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Simili carni. Construcția identitară prin iluzii vizuale și tactile

Author(s): Augustin CUPȘA / Language(s): Romanian Issue: 5/2023

Cindy Sherman, Friedl Kubelka and Valie Export are just a few of the established artists who reframed the discussion about the female body as an object of desire, opening it to a wider intelectual space, that of understanding the process of identity construction through the photographic series Centerfolds, Pin Ups, respectively the performance/ photography Tapp und Tastkino. The identity construction is later theorized by Margareth Sommers according to the model of a chronological flow, of a multi-layered psycho-social event, which produces the existential forms of biological life (zôe). In this construction, the body is the object of the desires and the instincts, the point around which a complex and flexible fabric is built, roughly standing the social or cultural norms and laws. Aware of this extreme instability of cultural forms, thoe three artists start from the exposure of the female body only to deflect the interrogations into metonymic areas of the object of desire - the need to touch, the missleading of the gaze, visual illusions or the gesture of taking possession of the other, the limits between oneself and otherness - performing a true psychological analysis of the viewer, but also a questioning of their own artistic act.

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TRABZON GEÇ DÖNEM OSMANLI KIRSAL CAMİLERİ HARİM KAPI KANATLARININ SÜSLEME PROGRAMLARI ÜZERİNE BİR MONOGRAFİ

Author(s): Sümeyye Pervanoğlu,Umay Bektaş,Erkan Aydintan / Language(s): Turkish Issue: 81/2024

On the art of ornament in the literature, it is mainly within the mosque structures that the Anatolian Turkish ornamentation art is examined over certain historical periods; visual, structural, technical and semantic aspects. Therefore, no research has been found on determining the ornamentation preferences on the same type of doors of the religious buildings built in a specific region and period. This gap in the literature forms the general framework of the study and defines its purpose. The study examined how the ornamentation understanding of the harim (prayer hall) door wings of the late Ottoman period mosques constructed between 1800-1960 in the region extending from Baltacı Stream to Akhisar Stream Valley in the countryside of Trabzon province, and how the motif and pattern preferences changed in the chronological process. Among the qualitative data collection techniques in the research, which is in the "Change Monographs" type of the "Descriptive Studies" group, document analysis, photographing, and an interview was made, and twenty-four structures were selected from a hundred and fifty-two mosques by way of judgmental sampling determined on site. The fact that mosque structures in the region mainly feature floral motifs on the door wings of the harim, some masters use a motif only once, and this situation continues for generations, and that the ornamentation preferences are similar in various dimensions among the nearby valleys is among the remarkable findings. The study has shown that the regional understanding of ornamentation of a period can be read through the door wings of religious buildings.

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„Býti národním v umění je směšný pleonasmus. Národní je i spánek.“ K německočeské debatě nad moderním meziválečným uměním

Author(s): Ivo Habán / Language(s): Czech Issue: 2/2021

As an art historian who has long focused on the manifestations of the visual culture of the German-speaking scene in the Czech lands, I have repeatedly encountered the topic of perceiving the “Czechness” and “worldliness” of domestic production. From my research perspective, I see two levels in this beautiful and provocative challenge. The first is the evergreen of German-Bohemian art, i.e. if we apply a national or geographical scale to the artistic expressions that emerged from the Czech lands. Today, of course, we take a geographical view, but if we look at the production of individual regions side by side, it is impossible not to see clear differences on the part of the ethnically Czech and German scenes. Capturing and defining more universally some of the subliminal specifics that are apparent at first glance is a challenge that still occupies me mentally, despite the awareness of the absurdity of searching for a national definition of art. Fixing the key features is complicated by the existence of multicultural exceptions, which often introduce an element of Judaism into the traditional dualism of the period under review. These exceptions successfully disrupt the flattened idea of parallel Czech- and German-speaking cultural and social worlds of the Czech lands. Moreover, it is precisely these exceptions that are often the bearers of tendencies towards imaginary worldliness, which brings us to the second level of this consideration – to what extent and through what phenomena the territorially and numerically relatively small art scene of the Czech lands can be perceived as world-class. The answer may be the market, or a confident search for regional authenticity. In the words of Josef Kroutvor, “minor branches of modernity.” It seems to me that in today’s global world, their offsprings are more important than many textbook examples of the avant-garde.

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Traktoristky a Jedlíci ptáků

Author(s): Marie Klimešová / Language(s): Czech Issue: 2/2021

At the end of 1947, a small book was published, taking stock of the controversial reception of the exhibition of national artists of the Soviet Union, which in May of that year introduced Soviet socialist realism to Czechoslovakia for the first time. Zbyněk Sekal, a young student of the Academy of Arts and Crafts in Prague, also purchased the book. From a school trip to Paris in September 1947, he brought back Jean Dubuffet’s rare lithograph Mangeurs d’oiseaux [Bird Eaters] from 1944. The sheet was created as part of the album Matiere et Mémoire ou Les Lithographies a l’école [Matter and Memory or Lithographers at School] with text by Francis Ponge, and was published by Fernand Mourlot in January 1945. The album has been hailed as a turning point in Jean Dubuffet’s work, both because he was working on it to familiarize himself with the technique of lithography and because of the fundamentally new concept of the figure. Zbyněk Sekal then created a drawing and exceptional painting The Supper – loosely based on Dubuffet, cheerfully and confidently poking fun at Dubuffet’s Bird Eaters. My text will seek to answer the question, how does Sekal’s Czech paraphrase, a promising individual free artistic act, differ from Dubuffet’s program?

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State Construction and Art in East Central Europe, 1918-2018

Author(s): Aneta Zahradnik / Language(s): English Issue: 3/2024

Review of: State Construction and Art in East Central Europe, 1918-2018. Hrsg. von Agnieszka Chmielewska, Irena Kossowska und Marcin Lachowski. (Routledge Research in Art History.) Routledge. New York – London 2022. 316 S., Ill. ISBN 978-1-032-19587-2. (€ 44,80.)

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KOGNICIONI SHPIRTËROR NËPËRMJET ARTIT DHE ESTETIKËS NË KULTURËN MATERIALE UTILITARE NEO-ENEOLITIKE

Author(s): Tomor Kastrati / Language(s): Albanian Issue: 53/2023

The soul and the body mutually desire comfort, and in the service of this are the utilitarian objects adapted for a certain function, based on form and composition in relation to the way and conditions of life. The soul is nourished by knowledge, as a proverb says: "the eye is the window of the soul". On the contrary, the concept of 'nothing' is unbearable and produces "horror vacui" (fear of emptiness). Art and aesthetics as human activities represent the materialization of feelings for a way out of certain psychological burdens. History proves that the process of cultural development, in every era, follows a universal path of development, as well as social, linguistic, and even biological. A united unit disintegrates, then branches go towards other integrations, and thus new symbioses are assimilated into another formation, respectively take a new shape with specific identity, in a continuous and vicious process. The process of graphic reconstruction of vessels from their fragmentary state, the knowledge of their real form and function, represents a special communication with the past, starting from current experience, through interaction with feeling and reason, material and spiritual, idea and predetermination. The question of spirit and the nature of matter will continue to remain a mystery to philosophy and science.

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Towards a Community of Equals: Interview with Jonathan Wolff

Author(s): Miloš Ćipranić,Zoran Erić,Snežana Vesnić,Jonathan Wolff / Language(s): English Issue: 1/2024

Interview with Jonathan Wolff conducted by Miloš Ćipranić, Zoran Erić, and Snežana Vesnić.

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Cecchetto, D. (2022). Listening in the Afterlife of Data. Aesthetics, Pragmatics, and Incommunication

Author(s): Monika Jaeckel / Language(s): English Issue: 3/2023

Review of: Cecchetto, D. (2022). Listening in the Afterlife of Data. Aesthetics, Pragmatics, and Incommunication. Duke University Press.

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Homo Crispr and the Uncanny Art of Self-Reproduction

Author(s): Dunja M. Mohr / Language(s): English Issue: 2/2024

Selected classic 19th- and 20th-century fictional texts, I argue, function as imaginative precursors of material fusions, either by prosthetic integration in the sense of repurposed imperfection or by internalizing genetic perfection, creating homo crispr. E.T.A. HOFFMANN’s dark literary tale The Sandman (1816), MARY SHELLEY’s gothic proto-science fiction Frankenstein (1818), VILLIER DE L’ISLE-ADAM’s fin de siècle Tomorrow’s Eve (1886), and ANGELA CARTER’s carnivalesque The Passion of New Eve (1977) position the artificial other as both an externalization of the human desire for perfection in an uncanny act of autoerotic, poetic-scientific self-fertilization and as a reverse image of the composite self. They not only disrupt the perception of the other as external, but the subtexts, I contend, pre-empt this fusion of self and other that, in the logic of 21st-century discourse’s revaluation of imperfection, diversity, and dis/abilities, life sciences seek to realize with the imminent spectre of homo crispr’s dissolved material self/other boundaries.

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Sanat Bağlamında Berlin Duvarı’nın İzleri

Author(s): Zeynep Tonyali / Language(s): Turkish Issue: 34/2024

Germany was the place where the cold war between the United States and the Soviet Union took place, planning to establish an ideological domination over the world. After the end of the Second World War, although the city of Berlin remained within the borders of East Germany, as per an agreement between the Soviets and the Western bloc countries. divided. In order to prevent their escape to East and West Germany, the German administration began to build a wall around East Berlin on August 13, 1961, closing all passages to the western part, telling its citizens that they had a freer and more prosperous life. Hundreds of people lost their lives trying to escape to West Berlin by crossing the Berlin Wall until it collapsed on November 9, 1989. The walls of the public space create a political language and a space used against the system. The aim of this study was investigated in the context of the division of Germany, represented by the wreckage of the Berlin Wall, on a social and political plane. The resistance and political discourse function of graffiti in public spaces is examined through the example of the Berlin Wall. Artistic traces with a predominant protest aspect were investigated through literature review and visual concepts.

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16. YÜZYIL OSMANLI SARAY KUMAŞLARINDA VE TEZHİP SANATINDA ÇİÇEK SEVGİSİ: LÂLE

Author(s): Atilla Yusuf TURGUT,Servet Senem UĞURLU / Language(s): Turkish Issue: 47/2024

In nomadic and settled Turkish culture and arts, flowers and love of flowers have always been important. As in other societies, Turks have considered flowers they see in nature and in their living environments as decorative elements. Turks have used flowers that they have turned into motifs, symbols, stamps and icons as decorative elements in Traditional Turkish Arts. They have chosen widely used traditional Turkish motifs from the nature and garden flowers they live in. One of these flowers is the tulip. The tulip flower has an important place in Traditional Turkish Arts in terms of its appearance and meanings. Due to the love, curiosity and interest in tulip flowers in Turkish culture, it has become one of the characteristic motifs of Traditional Turkish Arts since it has been used in every field and every period. Flower culture, love of flowers and cultivation in the Ottoman Empire began in the 15th century during the reign of Fatih Sultan Mehmet. Ottoman Palace Art was shaped under the control of the Palace Nakkaşhanesi and the Ehl-i Hiref Organization established during this period. The Ottoman palace's love of flowers increased even more during the reign of Kanuni Sultan Süleyman in the 16th century. As in all Ottoman Palace Arts from the mid-16th century onwards, flower motifs were used as the basic motifs in palace fabrics and illumination art, and pattern compositions created with flower motifs attract attention. When Ottoman palace arts are examined; it is seen that rose, tulip, carnation and hyacinth are the most preferred motifs in Traditional Turkish Arts with flower depictions. In Ottoman culture, tulips in particular have been one of the most popular flowers due to their symbolic meanings. For this reason, the tulip motif has been frequently used in Ottoman arts in various stylized forms. In this research, the tulip flower used in 16th century Ottoman palace fabrics and illumination art examples will be examined, its depictions will be investigated, and information and opinions on the subject will be brought together.

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Radość czytania (Conrada). Agnieszka Adamowicz-Pośpiech: „Adaptacje biografii i twórczości Josepha Conrada w kulturze współczesnej”. Wydawnictwo Uniwersytetu Śląskiego, Katowice 2022, 364 s.

Author(s): Anna Gwadera-Dec / Language(s): Polish Issue: 2/2024

The review surveys Agnieszka Adamowicz-Pośpiech’s monograph Adaptacje biografii i twórczości Josepha Conrada w kulturze współczesnej. The study is divided into three parts, which concern separate fields of art – graphic novels and comic books, literary transformations, and theatrical and film productions. The author, conducting a meticulous analysis of selected works, puts forward an innovative thesis that not only Conrad’s works but also his biography are subject to adaptations. The publication is a valuable contribution to the field of Conrad studies, significantly supplementing the state of research.

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Music Characteristics and Regional Differences in (SHE) Ethnic Minority Folk Songs: A Comparative Analysis of Ningde and Eastern Fujian Regions

Author(s): Lu-lu Song / Language(s): English Issue: 6/2024

Tucked away in the stunning province of Fujian in southeast China, the region has a cultural tapestry as varied and vibrant as its breath-taking scenery. Through the analysis and coding of folk songs from four different geographical regions in China (Fujian and Ningde), this paper aimed to determine the degree of mutual interaction and integration of the musical cultures of the Shen and Han nationalities into modernity. It did this by developing a new musical characteristic density map for machine music classification. The nationality known as (SHE) is a small ethnic group in the area. The traditional cultural heritage as well as the growth of the (SHE) nationality have lagged behind the rapid advancement of modern times. This study investigates how to incorporate the culture of the (SHE) nationality into modern culture in order to fully realise the goal of "going out," starting from the conventional cultural heritage and creative growth of the (SHE) nationality. This paper discusses the formation of the (SHE) Minority folk songs in the context of protecting intangible cultural heritage. It does this by using the methods of literature research, field investigation, and comprehensive analysis to gather first-hand fresh field data from the components of historical evolution, protection process, inheritance method, development dilemma, and countermeasures. Questions of development and inheritance. The world will recognise the allure of the traditional culture of the (SHE) nationality as it is continuously enhanced and vibrant.

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The Semiotics and Deconstruction of the Body

Author(s): Zhipeng Gao,Imelda Hermilinda Abas / Language(s): English Issue: 6/2024

This paper explores the evolution of body symbolism in sculpture art since the 20th century, combining Saussure's semiotics and deconstruction theory to analyze the symbolic meanings of body imagery across different historical periods and cultural contexts. The study first reviews the representation and cultural significance of body symbols in ancient Greek and Roman, Renaissance, and Chinese ancient sculpture. It then reveals the processes of deconstruction and reconstruction of the body in modernist and postmodernist sculpture, examining the representative works of artists such as Henry Moore, Constantin Brâncuși, Antony Gormley, and Jeff Koons. Subsequently, the paper focuses on how feminist artists use body symbols to express gender, identity, and power relations, and how the application of new materials and technologies in contemporary sculpture innovates and extends body symbolism. Finally, the paper summarizes the multiple meanings of body symbols in sculpture art and proposes directions and recommendations for future research.

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ОБРАЗ РОМІВ У ЖАНРОВОМУ РЕАЛІСТИЧНОМУ ЖИВОПИСІ ХІХ – ПОЧАТКУ XX СТОЛІТТЯ: СТИЛІСТИЧНІ ТА СЮЖЕТНО-ТЕМАТИЧНІ ОСОБЛИВОСТІ

Author(s): Oleksii Oleksiyovych Rohotchenko / Language(s): Ukrainian Issue: 1/2024

The purpose of the research is to analyze the stylistic and narrative peculiarities of the works of genre realistic painting dedicated to Roma images of the 19th – early 20th centuries. Research methodology. To achieve this purpose, the comparative historical method and art historical analysis were used. The scientific novelty of the study is justified by its purpose: the study is the first attempt in the national art history to analyze works of some European realist artists of the 19th – early 20th centuries on the Roma theme represented in the works of narrative genre. This theme has not been actually studied, although it eloquently represents the growing interest in the subjective depiction of a wide-range life of various social strata and ethnic communities in the European countries and is one that influenced the formation of more positive attitude towards Roma people in the 19th – early 20th centuries, who were oppressed by the policies of national European states. Conclusions. The article analyzes some artistic works of Thomas Baker, August von Pettenkofen, Alfred Munnings as typical representatives of realistic painting in Europe of the 19th – early 20th centuries, whose creative heritage contains some storylines dedicated to Roma images in the context of socio-economic, spiritual and cultural aspects of Roma existence. It is emphasized that these artists, as leaders of public opinion, who were not indifferent to a difficult situation of Roma communities, improved the attitude of society thereto in this period. Two ideological and narrative trends have been described. The first describes difficult social and material situation, and the second focuses on creating an areola of romance around the life of Roma communities. Thus, it is established that the works of European artists not only drew attention to social and domestic problems of the Roma ethnic group, but also are typical examples of realistic painting of that period.

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ТВОРИ ЖИВОПИСУ МИКОЛИ ГЛУЩЕНКА 1940–1970-Х РОКІВ З КОЛЕКЦІЇ ДНІПРОВСЬКОГО ХУДОЖНЬОГО МУЗЕЮ: ДО ПИТАНЬ ПЕРІОДИЗАЦІЇ ТА ПЕРЕАТРИБУЦІЇ

Author(s): Olena Kapshukova / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is implementation into scientific use the proposed time limits and names of creative path`s periods of artist Mykola Hlushchenko (1901–1977). Based on analysis of well-known facts of his life and creativity, studies of artist`s artistic heritage from 1940s–1970s artworks collection of Dnipro Art Museum. The research methodology is based on the methods of art-stylistic and comparative analysis of Mykola Hlushchenko's paintings, considered in art-historical and cultural-historical aspects. The scientific novelty of research consists in scientific 1940s–1970s creativity periods determination of M. Hlushchenko based on research of Dnipro Art Museum collection and additional attribution of individual painting artworks according to the proposed stages. Conclusions. Based on the analysis of Mykola Hlushchenko's paintings from Dnipro Art Museum collection and study in accounting fund documentation of the institution, considering biographical and autobiographical information, socio-political and historical-cultural context, we proposed a refined periodisation of the artist's work. Division of creative stages of M. Hlushchenko for more detailed periods will allow a more thorough and deeper analysis of the well-known today artist's creative heritage. Using the example of Dnipro Art Museum collection, we concluded that a certain number of works in the museum collections of Ukraine require additional attribution. In addition, the creative heritage of outstanding Ukrainian artist Mykola Hlushchenko remains insufficiently studied and requires comprehensive research.

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ХУДОЖНЯ ДІЯЛЬНІСТЬ АНТОНІО СОЛАРІО: ПРОБЛЕМАТИКА ІНТЕРПРЕТАЦІЇ ФАКТІВ ТА АТРИБУЦІЇ ТВОРІВ

Author(s): Yevhenii Shyshliuk / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is the systemisation and analysis of the available biographical information about Antonio Solario, also known as Lo Zingaro or “The Gypsy” – a representative of Italian fine art; comprehending the problems of interpreting the artist’s creative works and defining his place in the artistic environment of the Italian Renaissance. For this purpose, historical-cultural and chronological research methods were used, as well as systematisation, art history analysis and figurative-stylistic analysis. The scientific novelty lies in the fact that for the first time, data from scientists of different centuries about the life and work of the Italian artist Antonio Solario has been introduced into the Ukrainian scientific realm, and for the first time an attempt has been made at a comprehensive attribution of four works by the artist. The conclusions made were that the article systemises, specifies and analyses the data on the main stages of the artist's biography, taking into account that there still exist discrepancies in the information about his origin and places he stayed. Within the framework, the fact of the existence of a large number of contradictory data about him as an outstanding representative of the Italian Renaissance has been established and these contradictions have been characterised according to the chronological principle. It is noted that the artist has Venetian origins and at different periods of his life worked in Naples, the Italian region of Marche and on the territory of present-day Great Britain. Several hypotheses about the origin of the nickname “Lo Zingaro” are considered separately. The main stages in the evolution of the artist's creative manner are described – from early Venetian influences to the formation of a mature Neapolitan style that organically combined the achievements of Renaissance masters. It was found that his development was influenced by the creative style of such Italian Renaissance artists as Perugino, Pinturicchio and others. It is summarised that the figure of Antonio Solario personifies the multidimensional processes in the art of the Italian Renaissance and provides a number of areas for further research.

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ІДЕЇ РИТМОПЛАСТИКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА В ТАНЦЮВАЛЬНИХ СТУДІЯХ РАДЯНСЬКОЇ УКРАЇНИ КІНЦЯ 1910-х – ПОЧАТКУ 1920-х РОКІВ

Author(s): Viacheslav Kolomiiets / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is to analyse the processes of spreading the ideas of E. Jacques-Dalcroze's rhythm plastic education in the practice of dance studios in Soviet Ukraine as a manifestation of modern aesthetics. The research methodology is based on the principle of historicism, methods of analysis, comparison, deduction, art studies analysis. The scientific novelty of the article consists in updating the methodology of perceiving the rhythm plastic education system of E. Jacques-Dalcroze not as narrowly specialised, but as a general culture, which allows us to talk about rhythm in the work of choreographers as a concept of Ukrainian modernism; in the introduction into scientific circulation of materials clarifying and supplementing the panorama of the spread of the E. Jacques-Dalcroze system in Soviet Ukraine. Conclusions. In the process of crystallisation, the rhythm plastic theory of E. Jacques-Dalcroze did not remain narrowly specialised, focused only on the education of the rhythmic sense of music through movement, but spread in various artistic spheres, allowing the use of the principle of bodily rhythms to understand changes in the tempo of life in a process of global civilisational changes (industrialisation, urbanisation, among others). Despite the paradoxical nature of the concept of rhythm plastic education by E. Jacques-Dalcroze (combining obedience to the internal laws of the rhythmic structure of a musical piece with a free physical and plastic expression that is not regulated by any choreographic system), it became popular both among professional dancers and choreographers and captivated hundreds of amateurs. Rhythm became a unique artistic concept of Ukrainian modernism, manifested in the work of several dance studios of B. Nizhynska, A. Pashkovska, E. Wulf, Shaposhnykova-Vekhovych, and others), which used the system of E. Jacques-Dalcroze as a way of updating the traditional choreographic vocabulary, expanding possibilities of dance art in the new socio-political and artistic-aesthetic situation. Despite the positive perception and creative elaboration of the system of E. Jacques-Dalcroze in several artistic centres, in particular, choreographic studios, in the mid-1920s in the Ukrainian SSR, in the situation of the gradual collapse of the studio movement and the intensified reorientation of cultural policy from the diversity of creative manifestations to monovectorism, we observe a sharp criticism of Dalcroze's principles.

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Assessing the Discourse System and the Visual Utterance System in the Artworks of Committed Iranian Paintings in the 60s and 70s

Author(s): Hoda Zabolinezhad,Parisa Shad Qazvini / Language(s): English Issue: 7/2024

An attempt is made to answer the questions: How to base the Utterance system in the visual texts of Iranian painting, based on commitment discourse theory in the literature of the 60s and 70s? and What is the main difference between the Utterance and Discourse systems in visual arts? The generating institutions of this type of Utterance system necessitate the referential function for visual texts as the main component in the formation of such texts. According to these institutions, production of artwork as classical and ornamented texts convey only one meaning, unlike the phenomenal texts with multiple meanings, next to illustrating how some outstanding and common semantic signs lead to the formation of this type of Utterance system in the Iranian art.

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Twórczość Wanga Guangyi i jej wpływ na rozwój pop-artu w Chinach

Author(s): Dar’ya Dzehtsiarova / Language(s): Polish Issue: 42/2024

Since the late 1970s, profound changes have been underway across all spheres of Chinese society, encompassing the arts, thereby giving rise to new artistic trends and transformative shifts within the entire artistic tradition. Chinese artists have increasingly asserted themselves on the international stage. Concurrently, as the West became intrigued by Chinese art, two prominent trends – political pop art and cynical realism – were notably burgeoning. Notably, political pop art emerged as a foremost artistic movement in China during the early 1990s. Central to this trend is a predilection for symbolism, serving as a conduit for artists to articulate their sentiments and societal perspectives. Wang Guangyi is widely acknowledged as the seminal figure behind this movement in China. This article delves into Wang Guangyi’s creative evolution and the genesis of political pop art, exploring the antecedents of this novel artistic trajectory, its conceptual underpinnings, and stylistic hallmarks.

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