81 research outputs found
Unity in Diversity Through Art? Joseph Beuysā Models of Cultural Dialogue
This essay proposes the artist Joseph Beuys and his work as paradigmatic for art that through its own diversity of approach can show possibilities for addressing diverse audiences, diverging receptions and modes of participation. It arises from a symposium on the occasion of the 20th anniversary of the artistās death held at the Goethe Institut Dublin, 23 January 2006. The argument focuses on Beuys practice from his Ulysses-Extension to the Migration Workshop at documenta 6, 1977, the FIU, as well as his work (and legacy) in Ireland. Relevant theories include Ecos openness and Adornoās negative and positive representation, since Beuys works relationship to the Holocaust and trauma turns out to be central. Beuys is offered as predecessor of current discourse such as Bourriaudās Relational Aesthetics and Documenta11. The article concludes with a new theoretization of participation in culture, Irit Rogoffās Looking Away. It is supported by Beuys multi-layered, diversity-sustaining practice.Cultural Dialogue, Joseph Beuys, Diversity, Reception, Participation, Migration, documenta, FIU, Ireland, Openness, Holocaust, Trauma, Relational Aesthetics
Accepting Love and the Paradoxes of (Political) Art in Northern Ireland: Sandra Johnston
Brendiranje gradova s nasilnom povijeÅ”Äu obilježeno je srcima, no kakva ljubav pogoduje uspostavljanju i unaprjeÄivanju demokratskih zajednica ā i kako umjetnici ovoj temi mogu pristupiti na vjerodostojan naÄin? U Belfastu, u Sjevernoj Irskoj, dužnosnici su odluÄili sruÅ”iti zgradu umjetniÄke Å”kole, nazvanu po Orfeju, prvome umjetniku i graditelju mira koji je riskirao smrt za ljubav svoje žene i bio brutalno ubijen. Ovaj esej bavi se radom Sandre Johnston, koja se tamo Å”kolovala, a kasnije i predavala.
Sama žrtva nasilja, svojim hrabrim performansima, instalacijama i videografijom analizira i prikazuje ljubav koja prihvaÄa: neÅ”to Å”to Martha Nussbaum istiÄe kao vjerodostojan odraz zrelog, demokratskog stava.City branding of contested cities with violent histories has taken hold of hearts, but what kind of love is conducive to establishing and furthering democratic communities - and how can artists approach this subject matter in a credible way? In Belfast, Northern Ireland, officials decided to demolish the art schoolās building, named after Orpheus, the first artist and peace-builder, who braved death for the love of his wife, and was brutally murdered. This essay reflects on the work of Sandra Johnston, who studied and then taught there.
Herself a victim of violence, her courageous performance, installation and video work analyses and models accepting love: that which Martha Nussbaum put forward as credible reflection of a mature, democratic attitude
Accepting Love and the Paradoxes of (Political) Art in Northern Ireland: Sandra Johnston
Brendiranje gradova s nasilnom povijeÅ”Äu obilježeno je srcima, no kakva ljubav pogoduje uspostavljanju i unaprjeÄivanju demokratskih zajednica ā i kako umjetnici ovoj temi mogu pristupiti na vjerodostojan naÄin? U Belfastu, u Sjevernoj Irskoj, dužnosnici su odluÄili sruÅ”iti zgradu umjetniÄke Å”kole, nazvanu po Orfeju, prvome umjetniku i graditelju mira koji je riskirao smrt za ljubav svoje žene i bio brutalno ubijen. Ovaj esej bavi se radom Sandre Johnston, koja se tamo Å”kolovala, a kasnije i predavala.
Sama žrtva nasilja, svojim hrabrim performansima, instalacijama i videografijom analizira i prikazuje ljubav koja prihvaÄa: neÅ”to Å”to Martha Nussbaum istiÄe kao vjerodostojan odraz zrelog, demokratskog stava.City branding of contested cities with violent histories has taken hold of hearts, but what kind of love is conducive to establishing and furthering democratic communities - and how can artists approach this subject matter in a credible way? In Belfast, Northern Ireland, officials decided to demolish the art schoolās building, named after Orpheus, the first artist and peace-builder, who braved death for the love of his wife, and was brutally murdered. This essay reflects on the work of Sandra Johnston, who studied and then taught there.
Herself a victim of violence, her courageous performance, installation and video work analyses and models accepting love: that which Martha Nussbaum put forward as credible reflection of a mature, democratic attitude
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