This research aims to reinterpret the cultural and historical value of the “Pazyryk” carpet, which was found in the kurgans of the Hun Turks and recognized as the earliest example of Turkish carpet art through digital technologies. In this context, it is to examine the process of transforming the visual and sensory dimension of cultural heritage into new forms of expression that arouse curiosity in the audience and encourage research by animating the motifs and figures on the carpet using today's technologies, thereby enhancing the visual and sensory dimensions of cultural heritage. The study was conducted through a detailed literature review of the cultural and historical context of the motifs and figures in the Pazyryk carpet within the scope of the explanatory case study method, and an examination of similar digital applications and approaches, followed by an application study using various digital techniques, sound effects and animations on a total of 24 figures. Thanks to the digital application, the revitalization of traditional motifs with contemporary art techniques offered the audience the opportunity to build a bridge between the past and modern design, and paved the way for the reinterpretation of the universal values of the symbols of Turkish culture. By revealing the impact of technological innovations on the reproduction of historical motifs, the study emphasizes the potential of digital transformation of cultural heritage in areas such as education, art and tourism. In addition, this study is considered as an important step towards the protection of cultural heritage, blending modern art and historical narrative, and revealing the richness and historical depth of Turkish culture by reinterpreting Turkish motifs in digital environment.

ABSTRACT The objective of this paper is to investigate the artworks of Joana Hadjithomas and Khalil Joreige and Lawrence Abu Hamdan from the post-colonial point of view. In order to do so, two installations that were displayed at the Venice Biennale in 2015 and 2019 were examined. This research aims to investigate post-colonial studies in contemporary art. To accomplish this aim, this paper employed post-colonial studies that are related to historical resistance to colonialism. The findings revealed that post-colonial concepts, including the challenge to the concept of Other, emphasis on the third space, resistance to power, and narration of subaltern experiences, are evident in the artworks of Joana Hadjithomas and Khalil Joreige and Lawrence Abu Hamdan. Moreover, their works challenge colonial concepts by highlighting the pivotal role of the audience in major exhibitions such as the Venice Biennale.

The Cult of Beauty at Wellcome Collection offered an interdisciplinary exploration of the human pursuit of beauty, interweaving historical artifacts with contemporary art and innovative installations. Through its transhistorical, cross-cultural approach, the exhibition broadens visitors’ understanding of beauty beyond traditional binaries, embracing it as both scientific and poetic, engineered and inherent. The curatorial approach is intentionally non-linear, fostering diverse perspectives. Makeup is explored within this framework, revealing human endeavors to enhance appearance and the continuous innovation and creativity. Methodologies of interdisciplinary curatorial praxis, fashion and material culture are employed concurrently in the exhibition. It combines historical and contemporary makeup objects and relevant ephemera across time, geographies, and cultures, juxtaposed with larger-scale, collaborative, transdisciplinary commissioned installations, thereby demonstrating sociocultural, scientific, and technological turning points in the context of makeup. The exhibition delves into the material culture and innovation of makeup, showcasing how design transformed the industry. It also highlights the importance of accessibility and sustainability in the cosmetics sector. New, transdisciplinary commissions bring a fresh perspective to the understanding of makeup, revealing the material science of makeup, exploring how scientific knowledge is acquired through sensory experiences and the impact of social media and new digital technologies on global beauty trends.

ABSTRACT Through autoethnographic encounters with selected artworks from the exhibition One Hundred Thousand Small Tales (OHTST) at the Museum of Modern and Contemporary Art (MMCA) Sri Lanka, and grounded in the author’s lived experiences, this paper presents how art activates inherited memories and reveals the forms of erasure and absence. It argues that these artworks operate as affective repositories that resist official narratives by making visible the intimate and fragmented histories often excluded from public discourse. The analysis is framed as a conversation between the spectator (author) and the artworks, where each piece becomes an active participant in revisiting and reframing memories of the Tamil community. In so doing, it also highlights how art can create spaces where personal memories intersect and offer alternative ways of understanding the emotional and political afterlives of war.

ABSTRACT This article examines the role of the uncanny in visual artworks that invite the viewer to rethink the body in the light of environmental change and plastic pollution. Drawing on Stacy Alaimo’s concept of trans-corporeality, I explore how the uncanny contributes to (re)imaging the body as inextricably enmeshed with plastic waste. My focus is on artistic portrayals of trans-corporeality that evoke uncanny feelings. I analyse three science-inspired artworks that exemplify uncanny trans-corporeality in contemporary visual art: Swaantje Güntzel’s artwork MICROPLASTICS II (2016), Christine Baker’s sculpture Micro Plastic Menu (2022), and Thijs Biersteker’s interactive installation Plastic Reflectic (2016). In the analysis of the case studies, I make two points: first, I show that the feeling of the uncanny arises from revealing the enmeshment of the body with plastic waste and the unpredictable agency of nonhuman matter; second, I consider several features that support and reinforce the uncanny effects of the artworks: distorted scales, the figure of the double, and the strange suggestive resemblances of plastic to body parts and other material things.

Haute couture is regarded as the epitome of high fashion – an exquisite combination of a designer’s vision, techniques of rarefied artisanal construction and an unaffordable luxury for most. The figure of the clown, in contrast, is regarded by some scholars and audiences as belonging to the realm of the ‘clod-like’, as a humorous figure that appeals to humanity’s desire for low if not base comedy. Yet haute couture and the practice of clowning have much in common – individuality in dress, exquisite craftsmanship and the desire to provide spectacular and speculative experiences for their respective audiences. Both fashion and clowning have a particular affinity to avant-garde artistic practices. Could popular culture theory contemplate the intersection of haute couture and techniques of clowning in producing a new and distinct species of darkly humorous performance and high fashion? A theoretical examination of the glamour of haute couture and clowning is provided to demonstrate the similarities between these iconic cultural popular culture phenomena. Within comics and cinema figures such as the Joker and Harley Quinn feature prominently as exemplars of both fashion and clowning. Musician and actor Lady Gaga provides a unique example of a contemporary artist who may act as a model for the ‘glam clown’ as a distinct figure for both clowning and fashion.

In the rapidly evolving landscape of artificial intelligence, the relationship between basic arts education and higher art education institutions faces unprecedented challenges and transformations. This research examines the disparities in enrollment standards between fundamental art education programs and higher art colleges in China during the AI era, drawing from extensive professional experience and empirical observations. The study specifically investigates the complex dynamics between traditional art education principles and the emerging influence of specialized art college entrance examination training institutions. Through systematic analysis, this research identifies critical gaps in the current educational framework, particularly focusing on the misalignment between basic art education objectives and the selection criteria employed by higher art institutions. The investigation reveals significant tensions in the supply-demand relationship between foundational art education and professional art colleges, highlighting how these disparities affect student development and educational outcomes. Furthermore, the research examines the structural challenges within China's contemporary art education system, including the impact of commercialized training institutions and their influence on student preparation methods. By critically evaluating these interconnected factors, this study proposes strategic approaches to address the existing educational disparities and suggests innovative solutions to bridge the gap between basic and higher art education standards, ultimately aiming to enhance the coherence and effectiveness of the entire art education pipeline in the AI era.

Premise unprecedented possibleness while raising sound and originative challenge, the speedy procession of intelligence technology is transmute the landscape of artistic innovation. This technical rotation has disrupted paradigms of esthetic yield, conduct to a substantial blurring of established creative bounds. Innovate equivocalness across three decisive dimensions, the growth of AI art has essentially challenge the formal whim of a curious Divine, : the creative matter, the creative operation. And the creative production. This translation has generated complications in the sound area, specially view copyright protection and ownership ascription. When confront the singular feature of AI-father art, hence the subsist fabric, designed for traditional aesthetic study, test progressively inadequate. For explicate rich mechanism to protect the originality of AI-render oeuvre, a pressing pauperization exists. This review nominate a fabric for accost these challenge through three key intercession: foremost, the establishment of limpid creation and traceability mechanisms that document the AI's role in the esthetic process; second, the development and implementation of copyright and supervision systems cut to AI art; and, the invention of platform for artist make with AI technologies. Through the heedful reconciliation of technological capability. Expression, and and regulatory organisation, these bar, crop in concert, can alleviate the sustainable exploitation of AI art. While embracing technological foundation in the acquire landscape of contemporaneous art, this approach ensure the saving of integrity.

Score a new era in museum studies. In late years, art museums have undergo meaning translation in their developmental trajectory. This enquiry try the acquire office of art museums as they transition from curious cultural repository to multifaceted histrion within urban ecosystems. As knowledge producers. Information disseminators. Tourism facilitators. And urban ecology builders, contemporaneous art museums now operate. This expanded scope necessitates a critical reassessment of their fundamental aspects, including institutional positioning, academic contribution, public engagement, and sustainability within an increasingly complex operational environment. Through the lense of 'New Art Museum Studies,' this inquiry inherently leave brisk insight into the phylogeny of museum practices, specially concern the ingredient of masses, infinite, thereby and institutional organization. The study presents a elaborated case analysis of the Contemporary Gallery of Kunming (CGK), an art institution in Southwest China, see its six-year development trajectory. By canvas CGK's integrating of research with perspectives, this investigating essentially evidence how art museums can maximise their developmental voltage while cling to museum trends and meet their societal responsibility. Across proportion, the inquiry draws CGK's phylogenesis: from exhibition curation to public education initiatives, from academic discussion to community engagement. And from institutional independency to help. This shift inherently illustrates the unsounded impact art museums can have on urban ethnic ecology, evoke new image for museum development in the twenty-maiden C.

ABSTRACT Among the earliest contemporary Chinese artists to experiment with ink as a medium, Gu Wenda stands out for his subversive reworking of the ink tradition. Fusing diverse artistic forms, media, and concepts, Gu’s experimental ink art exemplifies a translational space: it both continues the technical, material, and cultural legacy of traditional Chinese art and material while subjecting them to reinvention according to new material and aesthetic constraints. This article takes translation as its analytical concept to interrogate the transcultural and transmedial dimensions of Gu’s experimental ink art. By exploring how the materiality of ink enacts translation and what kinds of translations are performed through ink, the article seeks to conduct a fruitful dialogue between Chinese art and translation studies and propose translation as a generative method for understanding the ongoing transformation of diverse materials and traditions in contemporary art.

Curating otherwise: queer intersectional practices in contemporary art institutions

An art historian would tell you that temples provide us with not just a place to worship the Divine, but also remarkable architectural and artistic contributions. The design of temples has been established according to the science of Vastu Shastra, which contains extensive wisdom and intelligence stemming from our ancestors and current culture. The architecture and sculpture located within temples are examples of the various cultural, historical and spiritual narratives in existence at the time that will aid the understanding of the artistic and academic achievements of that era. You may be surprised that I call the temple's creators "artists" as opposed to "artisans," but you should know that the individuals responsible for designing and constructing the temples infused their artworks with both an aesthetic vision and a compelling story. Academic definitions state that those who have mastered the principles of art and aesthetics are generically referred to as "artists." The temple creators were not simply talented tradesman; they were also educated laborers who adhered to the rules of Vastu Shastra, creating ageless masterpieces which will continue to delight. There has always been confusion regarding who was first in creating sculpture and painting and where these artworks originated from. In addition to that, these types of art raise questions about how art is made, who creates all of this artistic expression, why it’s done in different ways and who has come up with the concept for planning the various forms of artwork. Understanding temple architecture and its relevance to religious practices also requires a consideration of some related questions and answers. Temples are where, in the ancient period, people could go for knowledge; and all of the educational aspects of this knowledge are now found on temple walls just like they were at that time. In terms of the temple architecture of Odisha, many different dynastic rulers built these monumental temples: Sailodbhava dynasty, Bhumankara dynasty, Soma Bansi dynasty, Ganga dynasty, Gajapati, Bhoi and many other smaller dynasties all played a role in building this great architectural heritage throughout Odisha. Artists and art connoisseurs provided the majority of what was needed to create all of the artwork and set a standard for future generations; and thus were the major contributors to creating the legacy of artists, builders and architects in temple architecture. This was made possible through the expertise of the vastukara who had vast amounts of knowledge in structural engineering (i.e. authentic knowledge of structural engineering) and who had a high level of knowledge of sculptural expressions. Using their expertise, patrons (or clients) were able to turn dream-like ideas into reality and etch their names into the history of time, yet, not one of these artists’ or creators’ names was inscribed anywhere.

This article addresses the relationship between art and animals within the context of a poetic research in the field of visual arts. The objective is to discuss the participation of animals in contemporary art and the recurring utilitarian and anthropocentric approaches, proposing, in contrast, a collaborative practice in which animals act as co-authors of artistic works. It draws on partial results from the research linked to the master’s thesis “Contemporary Poetics: The Human and Animal Connection,” under development in the Graduate Program in Visual Arts at UFSM, with a methodological approach derived from Passeron’s poetics. This study is complemented by bibliographic and artistic references related to anti-speciesist practices, in which animals are recognized for their uniqueness and dignity, acting as collaborative agents in creative processes. This perspective is exemplified through the work Rebanho (2024), developed by the author, which seeks to build a genuinely collaborative art with production animals, respecting their limits and establishing forms of affective communication. The proposal, grounded in breaking with the capitalist logic of animal exploitation, suggests new ways of cohabitation and collaboration between humans and non-humans in the field of art.

The article addresses a relevant issue in contemporary arts and pedagogical education – the preparation of future music teachers to develop adolescents’ vocal and creative potential in Ukraine and China within the context of the post-information society and cultural globalization. The study presents the results of both theoretical and empirical research and introduces the concept of “the development of adolescents’ vocal and creative potential,” defined as a complex integrative phenomenon and a key factor in the formation of young people’s musical and aesthetic culture. It also refines the concepts of “training” and “readiness” of future music teachers. Based on the analysis conducted, the necessity of improving the quality of professional teacher training and modernizing general music education in secondary schools is substantiated. Methodological recommendations for practicing teachers and prospective music teachers in both countries are developed.

Abstract Wills have lent themselves to more performative possibilities than any other legal document. They have been engraved, painted, written about and sung. Yet within legal scholarship these representations have been overlooked. Interpreting the Reading of the Will widely, this article demonstrates the tenacity of the will on artistic imagination and, at the same time, its starkly shifting functions and audiences. Adopting a chronological approach, it examines church monuments from the sixteenth century, nineteenth-century ‘realist’ paintings and novels, twentieth-century crime fiction, comic operas and figurative domestic porcelain, and more recent gritty and glamorous TV soaps and contemporary performance art. Aided by scholarship across a wide range of disciplines, it argues that this diverse work mirrors and illuminates historical, political and sociological debates about the public and private nature of inheritance. In a hyper-visual world, it makes a case for taking artistic endeavours seriously within legal scholarship and pedagogy.

The ancestral worship of the Xinbin Manchu is a sophisticated ritual system that preserves cultural memory, social order, and ancestral identity through symbolic frameworks, embodied practices, and ceremonial sequences. This ongoing ritual tradition encounters issues of discontinuity and symbolic erosion with modernization, urbanization, and generational change. Although current scholarship has explored Manchu ancestral worship mainly through folkloric, anthropological, and historical lenses, there has been no focus on the systematic transformation of its ritual logic via contemporary artistic practices. This study used a practice-based research methodology to investigate the translation of the symbolic structures and embodied practices of Xinbin Manchu ancestral worship into contemporary easel painting as a means of cultural knowledge formation. This research, based on qualitative fieldwork in Xinbin Manchu Autonomous County, including in-depth interviews, participant observation, and archival analysis, examines ritual significance across three interconnected dimensions: symbolic organization (space, material objects, and color), embodied enactment (gesture, posture, and sensory engagement), and temporal structure (ritual sequence and process). These analytical discoveries are then converted into artistic language through a systematic process of experimentation and reflective study. The results indicate that modern easel painting serves as a non-representational medium for cultural memory, reinterpreting ritual logic through abstraction, materiality, and rhythmic composition instead of visual reproduction. By positioning artistic creation as an analytical and generative process, this study contributes an interdisciplinary framework that bridges ritual studies, semiotics, and contemporary art practice, offering a sustainable pathway for the dynamic inheritance of intangible cultural heritage.

Abstract This article explores curatorial practice as a form of non-textual cultural translation when developed in collaboration with Indigenous Amazonian material practices, and examines the methodological, political and ontological implications of such an approach. Drawing on translation studies, decolonial thought and multispecies anthropology, it considers exhibitions as mediations, contact zones and traps that hold open the frictions, asymmetries and semiotic densities shaping encounters between heterogeneous worlds. Rather than presuming a seamless translation of Indigenous practices into contemporary art spaces, the article analyses the tensions, limits and untranslatabilities that arise when relational, territorial and more-than-human knowledges enter exhibitionary regimes grounded in Western classificatory logics. Through ethnographic examples, curatorial case studies and collaborative fieldwork, it examines material practices — such as fishing traps — as semiotic architectures that translate rivers, forests, animal behaviours, and celestial cycles into form. It argues for a speculative, decolonial curatorial translation attentive to more-than-human semiosis, foregrounding opacity, friction, and relational attunement as conditions for non-extractive world-making.

This study investigates the critical function of veteran contemporary artists in leveraging creative expression as a proactive means to interrogate and deconstruct gender-based obstacles. Utilizing a qualitative framework that integrates rigorous formal analysis with socio-cultural contextualization, the research evaluates how visual, performance-based, and multi-disciplinary artworks act as both reflective mirrors and radical instruments for challenging entrenched patriarchal paradigms. The analysis highlights the contributions of influential figures like Judy Chicago, whose seminal installation *The Dinner Party* rearticulates historical female narratives; Cindy Sherman, whose photographic explorations dismantle archetypal feminine stereotypes; and Lorna Simpson, who addresses the intersectional complexities of racial and gendered identities. Each practitioner’s body of work illustrates specific methodologies for destabilizing conventional social roles. By examining both the literal and symbolic depictions of gender, this paper argues that these artistic interventions facilitate meaningful dialogue and foster cultural transformations toward genuine equality. Furthermore, the study emphasizes an intersectional perspective, acknowledging that gendered experiences are inextricably linked with other identity markers. The findings suggest that art serves as a robust platform for political activism, harmonizing aesthetic brilliance with social critique to reshape public and institutional perceptions of gender. Ultimately, this research posits that seasoned artists remain central to the ongoing evolution of feminist and queer advocacy through their transformative creative practices.

This article analyzes a key issue in contemporary musical art – the problem of stage fright and methods for its suppression and psychological preparation before a performance. The study identifies both the prerequisites for stage fright in modern musicians and methods for resolving them, as well as specific actions that musicians should apply in their professional work. The results of this study may subsequently form the basis for the practical work of many contemporary performers, as well as be incorporated into courses on the history and theory of performance art, teaching methods for professional disciplines, and significantly impact the educational process in the disciplines "Special Instrument," "Ensemble," and "Quartet" in secondary and higher music education.

This study investigates how exhibition labels in contemporary art museums contribute to the construction and reinforcement of cultural hierarchies through both language and spatial design. While museums are often perceived as neutral repositories of knowledge, they are in fact sites where power operates subtly, shaping visitors’ perceptions of cultural value. Drawing on Foucault’s concept of knowledge/power and Lefebvre’s theory of the production of space, this research focuses on the geographical dimension of cultural hierarchies, specifically the divide between Western art and non-Western art. The analysis is based on qualitative case studies of selected contemporary art museums, combining textual analysis of exhibition labels with spatial mapping of display layouts. Findings reveal that label phrasing, narrative framing, and spatial positioning often privilege artistic traditions from Western art, while relegating works from non-Western art to marginal positions in both language and space. The study also identifies emerging curatorial strategies that decentralize authority and promote more inclusive, decolonial exhibition practices.