1,721,056 research outputs found
Editing as a Performative and Collaborative Practice. Ryan Trecartin's Hectic Video Collages
No full textThis contribution examines editing as an art practice focusing on Ryan Trecartin’s work. Trecartin is definitely one of those artists among the younger generations who is experimenting in a more radical and crosswise manner with the new media and the opportunities of using, sharing and mobilizing images offered by the Internet, beyond copyright and the proper citation of “poached” materials. In Trecartin’s videos, images, sounds and words are assembled in a digital hypertext − schizophrenic and hypnotic − of which the artist is the main but not exclusive author. The analysis focuses on central aspects of Trecartin’s practice, such as the supposed re-materialisation of the art object related to the idea of “an Internet of things”; the visual re-codification that generates new aesthetic standards, such as the so-called “post-Internet style”; and co-working as a contemporary art practice and remedy to the “death of the author” that was pessimistically theorised throughout the 20th and 21st century
From the Margins
Full text linkThis conversation with Marco Baravalle, researcher, curator, activist and founding member of Sale Docks in Venice, focuses on what it means to work in the artistic-cultural field from a position ‘on the margins’, that is with an ‘alter-institutional’ approach. In addition to curatorial activities and eco-environmental activism carried out through the independent space Sale Docks, Baravalle focuses on the concept of ‘toxic philanthropy’ and discusses what it means to decolonise art and cultural institutions
Re-enactment e altre storie. Dall’archivio alla contro-narrazione per immagini nell’arte contemporanea
No full textThis text is intended to serve as an introduction to ‘re-enactment’, one of the key concepts of the research on Visual Errancy. The Wandering Image and Its Multiple Temporalities that the author is conducting at ICI Berlin as part as the biennial core project ERRANS, in Time (2016-2018). By ‘visual errancy’ Baldacci means the travelling of certain images or forms over time, which contemporary artists appropriate by grasping them from the archives tout court, as well as the archive understood in a broader sense, as a heterotopic space where all cultural images (past, present, future, utopian...) potentially converge and remain in a state of flux. This appropriation is then followed by a reactivation – which usually also undergoes a process of manipulation and/or migration on different media and in new contexts – providing the images with other values, meanings, and conformations. It is in this way that (cultural) history is put in motion and knowledge re-circulated often as a counter-narrative made of ‘chains of images’ that challenges the traditional idea of heritage and at the same time renovates the modalities of conservation, presentation/representation, and distribution. Filipa César’s Conakry (2013) and Rosa Barba’s From Source to Poem (2016) are taken as two representative filmworks to show how the artistic re-enactment and montage of visual material, both appropriated from the archive and produced ex novo, can give rise to ‘other histories’
Invernomuto; Anna K.E. e Florian Meisenberg; Nari Ward; Lucas Blalock; Maria Morganti; Chris Wiley
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Introduction
Full text linkThis book was born out of a need: to observe the Venetian artistic and
cultural ecosystem beyond the stereotypes that make Venice a museum city, an icon of natural and man-made beauty in the eyes of the world. And its aim is to present the complexity and dynamism, as well as the contradictions and range of powers, which animate the contemporary city.
Venice is an archipelago that, like other archipelagos on the planet, is endangered by rising sea levels. This led to early ecological concerns, on the basis of which cultural institutional organisations and independent bodies and groups have sought to raise public awareness, adopt strategies focused on care and respect (between the human and the non-human) and find more sustainable approaches to coexisting in a highly anthropised environment
What It Takes and What It Means to Actually Become a Regenerative Organisation
Full text linkThis conversation with Markus Reymann, the co-director of TBA21 and director of TBA21-Academy's Ocean Space, presents how Ocean Space in Venice has undertaken both a profound reflection and a series of activities in Venice that address ecological questions facing humanity today. Reymann explains what are the methodological and thematic peculiarities of Ocean Space’s approach as regards the climate crisis – and, in particular, ocean studies – as an art organisation
Art Can Act as an Agent for Change
Full text linkThis conversation with Karole Vail, the director of the Peggy Guggenheim Collection (PGC) in Venice, aims at showing how the Venetian museum has undertaken both a profound reflection and a series of initial measures that address ecological questions facing humanity today. One of these was the series of meetings Art 4 a Better Future that was organised in collaboration with THE NEW INSTITUTE Centre for Environmental
Humanities (NICHE) at Ca’ Foscari University of Venice and CUOA Business School. Vail illustrates which museum activities can help to raise awareness and address the challenges of contemporaneity
'Language to be Looked at and/or Things to be Read': Language as a Sculptural Material in Robert Smithson
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