Social Art Research Articles

Socialinio praktikos meno raiškos tendencijų teorinės įžvalgos

Straipsnyje aptariamos socialinio praktikos meno raiškos tendencijos ir galimybės. Nagrinėjama socialinio praktikos meno sąvokos samprata tarptautiniame kontekste, raiškos tendencijos užsienio šalyse ir Lietuvoje. Straipsnio tikslas yra pateikti teorines įžvalgas apie socialinio praktikos meno kūrybos formas ir plėtros tendencijų analizę.Socialinis praktikos menas (Social Practice Art, SPA) yra meno priemonė, orientuota į menininkų ir įvairių socialinių grupių bendrą meninę veiklą per socialinį diskursą. Socialinis praktikos menas atsirado reaguojant į didėjantį meninio ugdymo poreikį bendradarbiaujant su socialinėmis grupėmis multikultūrinėje aplinkoje. Vis daugiau pasaulio menininkų, kuratorių, kritikų ir meno administratorių koncentruojasi į naujo tipo praktiką – vadinamąjį meno aktyvizmą. Viena tokio aktyvizmo rūšių apibūdinama socialinio praktikos meno terminu. Šia veikla siekiama teigiamų pokyčių konkrečiose bendruomenėse, susiduriančiose su aktualiomis problemomis: rasizmu, miesto gentrifikacija, žala aplinkai, nestabiliomis darbo sąlygomis, dideliu įkalinimo lygiu, pasauliniu pabėgėlių antplūdžiu ir pan.Menininkai, dirbantys socialinio praktikos meno srityje, kuria bendradarbiaudami su konkrečia auditorija arba siūlo kritines intervencijas esamose socialinėse sistemose, kurios įkvepia diskusijas arba skatina socialinius mainus. Europoje tai kol kas naujas reiškinys, tačiau jis jau randa savo vietą daugelyje valstybių, kuriose gyvuoja stipri kūrybinė klasė, judantys migrantų srautai ir yra didelė klasinė atskirtis – Jungtinėje Karalystėje, Vokietijoje, Nyderlanduose ir kitose šalyse. Lietuvoje socialinio meno vertinimo problemos yra analizuotos nagrinėjant Kaune vykdytą projektą „Šančiai – draugiška zona“ (Dovydaitytė, 2014). Šioje studijoje aptariami socialinio praktikos meno veiklos vertinimo principai. Įvairiose pasaulio šalyse pradeda plisti naujos galimybės, todėl, siekiant atskleisti šių galimybių potencialą, svarbu analizuoti šio perspektyvaus proceso raidą.

Sounding the Museum: A Shared Reflection on the Chou Hayda (What is this?) Intervention at the National Museum of Beirut

AbstractIn November of 2017, people from across Beirut came to the National Museum and gave their voices to a number of archaeological objects in the collection. The people spoke to, for and about these objects from the past, and, in doing so, they revealed fragments of the present. They did not attempt to disclose a cohesive historical narrative. Nor did they attempt to create a fiction. They did not lie and they did not try to tell the truth. Mathaf Mathaf/Chou Hayda is a project and artwork which takes the format of the museum audio‐guide. Grounded in the field of participatory social art practice, it reverses the traditional way an audience engages with a museum collection. Objects from the past were activated by a series of questions the participants responded to, referencing elements from their own lives and reflecting on Lebanon's current social and political reality. The objects took on a new role by being given a voice in the present, and the participants occupied an engaged and enduring position in the framework of the museum by virtue of having their responses recorded for an audio‐guide that will be used by other visitors to the museum. The final audio (visual) piece includes a myriad of voices: the artist's voice, the responses of the participants and two recurring voices of professional actors whose narrations weave through the piece, giving a hint of formality to the structure of the work. The contribution takes the form of a conversation in three voices between the artist (Annabel Daou), the curator (Amanda Abi Khalil) and the project's sound artist and composer (Nadim Mishlawi). It focuses on vocality's role in knowledge production within museum/institutional contexts and its power to shift received notions of authority and access within and outside of the institution.

ТЕНДЕНЦІЇ СУЧАСНОГО УКРАЇНСЬКОГО ІКОНОПИСУ

Мета статті – розглянути тенденції і з’ясувати перспективи розвитку українського іконопису ХХІ ст. у контексті відродження національного сакрального мистецтва. Методологія дослідження. Використано історично-порівняльний метод (для дослідження динаміки розвитку стилю українського бароко); метод стилістичного мистецтвознавчого аналізу (для визначення особливостей техніко-технологічних прийомів та живописної стилістики в творчості сучасних українських іконописців); типологічний і системно-структурний методи (для виявлення індивідуально-стильових особливостей поєднання традицій барокового іконопису з академічною технікою та новаторськими тенденціями). Наукова новизна. З’ясовано специфіку синтезу українського академічного живопису із художніми традиціями, сформованими за доби бароко в контексті розвитку сакрального мистецтва України кінця ХХ – початку ХХІ ст.; досліджено творчі методи й естетичні принципи провідних сучасних вітчизняних іконописців; розглянуто тенденції й перспективи розвитку барокових іконописних традицій в українському сакральному мистецтві відповідно до специфіки соціомистецького простору ХХІ ст. Висновки. Український іконопис ХХІ ст., зберігаючи колорит традиційного сакрального мистецтва і національної культури, сформований протягом багатовікової історії, відкритий для нових художніх тенденцій. Нині відбувається синтез нових тенденцій, новаторських художніх рішень і традиційних мотивів національного церковного мистецтва різних періодів. Іконопис доби українського бароко, що характеризується унікальними стилістичними ознаками, принципами естетично-чуттєвої та духовної краси, для багатьох сучасних митців є основою художнього пошуку, синтезованого підходу та авторської стилізації, органічного поєднання стародавніх іконописних традицій та сучасних естетичних вимог, що виявляється в посиленні реалізму, народної символіки, натуралістичних рис утілення образів національних ідеалів.

The Phenomenon of the Comic in Contemporary Variety Art

The purpose of the scientific paper is to determine the functional, form-building and artistic-shaped features of the comic in the system of original genres of contemporary variety art. The research methods. In the process of analyzing the phenomenon of the comic, an interdisciplinary approach based on the principle of corporatism is used and involves the interpretation and comparison of sociocultural, philosophical, aesthetic, psychological, historical, and art critic aspects of the study of the identified issues in the context of the specifics of variety art. The range of problems of the comic as a phenomenon of contemporary variety art is considered comprehensively, using general scientific, cultural, and art criticism methods and approaches: systemic (for a comprehensive consideration of the phenomenon of comic and the specifics of the evolution of variety art); structural (for the study of variety art in terms of genre morphology); genre-typological method (for analyzing the features of the use of comic techniques in the process of creating variety turns), etc., in order to study the comic in a socio-cultural context and a social art context. The scientific novelty. The category of “comic” as a phenomenon of variety art of the XXI century has been studied in an interdisciplinary aspect; functional, form-building and artistic-figurative features of creating a comic in the system of original genres of contemporary variety art have been defined. Conclusions. In the system of original genres of variety art, such as pantomime, musical eccentricity, mime-clownery, manipulation, etc., comic tricks, jokes or gags are important means of expressiveness. The phenomenon of the comic in contemporary variety art implements a relaxation function and is characterized by an active search for new comedic situations in original genres. The use of various unique techniques in the process of creating a variety turn generates innovative shades of the comic, which causes the viewer to an appropriate emotional state.

Aesthetic traditions of Ukrainian baroque icon painting in modern sacral art

The purpose of the article is to determine the influence of the aesthetic traditions of Ukrainian Baroque on the development of modern icon painting. The research methodology is based on modern art criticism and cultural studies, which are based on interdisciplinary and integrated approaches. For the purpose of the study, the following were used: historical and cultural (to study the historical dynamics of the formation, formation and development of the Ukrainian Baroque style) and historical and comparative methods (to study the specifics of the evolution and transformation of the aesthetic traditions of Ukrainian Baroque in retrospect); the method of artistic analysis (to identify the specifics of the baroque iconography’s imaginative system); typological and system-structural methods (for the effective structuring of iconographic artworks, authorship, chronology and relationships with the aesthetic traditions of Ukrainian Baroque), as well as the method of stylistic art history and comparative analysis (to identify the specifics of pictorial style and technical and technological techniques characteristic of modern Ukrainian icon painters. Scientific novelty. The historical, political and socio-cultural factors that influenced the formation of bar features full-time icon painting on the territory of Ukrainian lands in the XVII – XVIII centuries, the characteristic features, aesthetic and stylistic specifics of the iconographic art of the Ukrainian Baroque era are defined, current trends, problems and prospects for the development of the aesthetic traditions of Ukrainian Baroque in the domestic icon painting are outlined. Conclusions. Socio-cultural space and the space of social art in Ukraine is characterized by extremely favorable conditions for the development of the modern iconography and creative experiments in the context of baroque styling, including the creation of icons inspired by the aesthetics of Ukrainian Baroque. The use of elements of Ukrainian icon painting XVII–XVIII centuries modern artists, the use of three-dimensional perspective, the image of Christ, the Virgin, archangels and apostles in national dress, with typical Ukrainian features – a symbolic hint of the need to search for holiness in real life.

Social Creation and Media Publicity

The article discusses the problems of formation of a model of informational impulse-wave interaction of society and mass media within a system of social creativity, which were suggested by A.P. Sukhodolov and co-authors, as well as characterizes systematic properties of media publicity as a factor of social creativity on the current civilization stage. Media publi­city is analyzed as an informational phenomenon closely related to social art, to creativity of social practice, to interaction within society providing unity of thought and action, to intellectual interaction within a society, to enrichment of the intellect of audience groups based on continuously updated media reality in the informational potential of mass media.

What We Do and What Is Done to Us: Teaching Art as Culture

Carl Andre’s opposition between an activating art and a pacifying culture becomes the impetus for wider reflections on artistic autonomy and agency with special reference to how fine art is taught at college. I propose that artistic agency might better be accounted for and enacted by conceiving of it not as something set against or at a distance from culture in general, but ‘as’ culture. Through an overview of various institutional and discursive accounts of artistic production which describe the ways in which art is itself influenced and determined by external factors, and an extended analysis of Raymond Williams theory of culture as ‘collective advance’, I propose that fine art education needs to confront the question of contemporary art’s wider cultural embeddedness, and the political culture of art itself—a politics based in the nature of the social relationships art practice engenders.

Digital Art History as the Social History of Art: Towards the Disciplinary Relevance of Digital Methods

Can we have a critical art history using digital methods? To answer this question, we need to ask what are the critical questions in art history that demand and are best suited to specific digital methods? This article argues that asking a critical question involves taking up the long art-historical tradition of the social history of art. Social art history is not satisfied with a social context for art, but rather reverses this equation by arguing that an analysis of art, artist, and audience must tell us something structurally about society. It is these kinds of questions that critically engage in broader art-historical debates. When questions such as these rely on large bodies of evidence – which they often do if “society” is their focus of study – then the scale of the project is, in today’s context, best suited for digital methods. In sum, digital art history lets us address the tradition of the social history of art in new ways. The following essay seeks to advance a nuanced triangulation between our art-historical topics of study, our methodological debates, and computational analysis. In specific terms, exploring alternative subjects of art history as well as the particular analytical methods of social art history opens up the debates in the discipline to a more critical intervention with digital methods.

Cualidades persuasivas de los juegos como medio artístico con función social

Las personas que no están en el mundo del juego a menudo comentan que adormecerán a los jugadores, les quitarán cualquier sentido de empatía y crearán una generación de solitarios aislados y antisociales. En este artículo intentaremos afirmar lo contrario: que los juegos pueden jugar un papel poderoso en la creación de la empatía, así como otras experiencias emocionales positivas gracias a sus propios procesos estructurales y cómo esta empatía es la necesaria para compensar la falta de participación de la sociedad en la creación artística. Nos ocuparemos de las propiedades persuasivas de los juegos como medio y qué los diferencia de otros medios. Además, explicaremos qué pueden aportar estas cualidades de los juegos al arte activista y social.

Beyond the Pain and Towards the Spiritual Awakening: Andrzej Wróblewski's Experience of War and Everyday Life Trauma

Andrzej Wróblewski (1927-1957) was a distinguishing Polish painter, art historian and art critic. Painful war experience overshadowed his whole short and tragic life during which he fought against the mystery of pain and the fumes of trauma. However, he managed to lead two lives - the one before and the one after the Second World War that somehow intertwined in his memories and art. He didn't want to collect painful memories and experiences, instead he represented the world in a haptic and literal manner using abstract figuration. His aim was to create a new social art, which would be a kind of intensified realism that evokes a need for action here and now. Pain was not a subject of art; visualized it became rather a fundamental means of dealing with its effects on non-dramatic level.

ПОЕТИКА НОКТЮРНУ В ЛІРИЦІ ЮРІЯ КОСАЧА

The article deals with the poetical works of Ukrainian writer in exile Jurij Kosach in context of Frederic Chopin nocturne tradition in the European art. The parallels to the visions of Ukrainian oral national tradition, romantic writers (particularly T.Shevchenko), Ukrainian emigrant poets of the previous generation (B.Lepky, E.Malaniuk, Alexander Oles’ and others), and European symbolists (Sh. Baudelaire, A.Rimbaud) are given. The author outlines the nocturne tendencies in music, literature and other arts as traditions of cultures in bondage as well as the artists in exile. The main attention is drawn to the influences of existential situations after the revolutions of the beginning of the 20th century and two World Wars. In Soviet space the minority of nocturne music was interpreted as a protest against major tone of so called social realism pseudo art. Night as the main concept of Jurij Kosach’s lyrical selections (especially “Manhattan Nights”, “Summer in Delaware”) is analyzed in different poetical intentions and interpretative perspectives: night in Motherland as an idea of national and spiritual darkness of enslavement Ukraine, as lost land (in parallel to Atlántida); night of exile as the way of uncertainty and lost, as the nostalgia; night travelling by sea as a development of antique Homeric tradition of Odyssey as well as Alcaeus traditions of the idea of life obstacles; night travelling by land as a development of Goethe’s tradition – way of life to the calmness of death; mystery of night as the reinforced Faustian and Wagnerian ideas; solitude of night as a reflection of Nietzsche’s ideas of the world sorrow and existential fear. Motives of night, night travelling, poetics of starlit sky, constellations as secret signs and silent language etc. are analyzed in their projection upon the philosophic concepts of destiny, solitude, and bondage. They are interpreted on different levels: in the life of one person (night reflections of different artists in exile, such as T. Shevchenko, A.Pushkin, M.Tsvetaeva, F. Villon, E.A. Poe, A. Mickiewicz, W.Whitman and others are outlined in the contexts of their destiny situations); in the existence of a city (European, American and Ukrainian in their “night” living in different centuries and historical circumstances); or in the life of the nation at large.

Дети и город: на пути к соучаствующему проектированию

The article substantiates the idea that children can participate in the process resolving the issues that affect them by being involved in the study and transformation of the urban environment. The principle of participation allows both children and adults to become part of the urban community, to feel social responsibility for the state of the urban environment, to become involved in the processes of improvement of their immediate vicinity and neighbourhood. The ideas of urban environment co-design are actively developed by representatives of the new urbanism (J. Jacobs, J. Gale, O. Newman, G. Sanoff, etc.). Tactical urbanisation is a practical tool for creating a friendly urban environment that ensures active involvement of children and adolescents. Tactical urbanism serves to reduce the distance in social interactions between children and adults, to design urban spaces based on child and adolescent ideas about them, to support local communities, etc. Examples of the ways the principles of tactical urbanism involving children and adolescents may be implemented are such small-scale low-cost temporary improvements as temporary playgrounds, isles of greenery, pedestrian crossings, and other social art interventions. The most effective involvement of children and adolescents in the transformation of the urban environment is via research and educational activities. The article describes cases of urban research involving children, as well as examples of implementing the project method in relation to social problems of local communities and organising urban environment. In order to understand and correctly interpret children’s needs it is necessary to further develop the area of co-participating research of the urban environment and to include children as informants, researchers, and interpreters. At the same time, it is important to understand that the children’s needs change as they grow up, and it is important to hear not only the voices of adolescents, but also the views of pre-school and primary school age children. “Soft” techniques with elements of projection can be instrumental for the achievement of this task. The authors suggest that the next step towards involving children in the transformation of the urban environment could be taken by including them in the preparation of social projects. Participation in project design may help to bring children to the level of solving a social problem by determining a set of concrete actions.

When Social Practice Art Overcomes Globalisation: Attending to Environment and Locality in Taiwan

AbstractThis essay discusses how artists, architects, and local community people have collaborated together to regenerate an everyday life aesthetics that embodies and reflects the environmental specificity of local culture, history, and geography in the context of Taiwan, where systematic urbanisation has had a very negative impact in many different areas since the early 2000s. The essay explores the possibility of local aesthetics retrieving the feelings of the Taiwanese “vernacular worlds” against the effects of globalisation, urbanisation and rapid socio-political changes. Two social practice art projects are considered accordingly: Plum Tree Creek and Togo Village.

Primacía de lo espiritual. Arte e imágenes en la primera etapa de Criterio

La primera etapa (1928-1929) de la revista católica Criterio, presenta la convivencia - no exenta de conflicto- entre un pensamiento católico conservador y más tradicional y otro de tinte renovador, vinculado a escritores y artistas modernos. En relación con las reflexiones sobre arte contemporáneo y las imágenes que se ponen en circulación en sus páginas, se presenta una mirada modernizadora que se debate entre dos grandes corrientes: por un lado, la opción más esteticista vinculada con la vanguardia martinfierrista; por el otro, la preocupación por un arte popular y social. Entre ambas, se definen los límites y las posibilidades de una modernidad espiritual bajo el régimen católico.

‘¡Yunques sonad; enmudeced campanas!’: Antonio Machado and the Forging of a Poetic Conscience of the Race

Antonio Machado’s creative evolution from an examination of self-consciousness in Soledades, Galerías y otros poemas (1902–1907) to the forging of a poetic conscience of his race in Campos de Castilla (1912–1917) was the result of a crisis of artistic conscience (1903–1904) in the aftermath of the national crisis of the 1898 Disaster, a continual point of reference for the poet. The rejection of pure art for committed social art was in response to the call of the prose writers of his generation to join in the collective task of national moral and political rearmament, creating a new secular heterodox Spain in opposition to traditional orthodox Spain. The poetic expression of Machado’s national social conscience was informed by observation of life in Soria and Baeza and by a cultural imagination that assimilated in a poetic dialogue the collective vision and commonplaces of his literary tribe—Unamuno, Azorín, Baroja and Ortega y Gasset. It was a Republican conscience inherited from his father ‘Demófilo’ and the Institución Libre de Enseñanza; assimilating ideas from (Christian) Anarchism and Socialism, its expression became increasingly revolutionary. He was to be the fore-runner of the committed poets of the thirties whom he would join in the cultural war-effort of the Second Republic in defence of that conscience.

Prática de Ensaio como Pesquisa

Este artigo explora caminhos que os artistas trabalham com as pessoas em performances ou práticas artísticas sociais. Abordando diretamente e organizando pessoas envolve uma ética de atenção, incluindo modos de ouvir, que desdobram-se em variados resultados de pesquisa. Nesse contexto, o livro de Lisbeth Lipari de 2014 Ouvir, Pensar, Ser: No Sentido de uma Sintonia Ética discute a noção do filósofo Emmanuel Levinas do encontro cara a cara com o outro como um união que deve abranger a diferença. Práticas de audição e afinação tem papel crítico no projeto de PhD de Olivia Webb da Universidade AUT onde a prática de sua arte engaja participantes e diversas comunidades de música e canto. Para esses projetos Webb usa sua experiência como treinadora de coral e artista performática e questiona como a audição é traduzível entre diferentes grupos culturais. Essas metodologias práticas, baseadas na ideia de participação, ativamente alteram e redirecionam seus projetos.

Alih Kode dan Campur Kode oleh Pegawai Aerotravel di Denpasar

This research aims to identify types and causes of code switching and code mixing that are applied at Aerotravel Denpasar. This research is analyzed with “Agih and Padan” method in two different languages , Japan and Indonesian. On each of the language, it’s connected therefore found type and cause of factor code switching and code mixing. The theories used are code switching (Wardhaugh, 2006), code mixing (Hoffman, 1991) , and cause code mixing factor (Weinrich, 1979). From 20 data that is analyzed at Aerotravel, it resulted 6 type switching code: 1 methaporical code switching, 5 situational code switching. In addition there are 14 data of switching code consists of 10 lexical code mixing in lexical, 3 phonologic code mixing, and 1 sentence code mixing. The cause factors of switching codes are, topic, solidarity with communicator, social art distance, and motivation. The cause factor of code mixing are low frequency of word, need for synonym, social value, familiarity with another culture, and sufficiency differentiated. This research concludes that the situational code switching is the most used in code switching. Education background is the cause of code mixing existence.

The Golden Age of Stealing: An Analysis of Queer Appropriation and Exploitation in 21st Century Popular Culture

Popular media is a series of appropriations and citations of cultural productions, refurbishing past ideas to fit the mold of the present. Representation of art works and cultural products influence the visibility of the groups who produce for popular culture. While social media and contemporary art allow for the rapid spread of ideas through the internet and advertisements, too often are ideas stolen for profit for large companies by exploiting the artistic integrity of uninitiated groups. Queer culture often appropriates historical methodologies for a reclamation of the past to create representation for the future. Queer artists produce landmark aesthetics in visual culture, shaping contemporary fashion trends and artistic movements in the 21st Century. While appropriation as a methodology is not inherently problematic, exploitation develops when artists are neglected credit for works which are exploited for capitalist gain.The research paper The Golden Age of Stealing: An Analysis of Queer Appropriation and Exploitation in 21st Century Popular Culture analyzes the relationship between the appropriation and exploitation of Queer art, using the 1980’s and 90’s club kids as a platform for queer aesthetic production. The paper outlines the dichotomy between representation of queer peoples in the 1990’s and the aesthetics produced to question popular representations and roles within a western consumer society. Using queer performative theories including utopianism, performativity, and disidentification, the paper distinguishes why the stealing of queer art for profit is inherently dangerous and regressive for the queer community, silencing queer voices and perpetrating a heteronormative narrative of cultural production.

المسرح والتاریخ تعالق إبداعی دراسة تحلیلیة فی مسرحیة (ممالیک للبیع)

المسرح والتاریخ تعالق إبداعی دراسة تحلیلیة فی مسرحیة (ممالیک للبیع)

Mirko Kujačić i socijalna umetnost u Srbiji

The art of the fourth decade of the twentieth century which, as if it was announcing the World War II, was polarized between so-called 'pure art' (l'art pour l'art), engaged art (l'art pour l'idee), and war realism. This separation often caused ideological conflicts that were intensifying and spreading into the sphere of political conflicts. Two models of the leftist ideological concepts are reflected into the socially engaged artistic work of the two programmatically declared groups, which were devoted to an engaged form of artistic activity: the group 'Earth' (1929-1935) from Zagreb and the group 'Life' (1932-1940) from Belgrade. Social art in Serbia had strong foundations in the second half of the third decade of the twentieth century and stretched throughout the period of war events until 1943. In the period between the two world wars it started with The Manifest of Mirko Kujacic, (1901-1987) published in 1932 and an exhibition of his surrealistic collages, framed shoes, an object named The Winter Motif and its counterpart, the painting named The Root of Belgrade Gentility. An important event for the continuation of such artistic tendencies was the forming of the group Life in 1934 in Belgrade, with Kujacic as one of the founders and the main protagonist.