Academic literature on the topic 'Artă contemporană'
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Journal articles on the topic "Artă contemporană"
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Babin, Dana. "Der unendliche hermeneutische Weg als Wahrheitsgeschehen." Hiperboreea A2, no. 2 (2013): 19–28. http://dx.doi.org/10.5325/hiperboreea.2.2.0019.
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Abstract Hermeneutica filosofică, departe de a fi doar o îndeletnicire livrească, în care să se poată ajunge la interpretarea cea mai potrvită a unui text, se apropie mai degrabă de o realizare ontologică. Înțelegerea nu aparține exclusiv unui subiect, ci se desăvârșește în relație cu un concept suprem al adevărului, înrădăcinat în Ființă. De aceea, orice demers hermeneutic este de fapt o apropiere de Ființă. Lucrarea de față își asumă acest punct de vedere și admite că modelul operei de artă este cel mai apropiat celui hermeneutic, tocmai prin lipsa metodei științifice, atât de răspândite în epoca contemporană. Acest model demască un adevăr ce transcende formulele seci ale științei exacte, marcând un teren în care Subiectul nu mai este izolat, ci se desăvârșește printr-o creștere întru Ființă.
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Marghidan, Ecaterina, Madalina Vieriu, and Raluca Simona Loghi Loghin. "From Mosaic to Pixel in Textile Art." Klironomy 2, no. 5 (2022): 36–43. https://doi.org/10.47451/art2022-05-04.
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Due to technology and how the woven or knitted textile surfaces are created, they can be reduced to a graphical representation of modular, often square modular geometric grids. Thus thought, any decorative composition resembles the mosaic technique in which for the construction of the image it is reduced to a structure of units of the same size but of different colours or textures. Historically, the patchwork illustrates the technique of textile mosaic and makes the transition between classical, manual or mechanical techniques and contemporary digital art. Pixel art and the compositions of NFT works are based on a similar concept, creating the work from tiny independent images, which are chromatically modular correlated.
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Adina, Jurca. "Contemporary ceramics art and its transgressive side." European Scientific e-Journal 4, no. 4 (2020): 77–83. https://doi.org/10.47451/art2020-12-001.
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This paper’s author proposes a discussion on the ranking of ceramics as art, a few aspects in regards to Ceramic Art’s inclusion in Contemporary Art context. The researcher is calling into question the shallow division between Decorative and Major Arts, a century after the distinction disappeared. Respectively, the art object made with ceramic material, in the general context of Contemporary Art and a few ways of manifestations of this art that leads toward permanent transgressive dimensions of artistic ceramic. The author concludes that Ceramic Art’s Transgressive character emerges out of its operative mobility, moving from organic to geometric or from ornamental to sculptural, its late 1960s evolution being decisively situated towards an expressive original with technicalities and unprecedented formal mixtures. Acest articol îşi propune o discuție despre statutul ceramicii ca manifestare artistică, câteva aspecte ce privesc incluziunea artei ceramice în contextul artei contemporane. Vom pune sub semnul întrebării modul superficial de a separa încă artele – Arte Decorative şi Arte Majore, după un secol de la renunțarea acestor granițe. Respectiv, obiectul de artă realizat în material ceramic într-un context general al artei contemporane şi câteva moduri de manifestare ale acesteia ce conduc într-o permanentă dimensiune transgresivă ale artei ceramice. Autorul concluzionează că caracterul transgresiv al ceramicii se desprinde din mobilitatea operativă a acesteia, trecând de la organic la geometric sau de la ornamental la sculptural, evoluția sa de la sfârșitul anilor 1960 fiind poziționată decisiv spre un original expresiv, cu tehnicalități și amestecuri formale inedite.
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Gaşpar, Loredana. "Elements of the Romanian mythical space in advertising." Klironomy 1, no. 7 (2023): 7–15. https://doi.org/10.47451/art2023-03-01.
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For design, the myth is a source that creators turn to in order to translate into everyday life those ideas that we have genetically implanted in us and to which we feel a call or to which we refer at certain times. The myth is for every society an identity known by the vast majority, which is why it is used in design either to repeat the primordial acts of the ancestors unconsciously, or consciously to make connections between the newly created object and the mythological one, which is it ensures credibility, security and success, and, in addition to these, an emotion coming from a more or less profound experience. In order to achieve the research goal and solve the tasks set, the authors conducted quantitative studies and comparative studies concerning the main characteristics of the myth, taking several primitive myths and observing their search in modern times through their use in the advertising sphere. The research used the works of researchers Mircea Eliade, George Călinescu, Mădălina Moraru, Romulus Vulcănescu, Doina Graur. The author notes that turning to the myth in advertising, echoes of the world are vaguely preserved, which can have reverberation among the audience, and thus the impulse to buy is determined by proximity to the world a long time ago, when the heroes of the first great exploits lived in the paradise world of a fairy tale, in which good wins and after the created chaos returns to a state of balance and harmony. The product can be considered as a replacement for fantastic weapons or companions with magical functions that, together with the hero, lead to victory in the final stage or battle. The product, maybe for the client, represents the magic from fairy tales that makes the world of beginnings so attractive and seductive. În studiului “Elemente ale spaţiului mitic românesc în publicitate” se observă cum mitul şi arhetipul sunt folosite pentru promovarea unor produse ele creând astfel o punte de legătură cu lumea strămoşilor. După identificarea câtorva reclame publicitare care fac apel la substanţa mitică şi corelarea cu principalele tipuri de mituri la care fac aluzie vom observa dacă ele sunt o trimitere superficială spre mit, prin intermediul arhetipurilor, sau ele pătrund în esenţa mitului până la o decodificare subtilă şi profundă. De asemenea, urmărim şi care este relaţia personajelor care apar în publicitate cu produsul pe care-l expun publicului. În concluzie, prin abordarea mitului în publicitate sunt păstrate vagi ecouri ale unei lumi ce pot avea reverberaţii în rândul privitorilor şi, astfel, impulsul de a cumpăra să fie determinat de apropierea de lumea paradisiacă a basmului. Pentru a atinge obiectivul de cercetare şi a rezolva sarcinile stabilite, am realizat o cercetare cantitativă şi studii comparative ce au vizat caracteristicile de bază ale mitului, preluarea câtorva mituri primordiale şi observarea regăsirii acestora în contemporaneitate prin utilizarea lor în domeniul publicitar. În cursul studiului, au fost utilizate lucrările cercetătorilor Mircea Eliade, George Călinescu, Mădălina Moraru, Romulus Vulcănescu, Doina Graur. Prin abordarea mitului în publicitate sunt păstrate vagi ecouri ale unei lumi ce pot avea reverberaţii în rândul privitorilor şi, astfel, impulsul de a cumpăra să fie determinat de apropierea de lumea de demult când, eroii primelor înfăptuiri măreţe trăiau în lumea paradisiacă a basmului, în care binele învinge şi după haosul creat se revine la o stare de echilibru şi armonie. Produsul poate fi văzut ca un substitut al armelor fantastice sau a tovarăşilor cu funcţii magice care, împreună cu eroul, duc la câştigarea unei etape sau a unei bătălii finale. Produsul, poate fi pentru client, reprezentarea magiei din basme ce face atât de atractivă şi seducătoare lumea începuturilor.
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Boldasu, Romina. "Theatre Semiotics in the 21st century." European Scientific e-Journal 4, no. 4 (2023): 54–63. https://doi.org/10.47451/art2020-11-004.
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The role of the actor has been in continuous change across time. Therefore, the teaching paradigm needs to be transformed in order to meet the 21st century needs and interests. Theatre is not only an aesthetic tool in contemporary society but also an instrument in transmitting social, political and cultural information. The body of the actor contains within itself a system of verbal and non-verbal communication mechanisms that one must master in order to create dialogue across the globe. The author concludes that in the contemporary world, countless systems of communication are integrated which are subject to interpretation. Spoken language can be interpreted differently by people from different cultural contexts; that is why, through the training proposed in the present research, the actor can communicate and interact freely, without fear of being misunderstood through body language. Rolul actorului s-a schimbat de-a lungul timpului. Astfel paradigma de predare trebuie de asemenea să se transforme pentru a întâlni nevoile și interesele propuse de secolul al XXI-lea. În societatea contemporană, teatrul nu este doar un instrument estetic ci un vector în transmiterea mesajelor sociale, politice și culturale. În corpul actorului sunt conținute mecanisme de comunicare atât verbale cât și nonverbale pe care acesta trebuie să le stăpânească cu măiestrie pentru a crea un dialog global. Autorul ajunge la concluzia că în lumea modernă există nenumărate sisteme integrate de comunicații care sunt supuse interpretării. Limbajul vorbit poate fi interpretat în moduri diferite de către oameni din contexte culturale diferite; Acesta este motivul pentru care, datorită învățăturii oferite în acest studiu, actorul poate comunica și interacționa liber fără teama de a nu fi înțeles greșit de limbajul corpului.
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Jiménez, J. L. L. "Mobile Telephony in Contemporary Art (Mobile Art)." Afluir, no. 6 (November 2, 2022): 7–26. http://dx.doi.org/10.48260/ralf.6.116.
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El teléfono móvil no solo se ha convertido en un objeto cultural de uso cotidiano sino que su uso ha traspasado las fronteras de la comunicación telefónica interpersonal, han aparecido nuevos usos como por ejemplo herramienta para la creación artística. El uso del teléfono móvil para la creación de proyectos artísticos, se ha convertido en una práctica muy habitual de múltiples artistas en los últimos años, estos artistas ven a esta herramienta como el objeto tecnológico más adecuado para desarrollar una gran variedad de proyectos audiovisuales. Aunque es una práctica aún muy desconocida para el público interesado en el arte contemporáneo, es una herramienta que poco a poco se está poniendo en uso para la práctica artística, debido en gran parte a la cercanía y cotidianidad del dispositivo en la sociedad. The mobile phone has not only become a cultural object of everyday use but its use has crossed the borders of interpersonal telephone communication, new uses have appeared, such as a tool for artistic creation. The use of the mobile phone for the creation of artistic projects, has become a very common practice of multiple artists in recent years, these artists see this tool as the most appropriate technological object to develop a variety of audiovisual projects. Although a practice still very unknown for the public interested in contemporary art, it is a tool that is gradually being put into use for artistic practice, due in large part to the closeness and everydayness of the device in society.
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Oguibe, Olu, and Nicole Guez. "L'Art Africain Contemporain/Contemporary African Art: Guide." African Arts 30, no. 1 (1997): 91. http://dx.doi.org/10.2307/3337485.
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Zarobell, John. "Arts Special Issue “The Contemporary Art Market”." Arts 10, no. 3 (2021): 43. http://dx.doi.org/10.3390/arts10030043.
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When setting out to organize this Special Issue of Arts, I began with the goal to survey the emerging field of art market studies but also to expand the notion of the market to include alternatives, such as art collectives and festivals, that challenge the dominance of the market as the pre-eminent arbiter of cultural value [...]
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Rieux García, Anaix. "LA CONTROVERSIA EN EL ARTE CONTEMPORÁNEO." El Pájaro de Benín, no. 10 (2024): 142–65. https://doi.org/10.12795/pajaro_benin.2024.i10.04.
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El artículo analiza los distintos conceptos y posicionamientos sobre la naturaleza del arte contemporáneo, con especial atención a las distintas fuentes de pensamiento y los razonamientos que pudieron sustentar algunas de las principales claves de su evolución a lo largo del siglo XX. Para ello analiza una serie de pares de valores, como la relación entre arte y mercado y la evolución de esa relación en función de los grandes cambios sociales y la mentalidad en torno al nuevo arte.
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Alegría Alegría, Alfredo. "Preferencias Artes visuales en Trujillo: Reflejos en silencio." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 50–57. http://dx.doi.org/10.31381/illapa.v0i12.1918.
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El texto se refiere a la problemática del desarrollo de las artes visuales en la ciudad de Trujillo. A partir de una presentación histórica sobre el desarrollo artístico contemporáneo trujillano en las Bienales de Arte se presenta una serie de creadores tanto en la pintura, como la escultura, la fotografía y el cine. Se plantea un reclamo a los artistas: rechazar el individualismo extremo y aceptar el desafío de la realidad como forma de expresar y orientar realmente a la sociedad.
 Palabras Clave: Artes Visuales, Arte Contemporáneo, Expresión Estética
 
 Abstract
 This essay analyzes the problem of the development of the visual arts in Trujillo, Perú. After a historical introduction about the origins of the contemporary artistic development of Trujillo, the author presents several artists in painting, sculpture, photography and film. A claim is proposed for the artists: To reject the extreme individualism and accept the threat of reality as a way to express and guide the society.
 Keywords: Visual Arts, Contemporary Art, Aesthetic Expression
Dissertations / Theses on the topic "Artă contemporană"
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POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.
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La ricerca ha individuato come elemento specifico d'interesse la ricostruzione storico-critica delle relazioni artistiche tra Italia e Germania, nel periodo compreso tra il 1918 e il 1925, nel corso del quale sono stati riscontrati gli episodi più rilevanti e i momenti originanti di sviluppi significativi per gli artisti, i galleristi e gli intellettuali coinvolti in queste relazioni.
La ricostruzione storica delle vicende espositive, bibliografiche, documentarie, che hanno costituito il tessuto attraverso il quale si sono sviluppati e intrecciati i percorsi dei due ambiti culturali, è stata arricchita dall'individuazione e dall'approfondimento di alcuni aspetti e tematiche che si sono riconosciuti come ricorrenti e fondanti il dialogo artistico tra Italia e Germania nel corso del periodo preso in esame.
Il primo capitolo si concentra sul quadro di riferimento storico-critico e sulle figure di mediatori che ne hanno permesso gli scambi, mentre il secondo sull'ambito delle relazioni tra Valori Plastici e la Germania. Il terzo capitolo ricostruisce le vicende di alcuni artisti tedeschi che nel periodo in questione soggiornano in Italia (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). L'ultimo capitolo accenna invece ad alcune ipotesi di analisi comparativa, che testimoniano del comune terreno di ricerca.<br>This research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships.
The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period.
The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.
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POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.
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La ricerca ha individuato come elemento specifico d'interesse la ricostruzione storico-critica delle relazioni artistiche tra Italia e Germania, nel periodo compreso tra il 1918 e il 1925, nel corso del quale sono stati riscontrati gli episodi più rilevanti e i momenti originanti di sviluppi significativi per gli artisti, i galleristi e gli intellettuali coinvolti in queste relazioni.
La ricostruzione storica delle vicende espositive, bibliografiche, documentarie, che hanno costituito il tessuto attraverso il quale si sono sviluppati e intrecciati i percorsi dei due ambiti culturali, è stata arricchita dall'individuazione e dall'approfondimento di alcuni aspetti e tematiche che si sono riconosciuti come ricorrenti e fondanti il dialogo artistico tra Italia e Germania nel corso del periodo preso in esame.
Il primo capitolo si concentra sul quadro di riferimento storico-critico e sulle figure di mediatori che ne hanno permesso gli scambi, mentre il secondo sull'ambito delle relazioni tra Valori Plastici e la Germania. Il terzo capitolo ricostruisce le vicende di alcuni artisti tedeschi che nel periodo in questione soggiornano in Italia (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). L'ultimo capitolo accenna invece ad alcune ipotesi di analisi comparativa, che testimoniano del comune terreno di ricerca.<br>This research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships.
The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period.
The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.
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Bruna, Chávez Rodrigo. "La instalación (arte) en Chile: estudio histórico crítico de su origen y desarrollo, 1969-2014." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672516.
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La present investigació té com a finalitat comprendre des d'una perspectiva històrico-crítica, com sorgeix i es desenvolupa la instal·lació (art) a Xile, entre els anys 1969 i 2014. Els estudis entorn a aquesta pràctica, en l'àmbit internacional, són amplis i variats, però, en el nostre context aquests són escassos, centrant-se principalment en la revisió d'obres particulars. Davant d'aquest escenari i en concordança amb el nostre objecte d'estudi ens plantegem les següents preguntes: Quina incidència va tenir el context històric, polític i artístic en el sorgiment i desenvolupament d'aquest mitjà al país?, quins són els problemes o temes recurrents a l'hora de pensar aquesta pràctica en l'escena local?, quin rol van jugar els museus i galeries en la visibilització i validació de la instal·lació (art) a Xile? En resposta a aquests interrogants vam proposar un marc metodològic d'enfocament qualitatiu i abast exploratori, la perspectiva d'anàlisi respon a un model de caràcter històric-crític. La recol·lecció de dades d'aquesta investigació es va realitzar a partir d'entrevistes, revisió de documents escrits i material visual, fonts que van ampliar la revisió bibliogràfica feta. Finalment, i en base als resultats obtinguts, vam poder constatar com aquesta pràctica va renovar els codis formals i conceptuals de l'art contemporani local, a partir d'una posada en crisi del cànon disciplinar. De la mateixa manera, advertim com la contingència política, les noves tecnologies i els espais d'exhibició institucional van incidir en el sorgiment i desenvolupament de la instal·lació (art) al país.<br>La presente investigación tiene como finalidad comprender, desde una perspectiva histórico-crítica, cómo surge y se desarrolla la instalación (arte) en Chile entre los años 1969 y 2014. Los estudios entorno a esta práctica, en el ámbito internacional, son amplios y variados, sin embargo, en nuestro contexto estos son escasos y se centran principalmente en la revisión de obras particulares. Frente a este escenario y en concordancia con nuestro objeto de estudio nos planteamos las siguientes preguntas: ¿Qué incidencia tuvo el contexto histórico, político y artístico en el surgimiento y desarrollo de este medio en el país?, ¿cuáles son los temas o problemas recurrentes al momento de pensar esta práctica en la escena local?, ¿qué rol jugaron los museos y galerías en la visibilización y validación de la instalación (arte) en Chile? En respuesta a estas interrogantes propusimos un marco metodológico de enfoque cualitativo y alcance exploratorio, cuya perspectiva de análisis responde a un modelo de carácter histórico-crítico. La recolección de datos de esta investigación se realizó a partir de entrevistas, documentos escritos y material visual, fuentes que ampliaron la revisión bibliográfica hecha. Finalmente, y en base a los resultados obtenidos, pudimos constatar cómo esta práctica renovó los códigos formales y conceptuales del arte contemporáneo local, a partir de una puesta en crisis del canon disciplinar. De igual modo, advertimos cómo el contexto político-social y los espacios de exhibición influyeron en el surgimiento y desarrollo de la instalación (arte) en el país.<br>The aim of this research is to understand, from a historical-critical perspective, how the installation (art) arises and develops in Chile between 1969 and 2014. The studies on this practice, in the international sphere, are extensive and diverse. However, in our context these are rare and focused mainly on the review of certain works. Considering this scenario and consistent with our object studied we raise the following questions: What impact did the historical, political and artistic context have on the emergence and development of this medium in the country? What are the recurring themes or problems when thinking about this practice in the local scene? What role did museums and galleries play in the visibility and validation of the installation (art) in Chile? In order to reply to these questions, we proposed a methodological framework of qualitative approach and exploratory scope whose perspective of analysis is in line with a historical-critical model. On the other hand, data collection was based on interviews, reviews of written documents and visual material. All of them, sources that expanded the review of literature. Finally, and based on the results obtained, we were able to verify how this practice renewed the formal and conceptual codes of local contemporary art, starting from a crisis of the disciplinary canon. Also, we observed how the political-social context and exhibition spaces influenced the emergence and development of the installation (art) in the country.<br>Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
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Lombao, Méndez Sonia. "El arte de acción en Catalunya. Jordi Benito y su contexto." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/286730.
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En esta tesis se ha planteado un nuevo estudio de las acciones realizadas por artistas catalanes en los años setenta, que no atiende únicamente a aspectos formales sino, sobre todo, al análisis de la situación cultural, política e intelectual en la que se produjeron. Para este análisis he utilizado diversas fuentes, como los artículos de Alexandre Cirici en la prensa local y publicaciones de la época como Le happening de Jean Jacques Lebel, en las que se pudieron inspirar los artistas, pero también fuentes posteriores de carácter secundario como las críticas de Teresa Camps, entre otras. Con esta información se ha tratado de asentar unas líneas generales entre las pautas de estudio del arte de acción catalán.
Estas pautas confirman la existencia de unos referentes de las prácticas que apuntan a contextos como el neoyorquino, el alemán, el francés, cuyo ideario tiene una base común, que hunde sus raíces, por un lado, en la filosofía del lenguaje, y por otro, en la crítica a la idea de progreso -asociada al control ejercido por los gobiernos en la sociedades del capitalismo tardío- defendida por los situacionistas. El estudio de casos particulares como John Cage, Vito Acconci, Josep Beuys o Jean Jacques Lebel pone en evidencia una importante deuda con el exterior que será revisada en relación con otros aspectos que determinan las particularidades del caso catalán. Es decir, esta tesis ha sido planteada como una revisión de ideas expuestas en el pasado relacionadas con el arte de acción por autores que se ocupan del caso catalán como Pilar Parcerisas, pero también de otros que tratan el tema en general como Roselee Golberg. La novedad de este análisis, que atiende a la emergencia de la aparición del arte de acción, está inspirada en el método que propone Michael Foucault en el campo de la historiografía, ya que apuesta -como causa del origen de determinados movimientos sociales- por factores relacionados con el contexto inmediato - nacional e internacional- y no con movimientos similares de otras generaciones.
Con este método de análisis se pone de relieve que, aparte de la deuda surgida de la admiración de las nuevas generaciones por los movimientos contraculturales extranjeros, el accionismo catalán responde también a circunstancias que envuelven a determinados sectores sociales que, con el tiempo, se vieron ampliados. Así, de unos círculos minoritarios conocedores de las novedades en el extranjero -representados en las acciones de Joan Brossa, los Gallots de Sabadell o Gonçal Sobré en la década de los sesenta- se pasó a una corriente protagonizada por centenares de jóvenes procedentes de diferentes sectores sociales que, sobre todo, buscaban contribuir a un cambio sociopolítico.
Uno de los aspectos más interesantes de la investigación fue el estudio de las políticas culturales que se emplearon para difundir diferentes ideologías, y que radican, fundamentalmente, en una mayor o menor implicación en la lucha antifranquista. En este caso, el estudio no trató únicamente de la génesis de este movimiento, sino también su ocaso, asociado al cambio sociopolítico que tiene lugar al final de la década de los setenta. En el discurrir del mismo sobresale la figura de Jordi Benito porque evidencia en su trayectoria cambios discursivos que se apartan de las tendencias mayoritarias. Mientras que estos cambios en sus contemporáneos responden al proceso democratizador asociado a lucha contra el inmovilismo político, Jordi Benito muestra el desencanto que le producen la reordenación política que se está produciendo en la Transición, a partir de acciones que suponen un reto para nuestra capacidad de interpretación.<br>This doctoral thesis proposes a new study of the performances done by the Catalan artists during the seventies. I am not only interested on the formal aspects, but mainly, on the analysis of the cultural, political and intellectual context in which this performances where produced. For this analysis I have used various sources, such as the articles of Alexandre Cirici in the local newspapers and publications of the time, as J. J. Lebel’s Le happening, which worked as sources of the diffusion of the performance art in the Catalan context. I have studied as well later sources as Teresa Camps’ criticisms, among others. With all this information I have tried to establish a general patterns of study of the Catalan performance art.
These guidelines confirm that the Catalan performances have a series of cultural reference points,which come from the North American, German and French contexts. These reference points have a common base, rooted, firstly, in the philosophy of language, and secondly, in the critique of the idea of progress -associated to the control exercised by governments in late capitalist societies - defended by the Situationists. I have attempted to explain the emergence of performance art following M. Foucault recommendation of focusing more in the immediate context - national and international –rather than establishing connections with previous movements.
Among the Catalan artists stands out the figure of Jordi Benito. He started as one of the most radical and impressive actionists, but what results more interesting is that he evolved to move away from the main tendencies. I interpret this detachment as a demonstration of his disenchantment with the political realignment produced by the Transition process to democracy, which took place during this time. Performances produced by Benito during this time constitute a great challenge for art criticism.
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Grau, Armengol Matilde. "Alteracions. Noves significacions en recorreguts escultòrics recents." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/463078.
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Aquesta tesi es centra en l’anàlisi de diferents obres artístiques creades a partir de l’acció d’alterar alguna de les seves característiques i indagar les possibilitats expressives d’aquesta acció. Entenem les alteracions com a estratègies creatives, com el resultat de transformar una cosa en una altra diferent modificant la matèria original, els seus trets formals, la dimensió natural i/o l’emplaçament espacial.
La tesi és un estudi comparatiu d’una sèrie d’obres que ens endinsen en la realitat escultòrica del segle XXI i que ens permetrà entendre-la com una evolució de les experimentacions plàstiques del segle XX.
En l’art actual, fruit d’un món global, on els nous mitjans digitals conviuen amb els processos artesanals, els artistes reben influències de totes les cultures i de tots els racons del planeta. L’ús dels materials i de les tecnologies ja no són propis d’un lloc específic sinó que tot està connectat. La contaminació cultural, les influències multi direccionals i la desaparició de les fronteres han canviat la nostra manera de relacionar-nos i han enriquit les possibilitats d’hibridació i d’alteració de les investigacions artístiques.
La franja temporal d’aquest estudi es concentra en obres realitzades en el període que va de finals de la dècada dels vuitanta fins a l’actualitat. Aquesta elecció no és casual sinó que és deguda a dos motius: el primer és l’inici del desenvolupament de la pròpia pràctica artística dins la disciplina de l’escultura i el segon motiu és que en els anys vuitanta neix una nova manera d’entendre i abordar l’art, l’escultura i les intervencions espacials que encara estan vigents a l’actualitat.
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Gutiérrez, Torres David. "La construcción de un contexto artístico en Barcelona, 1995-2015." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/673130.
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Aquesta tesi analitza les principals característiques de la construcció del context artístic barceloní des d'inicis dels anys noranta. Estudia els elements que caracteritzen l'aparició d'una nova generació d'artistes en el context de Barcelona, el tall enfront de la producció artística anterior que suposa i la seva continuïtat fins avui. Un context artístic que des dels anys noranta manté elements en comú amb les produccions artístiques d'altres àmbits i llocs. De fet, participa i és fruit del fenomen de la globalització i la manera en la qual ha afectat tant les pràctiques artístiques com a la construcció institucional de l'art
La tesi reconstrueix el context de globalització que s'inicia llavors i com afecta a la pràctica artística: la multiplicació de centres d'activitat artística, la construcció d'un teixit institucional de l'art o l'ús de la cultura com a marca de prestigi de les ciutats. En aquest sentit, desenvolupa una teoria contextual de l'art posant en relació Barcelona amb altres centres artístics. A partir d'aquí, la tesi analitza els trets principals de la producció artística des dels anys noranta fins a l'actualitat en tres aspectes relacionats: el retorn de les pràctiques hereves de l'art conceptual i l'adopció de la transdiciplinariedad en un context en el qual s'implementa l'entramat institucional de l'art a Barcelona.
L'examen d'aquestes característiques principals de la construcció del panorama artístic a Barcelona en el context de la globalització es realitza a través de l'anàlisi d'una sèrie de casos d'estudi: des de la comparativa amb el context de Londres, el rol jugat per institucions com el MACBA i els elements que defineixen els treballs d'artistes com Mabel Palacín, Ignasi Aballí o Antonio Ortega.
La recerca conclou que la construcció del context artístic a Barcelona des dels noranta és paral·lel al d'altres centres i guarda similars característiques. Així, participa de les característiques de la producció artística internacional instal·lada en el paradigma de la globalització. Un paradigma que ha generat un nou academicisme de l'art contemporani caracteritzat per un triple eix: desplegament institucional, retorn de pràctiques conceptuals i transdiciplinariedad. És a dir, que el pas dels anys vuitanta als noranta del segle XX va suposar un tall epistemeológico en les arts que ha continuat vigent i dins del qual Barcelona és un context més.<br>Esta tesis analiza las principales características de la construcción del contexto artístico barcelonés desde inicios de los años noventa. Estudia los elementos que caracterizan la aparición de una nueva generación de artistas en el contexto de Barcelona, el corte frente a la producción artística anterior que supone y su continuidad hasta hoy. Un contexto artístico que desde los años noventa mantiene elementos en común con las producciones artísticas de otros ámbitos y lugares. De hecho, participa y es fruto del fenómeno de la globalización y la manera en la que ha afectado tanto a las prácticas artísticas como a la construcción institucional del arte
La tesis reconstruye el contexto de globalización que se inicia entonces y cómo afecta a la práctica artística: la multiplicación de centros de actividad artística, la construcción de un tejido institucional del arte o el uso de la cultura como marca de prestigio de las ciudades. En este sentido, desarrolla una teoría contextual del arte poniendo en relación Barcelona con otros centros artísticos. A partir de ahí, la tesis analiza los rasgos principales de la producción artística desde los años noventa hasta la actualidad en tres aspectos relacionados: el retorno de las prácticas herederas del arte conceptual y la adopción de la transdiciplinariedad en un contexto en el que se implementa el entramado institucional del arte en Barcelona.
El examen de esas características principales de la construcción del panorama artístico de Barcelona en el contexto de la globalización se realiza a través del análisis de una serie de casos de estudio: desde la comparativa con el contexto de Londres, el rol jugado por instituciones como el MACBA y los elementos que definen los trabajos de artistas como Mabel Palacín, Ignasi Aballí o Antonio Ortega.
La investigación concluye que la construcción del contexto artístico en Barcelona desde los noventa es paralelo al de otros centros y guarda similares características. Así, participa de las características de la producción artística internacional instalada en el paradigma de la globalización. Un paradigma que ha generado un nuevo academicismo del arte contemporáneo caracterizado por un triple eje: despliegue institucional, retorno de prácticas conceptuales y transdiciplinariedad. Es decir, que el paso de los años ochenta a los noventa del siglo XX supuso un corte epistemeológico en las artes que ha continuado vigente y dentro del cual Barcelona es un contexto más.<br>This thesis analyzes the main characteristics on the construction of the Barcelona artistic context since the early nineties. It studies the elements that characterize the appearance of a new generation of artists in the context of Barcelona, ​​the cut against previous artistic production that it entails and its continuity until today. An artistic context that has maintained elements in common with artistic productions from other cities since the 1990s. In fact, it participates and is the result of the globalization and the way in which it has affected both artistic practices and the institutional construction of art.
The thesis reconstructs the context of globalization that began then and how it affects the artistic practice: the multiplication of centers of artistic activity, the construction of an institutional net of art or the use of culture as a prestigious brand for the cities. In this sense, it develops a contextual theory of art by linking Barcelona with other artistic nodes. From there, the thesis analyzes the main features of artistic production from the 1990s to the present in three related aspects: the return of practices inherited from conceptual art and the adoption of transdisciplinary in a context in which it is implemented the institutional framework of art in Barcelona.
The examination of these main characteristics of the construction of the artistic panorama in Barcelona in the context of globalization is carried out through the analysis of a series of case studies: from the comparison with the context of London, the role played by institutions such as the MACBA and the elements that define works of artists such as Mabel Palacín, Ignasi Aballí or Antonio Ortega.
The research concludes that the construction of the artistic context in Barcelona since the nineties is parallel to that of other centers and has similar characteristics. Thus, it participates in the characteristics of international artistic production installed in the paradigm of globalization. A paradigm that has generated a new academicism of contemporary art characterized by a triple axis: institutional deployment, return of conceptual practices and transdisciplinary. In other words, the passage from the eighties to the nineties of the twentieth century supposed an epistemeological break in the arts that has continued until today and within which Barcelona is another context.<br>Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
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Rodrigues, Ligia Luciene. "A perpectiva no trabalho de Regina Silveira : uma investigação da perpectiva na arte contemporanea." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284655.
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Orientador: Anna Paula da Silva Gouveia<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-11T01:08:39Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Esta pesquisa teve por objetivo investigar a utilização da perspectiva na arte contemporânea por meio do trabalho da artista plástica brasileira Regina Silveira. Uma das preocupações foi analisar as questões que estão por trás da presença da perspectiva dentro da produção artística atual, como por exemplo, a crítica à natureza da imagem e seus meios de representação, a manipulação do ponto de vista, a simulação e a ilusão do espaço e ainda como deformação no caso das anamorfoses. Todas essas questões foram permeadas pela teoria da percepção visual e da psicologia da percepção em análises das obras da artista brasileira, seus trabalhos gráficos (desenhos e gravuras), objetos e instalações a partir do final dos anos 70 até os mais atuais, como também os chamados desenhos preparatórios e as maquetes, que são projetos nos quais a artista desenvolve as idéias de seus trabalhos e são neles que mais se percebe a manipulação da perspectiva. Também foram analisados trabalhos de outros artistas que discutiram ou discutem as mesmas questões que a artista brasileira, como por exemplo, Marcel Duchamp e Jan Dibbets. Essa análise mostrou que
cada período histórico possui sua visão de mundo e uma maneira de dirigir o olhar para um determinado ponto de vista, portanto uma maneira de utilizar a perspectiva. Nos dias atuais, a subversão do olhar do espectador e, ainda, a destruição da estabilidade de sua percepção causada por essa subversão, fazem da manipulação do ponto de vista a partir do uso da perspectiva, uma atitude
contemporânea no trabalho desses artistas<br>Abstract: This research was intended to investigate the use of perspective in contemporary art through the work of the Brazilian artist Regina Silveira. One of the concerns was the issues behind the presence of perspective within the current artistic production, for example, the critical of the image¿s nature, the resources of representation, the manipulation of viewpoint, the simulation, the space illusion and the deformation as in the case of anamorphosis. All these questions were related to the theory of visual perception and the psychology of perception in analyses of the Regina Silveira¿s work, in graphics (drawings and prints), objects and installations from the end of 70 to the current, but also the called preparatory drawings and models, that are projects in which the artist develops the ideas of their work and more if realizes the manipulation of perspective. Were also analyzed works of other artists who discussed or discuss the same issues as the Silveira, for example, Marcel Duchamp and Jan Dibbets. The analysis showed that each historical period has its vision of the world and to deal the look for a particular viewpoint, so a way to use the perspective. Nowadays, the subversion of the look of the spectator and, yet, the destruction of stability of their perception caused by such subversion, make the manipulation of viewpoint a contemporary attitude in the work of such artists<br>Mestrado<br>Mestre em Artes
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Moulon, Dominique. "L'art au-delà du numérique : Pratiques et cultures numériques plurielles d’un art contemporain singulier." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H303.
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Le numérique s'est immiscé dans toutes les sphères, privées, publiques et professionnelles, de nos sociétés et les a façonnées. Depuis toujours, les artistes se saisissent des techniques ou technologies de leur temps afin d'en témoigner. A chaque innovation détournée correspondent ainsi des œuvres mais il faut du temps au monde de l'art pour intégrer de nouvelles pratiques comme de nouveaux médias. Impatients, les plus fervents défenseurs de l'art numérique se sont structurés en communautés à l'international en organisant des événements dédiés. Leurs pratiques arrivent aujourd'hui à maturité et le public est culturellement prêt à accueillir leurs créations comme il le fait déjà au sein de festivals. On remarque, dans un même temps, les premiers signes d'une acceptation du digital dans l'art au travers des institutions comme sur le marché dont on sait la position dominante. L'objet de cette recherche est d'étudier les œuvres des pratiques actuelles sans se focaliser sur leur part de numérique. De les analyser dans le contexte de leur monstration en les assemblant pour qu'ensemble elles dialoguent. Afin de démonter que le numérique n'est autre qu'un médium de l'art contemporain dont il convient toutefois de considérer les spécificités<br>Digital technologies have insinuated themselves into ail spheres, public, private and professional of our societies and have also shaped them. Historically, artists have always made use of the techniques and technologies of their time to show them off. For each innovation that has been appropriated, there are corresponding works, but it takes time for the art world to incorporate new practices such as new media. The most fervent defenders of digital art are impatient and so have structured communities by organizing dedicated international events. Their practices are now reaching maturity and the public is culturally ready to receive their creations, as they already do in festivals. We note, at the same lime, the first signs of acceptance of digital technology in art through institutions such as the art market, whose dominant position is known. The purpose of my research is to study the works of current practices without focusing on the part of them that is digital ; to analyse them in the context of their exhibition by assembling them together so they may create a dialogue. My goal is to demonstrate that digital technologies are simply a medium of contemporary art, whose particularities should nevertheless be considered
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De, Conti Diana <1987>. "Commistioni tra arte e suono: la Sound Art." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4488.
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La Sound Art si configura come un fenomeno artistico sperimentale presente nell'arte contemporanea. Rappresenta una confluenza interdisciplinare tra arte e musica:principio di comunanaza diviene il suono puro,inteso quale medium espressivo, veicolo di significato e materia plasmabile. Dopo una panoramica introduttiva sulla forma d'arte in questione viene presentato un tracciato storico sulle figure e le opere emblematiche a partire dalle esperienze delle Avanguardie del secolo scorso sino ai nostri giorni.
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Gazzola, Mariangela <1988>. "TRASH ART: rifiuti e ricicli nelle arti visive contemporanee." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4153.
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La tesi di laurea analizza la presenza del rifiuto e del riciclo nelle arti visive contemporanee partendo da un breve excursus storico che ne identifica la comparsa nei primi anni del Novecento e le prime operazioni di inserimento nelle opere fino agli anni Settanta, proseguendo poi con un’analisi circoscritta all’arte contemporanea più recente e all’area europea e statunitense. Nella seconda parte della tesi l’attenzione si sposta sull’utilizzo del rifiuto e del riciclo nell’area africana e sudamericana, sottolineandone punti di contatto e differenze rispetto all’Occidente e dando uno sguardo non solo all’arte ma anche al design e al cinema.
Books on the topic "Artă contemporană"
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Lupu, Flavia. Corpul, artă și politică în imaginea contemporană. Editura Paralela 45, 2021.
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Străchinaru, Petre. Lucrări de artă monumentală contemporană din județul Covasna: Realizate în edițiile 1974-1997 ale Simpozionului Național de Sculptură = Contemporary monumental works in Covasna country : realized between 1974-1997 in the course of the National Simposyums for Sculpture. Centrul de Cultură Arcuș, 1998.
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Milano, Christie's. Arte moderna e contemporanea: Modern and contemporary art. Christie's, 2001.
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Milano, Christie's. Arte moderna e contemporanea: Modern and contemporary art. Christie's, 2002.
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Soulages, François. Photographie contemporaine & art contemporain. Klincksieck, 2012.
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Giacinto, Di Pietrantonio, ed. FuoriUso '95: Caravanserraglio arte contemporanea = caravanseray of contemporary art. Umberto Sala per conto di Associazione culturale arte nova, 1996.
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Melo, Alexandre. Arte contemporanea portuguesa (Portuguese contemporary art) / Alexandre Melo, Joao Pinharanda. Grafispaco, 1986.
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Muteba, Luntumbue Toma, Poinas Claire, and Musée royal de l'Afrique centrale., eds. ExitCongoMuseum: Hedendaagse kunst = art contemporain = contemporary art. Koninklijk Museum voor Midden-Afrika, 2001.
Find full textBook chapters on the topic "Artă contemporană"
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Giaretta, David. "Contemporary Performing Arts TestbedTestbed Contemporary Performing Arts Testbed." In Advanced Digital Preservation. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-16809-3_22.
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jagodzinski, jan, and Jason Wallin. "Contemporary Currents." In Arts-Based Research. SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-185-6_3.
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Clavel, Joanne. "Contemporary Dance." In Arts, Ecologies, Transitions. Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-15.
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Castellano, Carlos Garrido. "Caribbean contemporary art." In Global Art Markets. Routledge, 2024. http://dx.doi.org/10.4324/9781003400868-11.
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Makhoul, Bashir. "Contemporary Palestinian Art." In Routledge Handbook on Palestine. Routledge, 2024. http://dx.doi.org/10.4324/9781003031994-33.
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Ting Wing Yan, Vivian, and Ying Yan. "Curating contemporary art." In Curating Art. Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-21.
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Birbragher-Rozencwaig, Francine. "Contemporary Cuban Art." In Essays on 20th Century Latin American Art. Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.
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Vogel, Sabine B. "Global Art and Contemporary Art." In Edition Angewandte. Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-7091-0251-0_9.
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Hay, Penny. "Contemporary art and children's art." In Teaching Art Creatively. Routledge, 2022. http://dx.doi.org/10.4324/9781315691114-3.
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Galloway, Charlotte. "Arts." In Routledge Handbook of Contemporary Myanmar. Routledge, 2018. http://dx.doi.org/10.4324/9781315743677-14.
Full textConference papers on the topic "Artă contemporană"
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Blazhev/Lyudmilov, Boyan. "THE IMPACT OF ARTIFICIAL INTELLIGENCE ON CONTEMPORARY VISUAL ARTS EDUCATION." In 19th International Technology, Education and Development Conference. IATED, 2025. https://doi.org/10.21125/inted.2025.0538.
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Ni Nyoman, Wahyuni, Ni Nyoman Seriati, and Trie Wahyuni. "Reinterpretation of Traditional Dance through Contemporary Dance." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.45.
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Yang, Bingjie. "Female Art in Chinese Contemporary Art." In 2021 International Conference on Education, Language and Art (ICELA 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.179.
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Partin, Laura. "�DECEPTION� IN CONTEMPORARY ART." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s15.52.
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Wiscombe, Thomas. "National Center for Contemporary Arts." In ACADIA 2014: Design Agency. ACADIA, 2014. http://dx.doi.org/10.52842/conf.acadia.2014.181.
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Wiscombe, Thomas. "National Center for Contemporary Arts." In ACADIA 2014: Design Agency. ACADIA, 2014. http://dx.doi.org/10.52842/conf.acadia.2014.181.
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Son, ND. "THE ART OF DIGITAL TRANSFORMATION IN FINE ARTS: LIBERATING CONTEMPORARY ARTIST IN VIETNAM." In International Conference on Arts and Humanities. The International Institute of Knowledge Management, 2022. http://dx.doi.org/10.17501/23572744.2021.7105.
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Hilsberg, Victoria. "DAOs A blockchain-based application not intervening, but strengthening the agility of contemporary arts." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-13-short-hilsberg-daos.
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SHORT PAPER. This paper discusses the blockchain-based application DAO (Decentralized Autonomous Organization) as a relevant new mechanism of artistic practice in the contemporary arts. It not only confronts the complexity of the modern society through its comprehensive application potential. It also channels segments of the contemporary art discourse such as political qualities, participatory art and cybernetic forces through active use cases. DAOs enable the interconnection of culture, technology and ecology. Using the most recent publications regarding blockchain technology as well as in-depth research on current artistic movements, it is possible to observe a complex manifestation of the matter within the contemporary arts during the concept's comparatively brief existence since its technical implementation around 2016.
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Livatino, Salvatore. "Virtual Museum of Contemporary Art." In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.
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Chistyakova, Olga. "Postmodern Philosophy and Contemporary Art." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.26.
Full textReports on the topic "Artă contemporană"
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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, 2018. http://dx.doi.org/10.18665/sr.308086.
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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, 2018. http://dx.doi.org/10.18665/sr.309177.
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Van Eck, Steve. Neighborhood Economic Impacts of Contemporary Art Centers. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.6319.
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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, 2021. http://dx.doi.org/10.23889/sureport.56822.
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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.
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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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De Tolentino, Marianne, and Sara Hermann. Inside and Out: Recent Trends in the Arts of the Dominican Republic. Inter-American Development Bank, 2008. http://dx.doi.org/10.18235/0006413.
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For many years the artistic movement in the Dominican Republic was a -best-kept secret. Their growing international contributions to contemporary visual arts have been changing that picture, but may also be characterized by even greater drive, selectivity, and regularity. We could say that of all the islands of the Caribbean, the Dominican Republic is, along with Cuba, Puerto Rico, and Haiti, the country most prolific in regard to modern and contemporary artists.
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Fleming, Brian P. Hybrid Threat Concept: Contemporary War, Military Planning and the Advent of Unrestricted Operational Art. Defense Technical Information Center, 2011. http://dx.doi.org/10.21236/ada545789.
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Johnson, Joann. The treatment of the concept of impersonation within the art of oral interpretation : a contemporary perspective. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.5503.
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Bellwood-Howard, Imogen, Peter Taylor, and Aminata Niang. How to Use Collaborative Art-Making for Dialogue and Communication. Institute of Development Studies, 2023. http://dx.doi.org/10.19088/ids.2023.035.
Full textAbstract:
Artists have often used artworks to express emotions and thus prompt public dialogue about contemporary challenges. At the same time, it has been suggested that collaborative art-making can be used in environmental deliberation processes, where stakeholder groups discuss contentious challenges such as the effects of flooding. Policy actors have rarely been deeply involved in these processes. Our recent research showed that collaborative art could be used to develop relationships between groups, including policy actors, in deliberation processes, by creating artworks to bring concerns into the public domain.
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Plessi, Fabrizio, Celestino Soddu, and Adriano Abbado. digitalyart: An exhibition honoring Italy, Host of the 44th Annual Meeting of the Board of Governors of the Inter-American Development Bank. Inter-American Development Bank, 2003. http://dx.doi.org/10.18235/0005909.
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An exhibition of technological art from Italy, featuring the seminal piece ROMA II by Venetian contemporary master Fabrizio Plessi, with digitally designed architectural projects by Celestino Soddu, and interactive images by Adriano Abbado. Held in honor of Italy and the City of Milan, host of the 44th Annual Meeting of the IDB Board of Governors, the show was organized by the IDB Cultural Center with support from the IDB Information and Communication Technology for Development Division, and cooperation from the Istituto Italiano di Cultura of Washington, D.C.