1,425 research outputs found
To Feel, to Understand, to Act. Sustainability on Display
No full textThis essay describes the exhibition project Sostenibilart promoted by CYLAND MediaArtLab and the Centre for Studies in Russian Art (CSAR). Starting from an analysis of what is normally described with the term ‘sustainability’, we will examine how this concept is developed by the artists identified as ambassadors of sustainability. Their reflection on the theme is also expressed through the answers to three questions posed by the Author that allow a transversal reading of the project. The text will therefore consider the ideas that emerged in this interrelated exchange. Finally, we will consider participation in contemporary art to verify the significance of the contribution of the artists-ambassadors of sustainability to stimulate in the public a reflection – and eventually action – on the issues
My Boyfriend Came Back From The War: una narrazione visiva di Olia Lialina
No full textThe contribution proposes the analysis of Net Art’s world-famous masterpiece
of one of its founders: My Boyfriend Came Back from the War (1996) by Olia Lialina.
Combining black and white images and words, it evokes the encounter of two lovers who
have been separated so long by the war. With her work, Lialina shows us the potential for
interaction of the new screen – that of the computer. She experiments with a non-linear
narration, where users edit the story frames thanks to hypermedia platform, resulting in
a new relationship between author and public. Considering such operations, the paper
aims to highlight the work’s ludic connotation beside the impact of filmic narrative on
the web
Timur Novikov. L’attualità del passato
No full textThis contribution focuses on the activity of Timur Novikov (1958-2002) and his dynamic approach to Western or national patterns, to classicism or avant-gardism. His artistic activity stands as the perfect case study when discussing appropriations and negations in the development of an artistic canon. The focal point for interpreting Novikov’s dynamical activity is his trademark parodic approach to his work, through the use of the so-called stiob, and in the text this aspect will be analysed on the basis of Linda Hutcheon’s theory of parody ([1985] 2000). Examining Novikov’s career, taking and denying different aesthetic canons, is essential to understand the development of Russian contemporary art
La quotidianità della vita semplice: il realismo di Koržev
No full textThe author of the text Ksenia Karpova analyzes the recurrence of everyday references that can be found in Gely Korzhev's paintings.
The essay is part of the catalog of the exhibition "Gely Korzhev. Back to Venice" (Venice, Ca' Foscari Esposizioni, 10.05-3.11.2019)
Gore ot uma di Olga Tobreluts: la metamorfosi di un classico
No full textThe contribution proposes an analysis of the transposition of a great classic Russian comedy on screen. We will consider one of the pioneering Russian videoart projects, the Gore ot uma (Woe from Wit) (1994) by Olga Tobreluts. The work presents itself as the representation on the screen of the nineteenth century famous pièce by Alexandr Griboedov. But as the video begins it is suddenly clear it is not just merely a mise en scène. As Bruce Sterling pointed out it results to be more appropriate referring to it as an act of ‘mutation’. The work explores the possibilities of digital collage, mixing various references to different époques, uniting past and present
Net.Art Exhibited: Distributed Museums
No full textNet.art represents an artistic language which, by virtue of its hypertextual essence, can connect people with one another by centering its practice on the interaction with audiences. A crucial component of net.art is direct experience: audiences truly engage with a net.artwork only when they interact directly with it. In a gallery or museum, net.art becomes more of a concrete document, an object of memory, losing its fundamental aspect of unfiltered practice, as well as the elements of surprise and positive disorientation—this loss results from net.art’s transposition into a physical place and transformation into an object to be exhibited. This visual essay dwells on pioneering projects that need to be reconsidered in order to further historical, museological, and curatorial discussion of net.art based on its intrinsic qualities, diffusion, and exhibition. The essay is not intended as an ending to the discussion or its resolution; instead, it aims to bring attention back to net.art’s social aggregator function that was lost in the age of digital disillusionment
CYLAND and CYFEST: a Global Dialogue Between Art, Science and Technology
No full textThe article aims to highlight the main fields of action of Cyland Media Art Lab and the purposes of its nomadic festival Cyfest by comparing and interrelating its activities to development of New Media Art, both on a local and a global scale
Libertà in zone di confine. L’esperienza russa della New Media Art (1980-2020)
No full textLa ricerca si occupa di delineare le tappe fondamentali dell’evoluzione dell’arte dei nuovi media in Russia, dal 1980 ad oggi, considerando sia il legame con gli antecedenti artistici nazionali, sia il contesto socioculturale, politico ed economico che ne ha determinato la caratterizzazione. L’obiettivo è quello di integrare l’esperienza russa della new media art alla narrativa dell’arte contemporanea internazionale. Lo studio offre anzitutto un inquadramento trasversale teorico e metodologico della disciplina. Il campo d’indagine viene successivamente ampliato con la ricostruzione della genealogia della pratica artistica in questione. Circoscrivendo al caso della Russia, viene verificata la contiguità con alcune esperienze artistiche sperimentali precedenti, quali l’Avanguardia dell’inizio del XX sec. e l’arte performativa degli ultimi decenni del secolo scorso.
Infine, si propone l’analisi di casi di studio selezionati sulla base di due discriminanti: l’attenzione parziale ricevuta negli studi specialistici editi ad oggi e la loro rilevanza nel contesto dell’agenda globale dell’arte contemporanea. Il progetto di ricerca dimostra che la carenza di un sostegno istituzionale ha stabilito la specificità delle iniziative russe nel campo dell’arte dei nuovi media.The research outlines the fundamental stages of the evolution of new media art in Russia, from 1980 to today, considering both the link with the national artistic antecedents and the socio-cultural, political, and economic context that has determined its characterization. The aim is to integrate the Russian experience of new media art into the narrative of international contemporary art. First, the study offers a transversal theoretical and methodological framework of the discipline. The field of investigation is subsequently expanded reconstructing the genealogy of the artistic practice at issue. Circumscribing the case of Russia, we verify the contiguity with some previous art experimental experiences, such as the Avant-garde of the beginning of the XX century and the performance art of the last decades of the century.
Finally, we propose the analysis of case studies selected based on two discriminants: the partial attention received in the specialized studies published to date and their relevance in the context of the global agenda of contemporary art. The research project shows that the lack of institutional support has established the specificity of Russian initiatives in the field of new media art
Libertà in zone di confine. L'esperienza russa della New Media Art (1980-2020)
No full textLa ricerca si occupa di delineare le tappe fondamentali dell’evoluzione dell’arte dei nuovi media in Russia, dal 1980 ad oggi, considerando sia il legame con gli antecedenti artistici nazionali, sia il contesto socioculturale, politico ed economico che ne ha determinato la caratterizzazione. L’obiettivo è quello di integrare l’esperienza russa della new media art alla narrativa dell’arte contemporanea internazionale. Lo studio offre anzitutto un inquadramento trasversale teorico e metodologico della disciplina. Il campo d’indagine viene successivamente ampliato con la ricostruzione della genealogia della pratica artistica in questione. Circoscrivendo al caso della Russia, viene verificata la contiguità con alcune esperienze artistiche sperimentali precedenti, quali l’Avanguardia dell’inizio del XX sec. e l’arte performativa degli ultimi decenni del secolo scorso.
Infine, si propone l’analisi di casi di studio selezionati sulla base di due discriminanti: l’attenzione parziale ricevuta negli studi specialistici editi ad oggi e la loro rilevanza nel contesto dell’agenda globale dell’arte contemporanea. Il progetto di ricerca dimostra che la carenza di un sostegno istituzionale ha stabilito la specificità delle iniziative russe nel campo dell’arte dei nuovi media
Sostenibilart. Ambassadors of Sustainability
No full textThe project Sostenibilart aims to raise awareness on a crucial issue, such as the sustainability of all our activities on the planet, and together to ‘educate’ concretely, through art, sustainability in a broad sense, inspiring and promoting actions. The idea is powerful and understandable: to encourage, in the current international scene, artists of significant standing to become ‘Ambassadors of Sustainability’, contributing with their works to promote a greater and more active awareness of environmental respect, the non-dissipative use of the planetary resources, multiethnic and multigenerational sharing
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