30,347 research outputs found
Tino Sehgal: Constructed Situations, Joyce and Beuys
No full textThe Stedelijk Museum regularly invites guestbloggers to share their experiences and thoughts. In this blog Christa-Maria Lerm Hayes, professor in art history at the University of Amsterdam, compares Tino Sehgal’s constructed situations to novels of Joyce and Beuys
Beuysian legacies in Ireland and beyond: art, culture and politics
No full textThis collection of trans-disciplinary essays addresses the artistic, cultural and political legacies of Joseph Beuys' expanded concept of art and its societal application, for example through the Free International University (FIU). Since the 1980s, Beuys' practice has had a strong influence on the Peaceful Revolution, "relational aesthetics" and the "art and reconciliation" movement, attempting to bring about cultural understanding and reconciliation in situations of conflict. His work is pertinent to how we think about diversity and sustainability and may constitute an applied anthropology
'Performance Art + Northern Ireland'
No full textPERFORMANCE ART + NORTHERN IRELAND Co-curated by Christa-Maria Lerm Hayes and Brian Connolly:The performance artist Brian Connolly and art historian Christa-Maria Lerm Hayes are co-curators of this exhibition and its related events, featuring a range of the key and influential artists who moved to Northern Ireland in the 1970s (MacLennan), or artists from Northern Ireland (Andre Stitt, Sandra Johnston, Sinead Breathnach-Cashel, Brian Connolly, and Bbeyond). Other more temporary but impactful presences were Joseph Beuys in 1974, Adrian Hall, Black Market International, Dan Shipsides, Sinead O’Donnell, and selected key members of the Polish, British, and continental European performance art movements. The exhibition is an initial historical survey of Performance Art in Northern Ireland. This exhibition and its constituent parts are highly challenging, as performance art’s basic tenet is that it should be seen and experienced live. This has to be honoured within the proposed exhibition format. An exhibition of performance art may well work with some performance “relics,” sculptures, and installations; but an exhibition that claims to be a survey also needs to work with scheduled events, recorded performances, archival documentation, and possibly “re-performances” (some of them fraught concepts that could prompt severe criticism).The Golden Thread Gallery will present a series of documentary artefacts, still photography, video, film, and other archival materials, and will also host a series of performances from key artists such as MacLennan, Johnston, Connolly, and Bbeyond
Maria Bersani
No full textLa voce illustra la biografia e l'apporto letterario dato da Maria Bersani alla letteratura per l'infanziaThe headword explains the biography and the contribution of the author Maria Bersani to the children's literatur
Reading Time and Infrastructural Critique:Christa-Maria Lerm Hayes reflects on Brian O’Doherty’s Social Practice Legacy
No full textWriting Art and Creating Back: What Can We Do With Art (History)?
No full textThe roles and borders of art and Art History are not stable. Christa-Maria Lerm Hayes argues that this has been the case since the beginnings of our modern understanding of art, and from the beginnings of the academic discipline of Modern and Contemporary Art History - inaugurated by a curator at the University of Amsterdam in 1963. From this basis, she investigates the boundaries between art and art-historical practices from two sides: artists who engage with (literary) writing, and art historians who do the same - in a creative, "artistic" way. Using insights from previous studies on James Joyce and Joseph Beuys, as well as Radical History, she concludes that there are good reasons for artists and art historians to work in several registers, to employ indirect and direct notions of social and political efficacy. They thus show that art (history) is part of the world: it contributes modes of meaning-making and world-making
Reading Time and Infrastructural Critique:Christa-Maria Lerm Hayes reflects on Brian O’Doherty’s Social Practice Legacy
No full textVariations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
O curso de licenciatura em educação física da Universidade Federal de Santa Catarina: suas concepções de ensino e de educação física
No full textDissertação (mestrado) - Universidade Federal de Santa Maria. Centro de Educação Fisica e Desporto
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