rinnovamento del tessuto sociale e umano”; Antonio Audino, “Oltre il teatro sociale: una nuova visione del corpo nelle arti e nella società”; Cecilia Bartoli, “Un teatro femminile e straniero a Torpignattara”; Emanuele Burrafato, “Contaminazioni, segni di innovazione, occasioni perdute nelle storie artistiche di Elisabetta Terabust, Amedeo Amodio, Luciana Savignano”; Nicola Usula, “«Tanto che gl’ascoltanti possino vedere»: azione e gestualità nei libretti profani di Antonio Draghi”; Isabella Molinari, “La raccolta manoscritta Intermezzi diversi della Biblioteca nazionale centrale di Roma. Tracce inedite per la ricostruzione del Carnevale al Collegio Romano”; Marco Solari, Alessandra Vanzi, “Da Venezia a Venezia”, intervista a cura di Roberto Ciancarelli e Andrea Scappa
Perfomance “The Second World Congress of Free Artists” at Centro
Discursos suspendidos: de la idea articulada a la textura sonora "The power of a word lies in the very inadequacy of the context it is placed" Robert Smithson U no de los soportes más conocidos y empleados en el arte de los últimos tiempos es la manifestación sonora de un discurso a partir de su reproducción. En algunos casos, esta emisión sonora articulada implica la reducción del contenido que lo lleva a una especie de objetualización; es decir, lo convierte en un objeto audible. En este texto se revisan dos piezas del colectivo Camel Collective, que trabaja el sonido como parte de la oralidad del lenguaje y del cual se desprenden dos aproximaciones al discurso. La primera es a través de los signos que permiten develar el contenido del discurso y, la segunda, mediante sus cualidades y texturas poéticas al momento de su ejecución sonora. Se hace referencia, por un lado, al sonido como protagonista en la expresión artística -herencia de las últimas décadas del siglo XX-y, por otro, a la fabricación del lenguaje y sus múltiples manifestaciones, heredadas también de los años sesenta, como parte ineludible y de constante experimentación en las artes visuales. Retomando algunas ideas del investigador y académico Douglas Kahn, la importancia del sonido dentro de la historia de las manifestaciones artísticas se ha vuelto plausible a partir de la reflexión sobre el silencio. Visto así, en realidad no hay expresión artística que sea muda por completo 1 . El sonido como soporte puede ser descrito de manera escueta como todo aquello que embona en el fenómeno auditivo, aquello audible en un espacio determinado y rodeado de ciertas condiciones que le otorgan un significado. A lo largo de la modernidad y la posmodernidad se han desarrollado diversas técnicas, prácticas y discursos en torno a lo sonoro en el arte: algunas están llenas de sonido literalmente y otras surgen como ideas sobre éste. Kahn distingue algunas áreas de desarrollo y formas de presentación de lo sonoro como son el ruido, las experiencias auditivas generadas en un espacio y circunstancias específicas, la musicalización, el silencio, las voces, etcétera. También existe la construcción de un evento sonoro que utiliza la voz para la representación de un discurso, que es lo que nos ocupa en estas líneas. ¿Un discurso desea convertirse en sonido? Camel Collective (Anthony Graves, Estados Unidos, 1975; Carla Herrera-Prats, México, 1973; Lasse Lau, Dinamarca, 1972) es un colectivo establecido en Nueva York que desarrolla proyectos, entre otras cosas, a partir de la reflexión e investigación en torno al rol del artista como agente social. El proceso en cada una de sus obras es fundamental y presentan los resultados de dichas investigaciones como formas estéticas a través de la pintura, la escultura, la gráfica, la instalación o los montajes dramatizados. Al plantearse diversas vías de análisis sobre la forma de pensar y producir arte, su obra transciende los valores que se pudieran pensar como tradicionales. Al cuestionar estos valores, invierten estructuras de los sistemas estandarizados o que se encuentran anclados a una inercia institucional global.
DANCING CITIES MEX in dance special edition promoting collaboration among Dancing Cities members in Europe and Mexico
Conclusiones del Congreso celebrado en México DF- 14, 15 & 16 de Noviembre de 2012. Conclusions from the Congress held in Mexico DF - 14th, 15th & 16th November 2012. En este artículo vamos a resumir los resultados de dos momentos públicos que se realizaron en el Centro Cultural de la Universidad Nacional Autónoma de México, durante los cuales expertos de México, Francia, España e Italia junto con un público de coreógrafos, bailarines, productores culturales, organizadores de festivales, y demás asistentes, compartieron ideas entorno a las siguientes preguntas: ¿Qué clase de espacios y de lugares son los en que se da el arte público? ¿Qué tipo de interacción se produce entre el artista y el público y entre el artista y el espacio donde interactúa? ¿Hay etapas y lugares históricos en que el baile público ha captado y ha coincidido con las demandas sociales del público al cual se dirigía? ¿Qué pasa hoy en día? Y finalmente, ¿cuáles son las razones que motivan al artista a escoger el espacio público para actuar? A partir de sus diferentes trayectorias y especialidades, desde la antropología social, el arte visual, la dirección artística, la arquitectura y la promoción social, estos expertos han traído a la discusión diferentes ejemplos de experiencias de arte, espacio público y cohesión social tanto europeas como mexicanas. The following article deals with two events which took place at the Arts Center from the National Autonomous University of Mexico. For two days different experts from Mexico, France, Spain and Italy, along with choreographers, dancers, producers and event planners, shared their thoughts on the following issues: What kind of places are more suitable to perform for an audience? What is the best way to describe the interaction between the artist and the audience and between the artist and the space where he or she is performing? The art of dancing has always agreed with the social demands of the audience? What is the situation nowadays? And finally: What are the reasons for an artist to choose a public space for his performance? Thanks to their different careers and points of view (social anthropology, visual arts, art direction, architecture and social advertising), the experts were able to discuss and provide different experiences related to art, public space and social cohesion in Europe and Mexico as well.""
Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean, 2019
Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women's lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America's artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-Western art. [es] Cuerpos de mujeres como territorios dominados: interseccionalidad y performance en el arte contemporáneo de México, América Central y el Caribe hispano Resumen. Desde la década de 1980, artistas de América Central, México y el Caribe hispano han explorado la conexión entre la violencia imperialista y la violencia de género a través de propuestas artísticas innovadoras. Sus investigaciones les han llevado a presentar el cuerpo de las mujeres como una metáfora que representa, por un lado el territorio invadido y el cuerpo de las personas que viven en el territorio y por otro la incursión del patriarcado en la vida de las mujeres. Dicha tendencia ha recibido poca o ninguna atención y es importante que entendamos por qué ha sucedido y, más importante aun, cómo las artistas proponen que examinemos esta doble violencia vivida por mujeres que viven o han vivido en países con un presente o pasado colonial. Las imágenes que resultan de las propuestas artísticas que se estudiarán son poderosas, interesantes, y una gran contribución al legado artístico latinoamericano. Este estudio propone que se estudie además si la tendencia está presente en las prácticas visuales de otros territorios pos-coloniales o coloniales, ya que es posible que la tendencia estudiada no solo pueda ser entendida como un elemento del canon artístico latinoamericano, sino de todo el arte no-occidental.
Studia de Arte et Educatione, vol. XIII
Hide-and-seek. Absence, Invisibility, and Contemporary Art Practices, 2018
The 13th issue of the Journal of the Faculty of Art at the Pedagogical University ofKrakow, “Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione,” addresses invisibility and absence in contemporary art practices in widely understood public sphere, where the latter concerns both urban and rural space, the Internet, as well as museums and galleries, public collections of contemporary art, art festivals and other events. Authors featured in this volume investigate those artistic and institutional practices that seek to achieve social efficacy and presence, yet their less conspicuous existence is not considered a failure. In this issue, we are interested in those approaches as well as individual and collective efforts that question the omnipresent quest for visibility. This attitude may be manifested in negating the market and the conception of artwork as commodity, or in a dismissal of galleries and museums. Yet, it may also be expressed in the artist’s approach – his or her state of mind – of being authentically exhausted with and distanced towards fame and recognition despite being a successful player in the world of high-budget commissions and festivals of art in public space. We are interested both in the intentionally orchestrated gestures of disappearance, as well as in the “dark matter” of art – this group of countless and anonymous “dogs-bodies” of culture. In recent decades, calls for invisibility, absence or withdrawal have been also voiced by institutions involved in exhibiting art. We are interested in initiatives undertaken in this sphere, as well as attempts to withdraw from it, as exemplified by the recent Biennale de Paris, which presented an alternative to the “cyclical” festivals of art. Another important issue is the presence of works of ephemeral and dematerialised nature in public art collections. In this context, we would like to investigate institutional mechanisms that allow them to include such projects in permanent collections. We wish to highlight the commonly unnoticed work of curators and completely invisible conservation practices. In this issue, we wish to consider whether all those practices are able to provide merely a substitute for a “real,” institutionalised and commodified culture? Or, on the contrary, in the media-dominated world, where everyone is truly visible and Andy Warhol’s 15 minutes of fame is so much more than just a phrase, can efforts to be visible and retain material permanence be seen as largely anachronistic, while the most valuable qualities are anonymity and transience? Or, perhaps, this is merely another game and another strategy to – just like Banksy – enter the artworld through the back door, through the gift shop?
Call for Papers: Immagine. Note di storia del cinema 20 [ITA/ENG]
CALL FOR PAPERS Immagine, n. 20, (December 2019) New Excavations: non-theatrical and non-broadcast heritage in Italy (1965-1995) Edited by Diego Cavallotti, Lisa Parolo In the last decade, researches on amateur cinema and, more broadly, on those audiovisual productions not intended for theatrical release, have been focused on the development of a specific object of study, that is to say, the very concept of ‘non-theatrical’ (Streible, Roepke, Mebold 2007). From the publication of the special Film History (2007) curated by Streible, Roepke e Mebold, this notion has become a “semantic container” for different instances such as amateur films, home movies, educational films, useful films (see also Acland, Wasson 2011), industrial films and those underground, experimental and artistic films screened, for example, in exhibiting spaces, art galleries, cinema co-ops, classrooms, or in-home events (Streible, Roepke, Mebold 2007, 342). Nonetheless, while attempting to expand the concept’s range, its productiveness was neglected to be verified, especially concerning the “spaces of technological transition,” which characterized the last part of the XXth century. In fact, if we focus on the transition period between film and video technologies – which started at the end of the Sixties and consolidated during the Eighties – the non-theatrical notion appears insufficient and lacking: it looks necessary to add a reference to the video-analogon of the non-theatrical, the non-broadcast. By using this concept, we mean to address the video production not intended for televisual transmission: narrowcast videos, experimental and artistic videos, amateur videos, home videos (in the double meaning of family video and home video editions of theatrical films), community videos, etc. A similar transition is further modified by the arrival of the digital video, and the beginning of a new phase of overlapping technological networks in the middle of the Nineties. Starting from this perspective, therefore, this call-for-papers aims to investigate these domains – the non-theatrical and the non-broadcast – within different production and consumption contexts, in the times comprised between the emergence of the analog video and that of the digital video: from home movies to cine-clubs (for example, in Italy, in 1982, FEDIC included analog video works in the official selection for the Montecatini Festival), from militant actions to social movements (for example, the Collettivo Cinema Militante of the Seventies), and finally to experimental audiovisual productions. In this regard, we invite submissions directed towards the following topics: 1) The historiographical approach towards non-theatrical, non-broadcast productions and their interrelations. 2) Non-theatrical and Non-broadcast: national maps and genealogies. 3) Non-theatrical and non-broadcast technologies and practices in Italy. 4) Non-theatrical and non-broadcast and the archive: new collections, new preservation frameworks. 5) The Italian society and the new technological networks: the transition towards “the video society.” 6) Productive and distributive structures for non-theatrical and non-broadcast in Italy. Abstracts, either in Italian or English (max. 250 words) to be submitted no later than 25 April 2019 to: lisa.parolo@uniud.it diego.cavallotti@uniud.it Notification of acceptance due by 5 May 2019. Articles (5-6,000 words max.) can be submitted in Italian, French or English, by 26 August 2019. Final publication expected by December 2019.