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The text is an attempt to indicate the areas of metaphysical competence of the latest art. It points to the fact that it is possible to bring current artistic practices and contemporary religious sensitivity closer together. It contains an outline of the historical changes that have led to today's divergence of the art that is close to religious circles from the institutional mainstream. At the same time, the paper shows that artworks with metaphysical and religious meanings occur in many different areas of today’s artistic circulation and are created also with the use of the latest art media. It emphasizes the role of properly understood tradition, capable of constantly updating its forms while maintaining unchanging spiritual values. The author draws attention to the socio-political context of the influence of art carrying the so-called universal values and the need for a dialogical approach to the programmes od activity of public cultural institutions.
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Ryszard Ryba is a Polish sculptor active in the second half of the 20th century. He was primarily a creator of sacred art, and his works can be found in the churches of the Podkarpacie and Lesser Poland regions (the present dioceses of Przemyśl, Rzeszów, Tarnów and Sandomierz). In addition to sculpting, he was involved in designing sacred interiors and elements of their decor (tabernacles, sedilia, pews, confessionals, etc.), participating in the development of principles for adapting church interiors to the conditions of the reformed liturgy after the Second Vatican Council. He is also the author of graphic and drawing series, which he created especially in the first twenty years of the 21st century. His sculptures, especially those from the beginning of his creative path, are characterised by great simplicity. Their impact is due to their powerful, synthetic form, acting as an expressive sign. With time, his great narrative talent became revealed more and more clearly, and the qualities that built the mood of unique softness and tenderness came to the fore. He was also increasingly willing to reach for topics related to family and everyday life. His artistic oeuvre, however, constitutes a coherent whole which is still intensely impressive.
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This paper is not a study, but just notes. Their purpose is to present a possible historical approach, for which mostly prayer images have been used. The text attempts to provide insight into how an image was perceived by a community or how that community might have perceived it. The author believes that the effort to understand the motives, desires, and values of a historical social environment is equivalent to recognizing its right to exist. The questions which the paper seeks answers to are: – Why did religious and secular communities need to stand face to face with images of Jesus at the end of the 14th century, and why did they need the test of his gaze?; – What was the nature of the experience in the direct, unmediated interaction between the image and the believer; – How did this new way of dealing with the divine affect behaviour?; – How was what we may call the ‘inner world’ created, which was not only communal, but also personal?; – What did the believer pray to: the image or the presence of the power of the holy person in the image? Religious images create a desired belonging to a certain social environment. Believers recognize what they see as their own, regardless of the fact that they see a real and an imaginary world, a real and an imaginary self simultaneously. The author tries to substantiate the understanding of co-belonging to the two worlds – the sacred and the earthly one in the images. He also seeks to justify why the presence of the assignors in the images most often represents the visions of the assignors themselves.
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Interior design is constantly evolving. This process is dynamic and accompanied by constantly emerging new ideas. The leading industry innovations reinforce this trend. Among the emerging design solutions is one that, until recently, was unusual outside of the realm of industrial space remodelling, namely the growing use of concrete in interior design. It corresponds to the principles of minimalist design which is devoid of clutter, and, as such, every element of it stands out. This design style showcases the raw beauty of concrete, allowing it to be much more than just a building material. The result is a skilful combination of texture and visual appeal. A significant part of this paper concerns itself with both the methods for obtaining photo concrete and the peculiarities of project implementation.
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The first official edition of the anatomy of the human body, intended for artists, appeared in Paris in 1668. Its author is the French artist and engraver François Tortebat (1616–1690). It was intended to be used for teaching anatomy to artists 20 years earlier, in 1648, at the Académie royale de peinture et de sculpture. The text is very little and the illustrations are copies of those from Andreas Vesalius’ groundbreaking work 𝐷𝑒 𝐻𝑢𝑚𝑎𝑛𝑖 𝐶𝑜𝑟𝑝𝑜𝑟𝑖𝑠 𝐹𝑎𝑏𝑟𝑖𝑐𝑎. François Tortebat’s 𝐴𝑏𝑟é𝑔é 𝑑’𝑎𝑛𝑎𝑡𝑜𝑚𝑖𝑒, 𝑎𝑐𝑐𝑜𝑚𝑚𝑜𝑑é 𝑎𝑢𝑥 𝑎𝑟𝑡𝑠 𝑑𝑒 𝑝𝑒𝑖𝑛𝑡𝑢𝑟𝑒 𝑒𝑡 𝑑𝑒 𝑠𝑐𝑢𝑙𝑝𝑡𝑢𝑟𝑒 is very popular, which is indicated by the fact that it was republished in France in 1733 and in 1760. Thus, his textbook has been used by generations of artists in their academic training in art.
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This essay examines the ways in which Adina Pintilie’s 2018 film Touch Me Not contains a critique of ableism or compulsory able-bodiedness. Placing the film in a larger, generative context of global disability culture, or crip worldmaking, the essay also provides a close reading of the role of disability activist Christian Bayerlein in it. The central figures in Touch Me Not, until the end, largely represent a discomfort with their own bodies and intimacy. Bayerlein, in contrast, explicitly rejects such discomfort and articulates a love for his own body and for sexuality that ultimately serves as a model for other figures in the film. The idea “you are another me” runs throughout Pintilie’s work, and this essay suggests that this phrase should be read in a way that affirms difference: you are another me but we are also different from each other, and the differences between us should be celebrated and might in fact be understood as pleasurable.
More...A Dialogue from and within a Unique Urban Context
The Venice Biennale is arguably the world’s most important art exhibition, with the 2022 edition attracting over 800,000 visitors. The rich artistic offer of the event stands against the backdrop of a UNESCO World Heritage city whose historical, cultural and artistic values are both its blessing and its curse—a place like no other, where the murmur of water echoing along the canals is often drowned by the sound of swarms of tourists, much to the despair of locals, who are driven to leave their city. How does an event like the Biennale juxtapose with such a setting? To what extent, considering its environment (or not), does it become a form of cultural heritage in itself? How does it address the tension between the attempt to capture the essence of relevant contemporary social issues and the duty to upkeep a certain legacy? And how could this reflect on the city, its heritage or its inhabitants? This paper aims to open a discussion at the intersection of cultural heritage and arts.
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Soviet avant-garde filmmaker and film theorist Sergei Eisenstein introduced the term “plasmacity” almost one hundred years ago. He used it to describe Disney’s ability to play with his characters’ bodies by elongating them, making them bigger or smaller, or even by transforming them into other characters altogether. In his notes, Eisenstein mentioned that plasmacity is able to create a certain freedom for spectators and hinted at its ability to address traumata. However, he didn’t go into any details, focusing instead on spectators rather than creators. In this paper,1 I am exploring two animated shorts, Mizuko (Water Child) and Egg, using the interviews I have conducted with co-directors Kira Dane and Katelyn Rebelo and director Martina Scarpelli. I am looking at the two films from the perspective of plasmacity in order to talk about the politics and the poetics of corporal trauma.
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How is the non-normative body affected by representation? And how is the viewer perceiving and decoding such representation? What does the viewer feel, how does the viewer approach the other body? Would the viewer experience a warm feeling of sameness when encountering the body? Or would they dismiss it with a violent jerk? What is behind the dismissiveness? Is it hate, fear, or just pure abject? These are the questions that I try to untangle in my paper, using Julia Kristeva’s Powers of Horror as a guide, while departing from its psychoanalytical premises.
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The article approaches the reinterpretation of Molière’s plays through contemporary perspectives and taking into account the expectations of the audience. Since the twentieth century, the director has become co-author with the playwright, reading between the lines and searching for new meanings in the subtext. The director’s creative approach re-signifies canonical texts atesting their validity over time. Silviu Purcărete turns the stakes of Dom Juan upside down by transforming the eternal conqueror into a woman. Constructing stage situations in tandem or deliberately in contradiction with the text is a catching technique that the stage director uses to energize the performance. On the other hand, the Molière trilogy (Le ciel, La nuit, La fête/Tartuffe, Dom Juan, Psyché) staged by members of “Le Nouveau Théâtre Populaire” portrays a Molière whose work is still germinating creative ideas. Always performing on wooden platforms, the actors jump effortlessly from one style to another, from one role to another, central or supporting the others, from prose to verse, rigorously, precisely, musically, from text to concert. An inventive tour de force.
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his article proposes a parallel semiotic analysis of two contemporary stage adaptations of Molière’s The Misanthrope by Stéphane Braunschweig (Théâtre national de Strasbourg, 2003) and Clément Hervieu-Léger (Comédie Française, 2017). Keeping the classic text unaltered, the two directors offer totally different perspectives, accessing new layers of the literary reference. While Braunschweig is more concerned with how the scenography and costume design can keep the stakes of Molière’s play unaltered when transposing it in modern times, Hervieu-Léger applies a more radical reading, moving away from the demands of a comedy to provide the premises for a drama of ideas.
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Interview with Professor Liviu Lucaci by Mihaela Beţiu;
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¿Cómo se vinculan los lenguajes gastronómicos a las estéticas y procesos creativos del arte, sus elementos simbólicos, expresivos y comunicativos, a partir de las interrelaciones poiéticas de actores y gestores del circuito gastrocultural de Bogotá? Esta pregunta estima los siguientes propósitos investigativos: a) identificar un corpus epistemológico - metodológico para la exégesis de los procesos creativos asociados al arte – alimento en gastronomía; b) analizar la relación arte, gastronomía y diseño a partir de procesos creativos donde convergen arte - alimento como elemento para la construcción de nuevos lenguajes gastronómicos; y c) mapear los procesos artísticos asociados al arte – alimento en el contexto de actores y gestores del circuito gastronómico de Bogotá. El carácter cualitativo de la investigación denota un enfoque de interaccionismo simbólico apoyado en las técnicas de entrevista, cartografía social y grupo focal y sus consiguientes instrumentos: guía de entrevista y grupo focal y mapas sociales. La población que se abarca corresponde a actores y gestores del circuito gastrocultural de Bogotá representado en los siguientes territorios: Zona G, Zona C, Zona T, el entorno de la Plaza de Usaquén; y la Zona M, a la cual se aplican (3) tipos de muestreo: voluntario, de conveniencia y por oportunidad equivalente a un total de (40) personas. Los resultados esperados se condensan en la gestión de: a) espacios artísticos - culturales que promuevan experiencias dialécticas en torno al alimento como objeto de reflexión y pensamiento crítico; b) escenarios dialógicos transdisciplinares que repercutan en el contexto cultural de los sectores intervenidos; y c) un horizonte potencial para el desarrollo de estrategias formativas enfocadas hacia disciplinas emergentes Food Design, Food Art y “puestas en escena gastronómica”. En conclusión, esta investigación, permitirá la generación de nuevo conocimiento en torno al arte – alimento a partir de la consolidación de un escenario estético – expresivo de la gastronomía como transdisciplina.
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The article examines the contemporary notion of role and acting. In contemporary theatre, actors dealing with different directing strategies tend not only to apply or to adapt but also to even deconstruct the classical acting systems of the twentieth century. Yet theoretical discourse still lacks any substantial and clear methodological analysis of these creative strategies that would allow us to clarify the contemporary notion of role and acting. The article uses the perspective of acting and memory theory to consider the interaction between the actor and the character. By analysing the well-known Polish performance (A)Pollonia (dir. Krysztof Warlikowski, Nowy Teatr, 2009), it is argued that the exposed interaction between the actor and the character has become an essential part for creating the role and for the performance itself. The intention is to show that by absorbing the elements of the Brechtian tradition, the actors reveal themselves in the role beside the character, thus expanding the structure of the character beyond the limits of its traditional form. In addition to that, of equal importance becomes the actors’ relationship with themselves, their self-consciousness and self-creation through the creation of the role.
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In this article, the object of study is the concept of the devising/devised theatre practice, which recently became a quite popular creative practice in Lithuania. Despite rising practical interest in this model, there is still a lack of research that would help to comprehend and apply it properly in practice. It has been noticed that the term ‘devising/devised theatre’ is often used to emphasise the novelty of the creative practice or the originality of the performance and it is used as a ‘catchy’ concept in contradiction to the conventional theatre practice. Moreover, the notion of devising/devised theatre is frequently perceived as a self-evident experimental practice and thus it might prevent the further development of new creative strategies and concepts. The aim of this article is to define the main principles of the devising/devised theatre practice by distinguishing the specifics of creative strategies and positions of the roles. Three main characteristics, which are the pillars of the devising theatre practice, are distinguished: (1) the structure based on a horizontal hierarchy, (2) shared authorship, and (3) dramaturgy devised during the creative process. All these characteristics are analysed in comparison with the conventional theatre practice in order to define the limits of the devising theatre practice. The attempt to identify the boundaries of this practice or its very notion should rather be perceived as a stimulation for a discussion about possible (ab)use of this term or its insufficiency than as an attempt to reveal its limitation.
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