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Peter Boxall’s recent study The Prosthetic Imagination stresses the status of the novel form as the principal prosthesis of the imagination. The Bakhtinian echo in Boxall’s title is highly relevant in our multimedia saturated times. The novel’s aesthetic expression provides us with an exceptional form that can encompass and explore different artforms such as painting, photography, and indeed, conceptual and performative art. The tension that can be scrutinised is basically the same aesthetic pressure that arises in ekphrastic endeavours generally and historically, that is, descriptive prose is not identical to colours and forms on a canvas or any pixelated surface. However, it is precisely this discrepancy that can be reflectively and even systematically incorporated in the prosthetic dimension of the literary mind. Even more profoundly formulated, the novel form explores mimesis as such while performing it. This aesthetic facet comes to the fore in sharp relief through the analytic triangulation of three works by prominent contemporary novelists. In The Making of Incarnation, Tom McCarthy continues his project of exploring the interface between reality and a digitalised and mostly visual counterpart, which seems to reproduce a given reality as well as produce an altered reality. A similar mimetic scrutiny—with obvious Baudrillardian shades—is performed by Michel Houellebecq in The Map and the Territory. Both novels examine the economized networks which art and the technology of representation are forced to adapt to. Partly in contrast, in The Body Artist Don DeLillo sets up the performative arena of the body as a liminal zone in which art and life interact as a near metaphysical force in the creative act itself. Through a careful analysis of these works, this essay explores the aesthetic dimension of the novel as a prosthetic device that in turn inspects the aspects of projection and imaging, while simultaneously making manifest art’s immanent core of affectivity t

This dissertation analyzes photographic practices in Tokyo, Kobe, Kyoto, Yokohama, Los Angeles, and the San Francisco Bay Area, paradoxically illustrating the materiality of photographed objects through images presumed to be immaterial. I examine how photography was used to investigate the material operation of busshitsu––the Japanese term meaning “matter” in English. Busshitsu was examined in the artistic discourse developed between the mid 1950s and the early 1970s in Japan as the external material reality of things that unsettled modernist anthropocentrism. The dissertation analyzes the international emergence of conceptual photography, which illustrates the medium’s potential to produce ontological shifts by breaking down the hierarchy of relationships in the world and liberating artists from the limitations of their eyes, preconceptions, and languages that impose fixed meanings on the material environment. By investigating the visual and conceptual parallels between the less-studied photographic practices of Japanese artists, such as Takamatsu Jirō, Kinoshita Kazuyo, and Nomura Hitoshi, and American artists, such as Bruce Nauman, Jay DeFeo, and Judy Chicago, the dissertation aims to expand the scope of the study of the history of contemporary photography and shift the focus from the center-versus-periphery paradigm to the mapping of multiple localities. I contend that their works challenged the image-saturated world that embodied the domination of the American hegemonic-capitalist order that followed the Second World War. Ironically, this was accomplished through photography, the same medium that created that world.

A summary of the Mater Thesis Exhibition: Displacement Erratic at the University of California Irvine's University Art Gallery. A review of the artworks displayed in the exhibition and the artist's views on the artworks and their connections to socio-economic issues of immigration, gentrification, and incarceration. A review of seven artworks which include mediums of forensic fingerprint powder, a tattoo flash rack, and other objects which the artist's lists as Prison Readymades. Also included in the exhibit is a dislocated room which attempts to address hyper surveillance in the university and the prison.

El problema i objectiu del projecte és crear una proposta de sèrie animada en 2D que tingui com a punts focals el disseny dels personatges i la creació del món, així com la diversitat dins dels personatges de la sèrie. Per tal d'assolir aquesta fita, s'ha fet una investigació extensa tant en art conceptual com en disseny de personatges. Així com una anàlisi de la indústria de l'animació, fent èmfasi en les quotes de diversitat i en la indústria espanyola. Posteriorment, s'ha realitzat el desenvolupament del projecte. El qual s’ha dividit en tres seccions: l'escriptura de la sèrie, el disseny dels personatges i el disseny dels entorns. Seguidament, un cop tancades les fases anteriors, s'ha realitzat la validació dels resultats, tant amb usuaris com sense. Finalment, el resultat del projecte és l’assoliment de l’objectiu plantejat: una proposta de sèrie animada. La qual compta amb tots els documents necessaris per ser presentada tant a festivals com a empreses.

En este proyecto se ha investigado la forma de combinar la creación de un mundo junto con el diseño del mismo. El principal objetivo era poder plasmar todo aquello que uno imagina cuando, por ejemplo, lee un libro con un mundo ficticio. Para llevar a cabo esta combinación, se han tenido que conjugar las tareas del Worldbuilding y del Concept art. Además de una profunda investigación sobre la materia para identificar las claves de cada tarea. Con la idea planteada y una primera investigación hecha surgió algo que no se esperaba, no había un tutorial específico o una guía sobre cómo combinar ambos campos. Ahí surgió el primer problema y se planteó lo siguiente ¿Por qué no crear la guía nosotros mismos? Este documento engloba todo el proceso desde la investigación hasta el último detalle de producción del proyecto, por lo que en sí mismo es un manual para todo aquel que quiera hacer algo parecido. Sin embargo, también se ha desarrollado una guía aparte que funciona como “pasos a seguir y en caso de dudas consulta el manual”. Este es el manual. Para la parte teórica y de investigación no ha hecho falta más que acceso a internet, un teclado y una libreta. En cuanto a la parte práctica, se han utilizado softwares especializados para cada tarea, como Adobe Photoshop. En general el proyecto cumple con todos los objetivos principales y pese a que se disponía de mucho tiempo para completarlo, se ha acabado justo a tiempo. En resumen, este proyecto demuestra que 2 campos que suelen ir por separado (aunque se podría justificar lo contrario), pueden ser perfectamente combinables siguiendo una buena organización de las tareas y del tiempo para llevarlo a cabo. Además, ofrece la oportunidad a cualquiera con curiosidad para probar a hacerlo uno mismo.

Medieval fantasy has always been a source of scapism, inspiration an awe. In an age where role-playing games are more famous than ever, the opportunity to become one of the heroes of a fantastical tale is at the reach of your palm. Deciding on one concept, when the array of possibilities is endless, is a struggle. Then, understanding how to embody another persona is an even greater challenge. This project is centered in the process of character creation for a role-playing game set represeting the traditional character archetypes in a medieval fantasy world. It encompasses all the stages from character conceptualization to the final individual design, emphasizing the impact that equipment and attire have on how a character presents themselves to the world.

In this essay, Maria Eichhorn’s 2016 intervention at Chisenhale Gallery 5 weeks, 25 days, 175 hours serves as a foundation to examine the figure of the artistic worker in the Post-Fordist context. Departing from an art-historical analysis of Eichhorn’s gesture of closing the gallery and giving the staff free time, I explore the new subjectivity of the worker from a bio-political perspective, dwelling on the notion of self-precarization. An analysis of Eichhorn’s work shows how the neoliberal worker has been revealed as a subject who takes responsibility for her job insecurity and allows work to penetrate her private life. I argue that Eichhorn’s gesture acts as a reminder of how, as a consequence of the development of the new model of labor, every aspect of life is occupied by the imperative of productivity, complicating traditional ways of resistance., En el presente ensayo, la intervención de Maria Eichhorn de 2016 en la Galería Chisenhale 5 semanas, 25 días, 175 horas sirve de base para examinar la figura del trabajador artístico en el contexto posfordista. Partiendo de un análisis histórico-artístico del gesto de Eichhorn de cerrar la galería y dar tiempo libre a su personal, exploro la nueva subjetividad del trabajador desde una perspectiva biopolítica, deteniéndome en la noción de autoprecarización. Así, un análisis de la obra de Eichhorn evidencia cómo el trabajador neoliberal se ha revelado como un sujeto que asume la responsabilidad de su inseguridad laboral y permite que el trabajo penetre en su vida privada. Sostengo que la acción de Eichhorn nos recuerda que, como efecto del desarrollo del nuevo modelo laboral, todos los aspectos de la vida están ocupados por el imperativo de la productividad, complicando las formas tradicionales de resistencia al trabajo.

', Aesthetic Investigations, Vol 5, No.2 (2022), i-viii. (DOI: https://doi.org/10.58519/aesthinv.v5i2.13645)

This article aims to analyse how a photographic interaction, complicated by technical and bodily disruption, entails a productive glitch in the form of systemic friction. The analysis is grounded in artist Lisa Tan’s exhibition Dodge and/or Burn in Stockholm (2023–24), with a focus on a central video work. The exhibition’s theme of crisis and transformation guides the analysis within a qualitative framework informed by an art historical methodology of semiotics and phenomenology combined with media and disability studies. This interdisciplinary perspective organizes an account anchored in the artwork’s initial capture and exhibition display. As the glitch is redefined, from a technical error to an embodied experience of systemic friction, the article offers an innovative take on how both photography and glitch can be conceptualized and deployed. As a result, the glitch emerges as a tool to address today’s dominant sociotechnical systems and their visual underpinnings.

Tomorrow is the Problem kicks off its fifth season with a deep-dive into the groundbreaking work of conceptual artist, Charles Gaines. Over the course of his ongoing career, Gaines repeatedly revolutionized our understanding of art: how it can be made, what makes it meaningful, and why art criticism consistently fails Black artists. Host Dr. Donna Honarpisheh sits down with art historian and curator Ellen Tani, contemporary artist Edgar Arceneaux, and Charles Gaines himself to discuss Gaines’ prolific work., https://www.librarystack.org/charles-gaines-between-the-system-and-the-sublime/?ref=unknown

Instructions for a Walk Off Line engages in a reparative reading of Fluxus and Conceptual artworks, with a focus on the practice of stanley brouwn, to outline a set of strategies for contemporary artists to approach the role of bureaucracy in mediating their relationship with art institutions. This research starts from the observation that modern and contemporary art museums are increasingly invested in inviting underrepresented artists into their spaces without engaging in the necessary structural changes to meet their conditions for being included. Bureaucracy is one of those structural elements that maintains and perpetuates certain norms and excludes those who do not have proximity to them. In the approach to Fluxus and Conceptual works, this thesis relies on intermedia and queer theory to analyse how bureaucratic form, language, and function are appropriated and fused with artistic media to expose normative systems, destabilise them, and deviate from them. stanley brouwn’s Aantal stappen of meters in de richting van diverse steden in the collection of Van Abbemuseum Eindhoven is taken as an exemplary case, as brouwn is known to have a specific set of conditions for the display and dissemination of his work. Situating brouwn’s practice in relation to the strategies of appropriation, exposure, destabilisation and deviation, this research proposes his work and conditions as a relational practice of walking off line. The notion of the line, a recurring formal aspect in brouwn’s work, represents the norm that brouwn and his contemporaries deviate from. The museum staff and the audience are invited into this process through different instructions and conditions for the installation of, and engagement with the work. This thesis demonstrates that these instructions are not static but allow for interpretations and invite playfulness. The strategies in this research are offered in the same way; they are not presented as a single way of walking off line but invite a range

This thesis examines how Blackness, as an ontological and relational response to Anti-Blackness, lives within a social-cultural-historical context through the theoretical lens of Afropessimism. The tenets of Afropessimism have informed my conceptual art practice through the mediums of black-and-white photography, installation, and film. Calling attention to the paradoxical themes of Blackness, the tensions between hypervisibility vs. invisibility, invisibility vs. illegibility, and Black social life and social death are raised for discussion. Through the investigation of the transformation of the Black body into mere flesh after the Transatlantic slave trade, systemic racism is expressed through exclusion and the use and misuse of language within frame of Black vernacular and white supremacy. It is through this personal and historical erasure, specifically within the framework of natal alienation, that my solo show, You Don’t Know Us Negroes, named after Zora Neal Hurston’s essay, is realized. The documentation of the landscape of the south is juxtaposed with the felt presence of the ancestral trauma through the perspective of critical fabulation.

As neoliberal ideologies have dominated the past four decades we find ourselves navigating the hyperreal, a condition where images have overtaken objects, sign value has undermined material value, and distortions of the lens have colonized our vision. Within online platforms information has become flattened, inconceivable violence appears alongside inconsequential clickbait, and profit motives have excised any liberatory potential. Conspiracy and its theories run rampant as old narratives are abandoned and austerity breeds alienation. Corporate entities resort to more desperate and obscene forms of marketing logic to compete for the attention of an increasingly precarious consumer class. Bandy’s work considers these events through their material residue, brand collaborations, memetic objects, conspiratorial artifacts, and sites of occurrence. Engaging with memetic image culture, the works are unfixed. Objects and images shift form, each version further mediated than the last, pointing us towards the pleasures and perversions of an increasingly virtual world.

From the analysis of two collective experiences of conceptual art, Tucumán Arde (1968) and the exhibition Information at MOMA (1970), this article aims to provide through the lens of political ecology a new perspective to the chapter dedicated to conceptualism in the history of art. Despite the differences between the art ecosystems in which both experiences participated, their artists' proposals shared critical elements that can inspire transformations in the discipline of art history that respond to the ecosocial crisis. The connections with sugar in the case of the Argentinean experience and the fossil condition of the artistic institutionality of advanced capitalism in which Information is inscribed confirm the bifronted character (North/South) of energetic modernity and its connections with the artistic experimentations of the avant-garde. The self-managed artists around the Tucuman experience attempted to convert art into information without going through the communication channels and spaces of globalised art. For their part, some of those who participated in the New York show resisted the uncritical and spectacular assimilation of their practices into the institutional machinery at the service of the culture industry, complicit with the market of war and fossil extraction., A partir del análisis de dos experiencias colectivas del arte conceptual como fueron Tucumán Arde (1968) y la exposición Information en el MOMA (1970), este artículo pretende aportar desde la ecología política una nueva perspectiva al capítulo que la historia del arte dedica al conceptualismo. A pesar de las diferencias existentes entre los ecosistemas del arte en los que ambas experiencias participaban, las propuestas de sus artistas compartieron elementos críticos inspiradores para promover transformaciones en la disciplina de la historia del arte que respondan a la crisis ecosocial. Las conexiones con el azúcar en el caso de la experiencia argentina y la condición fósil de la institucionalidad artística del capitalismo avanzado en la que se inscribe Information constatan el carácter bifronte (Norte/ Sur) de la modernidad energética y sus conexiones con las experimentaciones artísticas de vanguardia. Los artistas autogestionados en torno a la experiencia tucumana ensayaron la conversión del arte en información sin pasar por los canales y espacios comunicativos del arte globalizado. Por su parte, algunos de los que participaron en la muestra neoyorkina se resistieron a la asimilación acrítica y espectacular de sus prácticas en la maquinaria institucional al servicio de la industria cultural, cómplice con el mercado de la guerra y la extracción fósil.

En este proyecto quisiera presentar un análisis sobre las leyendas y la mitología española en un intento de modernizar algunos de los rasgos más tradicionales que ya quizá sean obsoletos pero que, a juicio de muchos, todavía conservan la esencia de la historia que transmiten. Para desenvolver el concept y el character design de estos personajes es necesario tener en cuenta los trabajos previos que ya hayan desarrollado este concepto. El marco teórico que tiene como base el análisis de trabajos ya existentes, debería tener en cuenta que traducir puede, en ocasiones, traicionar el mensaje original y privar las posibilidades de que una relectura de la leyenda tradicional consiga alguna realidad innovadora y propia de la sensibilidad actual, pero aportando a su vez todos los matices modernos que sea posible. En una comparativa entre distintos resultados actuales, se ha pretendido aislar aquel núcleo esencial de la leyenda, el cual es intemporal y se traduce de una forma diferente para actualizar la historia conservando la esencia de esta. Sería un hito difícil pero necesario conseguirlo para que la historia no se devalúe y termine en un cuento de niños, muy alejado de las posibilidades reales con las que se pueden narrar hoy en día. Para traducir, releer o contextualizar una leyenda se requiere de un análisis profundo del relato para actualizar la fuente sin reducir su esencia original.

This thesis explored the advantages and disadvantages of some of the most popular tools and workflows used in the industry of video games to design and present characters. It also explored some broad theoretical ideas of concept art regarding drawing, practical perspective, and more. The final objective was to reflect on how concept artists work today, and why, and see how emerging technologies might be incorporated in their day to day.

Can games be used to communicate theoretical knowledge that is relevant to game studies? Like conceptual works of art, some games are designed to convey intellectually significant ideas in ways that are not exclusively linguistic. Drawing from art theory, we argue that the kinds of ideas one can experience practically and firsthand through ‘conceptual games’ can be of three kinds: socio-political, philosophical, or self-reflexive. Conceptual games that take a self-reflexive stance in particular communicate knowledge about games themselves, about their expressive conventions and their relationships to players’ expectations. While the quality of being self-reflexive does not by itself grant a game the status of a theoretical contribution to game studies, there are self-reflexive games that explicitly address theories and texts in the field. Among the few existing examples of self-reflexive games that were deliberately developed as scholarly contributions to game studies, Doors (the game) (Gualeni & Van de Mosselaer 2021) is discussed and analyzed as a particularly relevant case study.

[EN] From the analysis of two collective experiences of conceptual art, Tucumán Arde (1968) and the exhibition Information at MOMA (1970), this article aims to provide through the lens of political ecology a new perspective to the chapter dedicated to conceptualism in the history of art. Despite the differences between the art ecosystems in which both experiences participated, their artists’ proposals shared critical elements that can inspire transformations in the discipline of art history that respond to the ecosocial crisis. The connections with sugar in the case of the Argentinean experience and the fossil condition of the artistic institutionality of advanced capitalism in which Information is inscribed confirm the bifronted character (North/South) of energetic modernity and its connections with the artistic experimentations of the avant-garde. The self-managed artists around the Tucuman experience attempted to convert art into information without going through the communication channels and spaces of globalised art. For their part, some of those who participated in the New York show resisted the uncritical and spectacular assimilation of their practices into the institutional machinery at the service of the culture industry, complicit with the market of war and fossil extraction., [ES] A partir del análisis de dos experiencias colectivas del arte conceptual como fueron Tucumán Arde (1968) y la exposición Information en el MOMA (1970), este artículo pretende aportar desde la ecología política una nueva perspectiva al capítulo que la historia del arte dedica al conceptualismo. A pesar de las diferencias existentes entre los ecosistemas del arte en los que ambas experiencias participaban, las propuestas de sus artistas compartieron elementos críticos inspiradores para promover transformaciones en la disciplina de la historia del arte que respondan a la crisis ecosocial. Las conexiones con el azúcar en el caso de la experiencia argentina y la condición fósil de la institucionalidad artística del capitalismo avanzado en la que se inscribe Information constatan el carácter bifronte (Norte/ Sur) de la modernidad energética y sus conexiones con las experimentaciones artísticas de vanguardia. Los artistas autogestionados en torno a la experiencia tucumana ensayaron la conversión del arte en información sin pasar por los canales y espacios comunicativos del arte globalizado. Por su parte, algunos de los que participaron en la muestra neoyorkina se resistieron a la asimilación acrítica y espectacular de sus prácticas en la maquinaria institucional al servicio de la industria cultural, cómplice con el mercado de la guerra y la extracción fósil.

El presente trabajo consiste en un temprano esfuerzo académico por sintetizar la historia del jazz en Galicia, así como de formalizar un análisis de la propuesta musical de los artistas de jazz gallegos. Para ello se estudiará el recorrido del género desde inicios del siglo XX, con un notable desarrollo a partir de los años setenta, teniendo en cuenta los diversos métodos de difusión a los que se recurre para su consolidación (locales, escuelas, festivales y medios de comunicación). El estudio historiográfico pretende asimismo aportar una visión clara y objetiva del género dentro del contexto contemporáneo. Con respecto al análisis artístico, se orientará hacia el caso concreto del trío compostelano Sumrrá, con especial atención en aspectos esenciales como su trayectoria artística, proceso creativo, influencias musicales y relación con el arte conceptual y la performance. De entre su amplia propuesta musical, estudiaremos el álbum 6 mulleres (2018) por ser significativo en cuestión de perspectiva de género y ejemplo de la inclusión del discurso feminista en el arte y el jazz., O presente traballo consiste nun temprano esforzo académico por sintetizar a historia do jazz en Galicia, así como de formalizar unha análise da proposta musical dos artistas de jazz galegos. Para isto estudiase o percorrido do xénero dende inicios do século XX, cun notable desenvolvemento a partires dos anos setenta, tendo en conta os diversos métodos de difusión aos que se recorre para a súa consolidación (locales, escolas, festivais e medios de comunicación). O estudo historiográfico pretende asemade aportar unha visión clara e obxectiva do xénero dentro do contexto contemporáneo. Con respecto á análise artística, oriéntase ao caso concreto do trío compostelán Sumrrá, con especial atención en aspectos esenciais como a súa traxectoria artística, proceso creativo, influencias musicais e relación co arte conceptual e a performance. De entre a súa amplia proposta musical, estudaremos o álbum 6 mulleres (2018) por ser significativo en cuestión de perspectiva de xénero i exemplo da inclusión do discurso feminista no arte e no jazz., This present work consists of an early academic effort to summarize the history of jazz in Galicia, as well as to formalize an analysis of the musical proposal of Galician jazz artists. To this end, the genre’s path will be studied from the beginning of the 20th century, with a remarkable development since the 1970s, taking into account the various methods of dissemination incurred for its consolidation (venues, schools, festivals and mass media). The historiographical study also aims to provide a clear and objective view of the genre within the contemporary context. Regarding the artistic analysis, it will focus on the specific case of the Compostelan trio Sumrrá, with special attention to essential aspects such as their artistic career, creative process, musical influences and relationship with conceptual art and performance. From its broad musical proposal, we will study the album 6 mulleres (2018), for being meaningful in terms of gender perspectives and an example of the inclusion of feminist discourse in art and jazz.

En el presente trabajo, se pretende analizar e investigar acerca de las prácticas efectuadas con el uso del cuerpo como soporte artístico, dentro del movimiento del Body Art, entre las décadas de 1960 y 1980. Para ello, se ahondará dentro del Arte Conceptual, en las prácticas relativas al Performance Art. Con ello, se pretende analizar la teoría, tanto del Performance como del Body Art, los objetivos y bases de su arte así, en particular, como la simbología, el ritual, lo grotesco, lo violento y provocativo que las obras adscritas al Body Art desprenden. Al igual que la relación entre artista, arte y observador, desde el punto de vista de los artistas del Performance y el Body Art. Se trata de un estudio sobre como el cuerpo adquiere un uso y sentido dentro del arte contemporáneo, pasando el artista y espectador de un segundo plano, a ser centro de la obra, empleando el cuerpo como una herramienta, soporte, material y obra artística en si misma desde la segunda mitad del siglo XX y llegando hasta nuestros días. Una vez claras las bases de ambos movimientos, en especial del Body Art, se realiza un recorrido por ejemplos y prácticas artísticas que se han desarrollado en esta variante del Performance Art o del Conceptual, las cuales he querido recoger por su importancia dentro del Body Art., O presente traballo, pretende analizar e investigar acerca das prácticas efectuadas como empleo do corpo como soporte artístico, dentro do movemento do Body Art, entre as décadas de 1960 e 1980. Para iso, afondarase dentro da Arte Conceptual, nas prácticas relativas ao Performance Art. Con iso, preténdese analizar a teoria, tanto do Performance Art coma do Body Art, os obxetivos e bases da sua arte así, en particular, coma da simboloxía, o ritual, o grotesco, o violento e provocativo que as obras adscritas ao Body Art desprenden. Ao igual ca relación entre artistas, arte e observador, dende o punto de vista dos artistas do Performance e o Body Art. Trátase dun estudo sobre como o corpo adquire un uso e sentido dentro da arte contemporánea, pasando o artista e espectador dun segundo plano, a ser centro da obra, empregando o corpo como ferramenta, soporte, material e obra artística en si mesma, dende a segunda metade do século XX e chegando ata os nosos días. Unha vez claras as bases de ambos movementos, en especial do Body Art, realizaráse un percorrido por exemplos e prácticas artísticas que desenvolvéronse nesta variante do Performance Art ou do Conceptual, as cales e querido recoller pola sus importancia dentro do Body Art., In the present work, it’s intended to analyse and investigate about the practices carried out with the use of the body as an artistic support, within the Body Art movement, between the 1960s and 1980s. For this, it’ll delve into Conceptual Art, in practices related to Performance Art. With this, it’s intended to analyse the theory, both of Performance and Body Art, the objectives and bases of their art, as well as the symbology, ritual, grotesque, violent and provocative that the works ascribed to Body Art give off. Like the relationship between artist, art and observer, from the point of view of Performance and Body Art artists. It is a study on how the body acquires a use and meaning within contemporary art, passing the artist and viewer from a background, to be the center of the work, using the body as a tool, support, material and artistic work in itself since the second half of the 20th century and up to the present day. Once the bases of both movements are clear, especially Body Art, a tour of examples and artistic practices that have been developed in this variant of Performance Art or Conceptual is carried out, which I wanted to collect due to their importance within Body Art.

Full Text, Thesis (Professional Doctorate), Doctor of Visual Arts (DVA), Queensland College of Art, Arts, Education and Law, Information overload and algorithmic systemisation have come to characterise our everyday experience. While this state of hyperconnectivity facilitates communication and instant retrieval of knowledge, our networked systems overwork and overwhelm us as users. In particular, the total integration of the Internet into lived experience has had undesirable effects on our workplaces, attention spans, decision-making and emotions. Workplace employees are expected to be contactable and productive at any time; the novelty produced by information feeds rewards inattention; algorithms choose songs, meals and romantic partners for us; and lifestyle performances on social media provoke a fear of missing out. This is to say that our hyperconnected reality places us in a forever switched-on world where the lines between work and play have become obscured. According to theorist Sianne Ngai, the state of being constantly ‘on’ in this way manifests culturally in what she calls the ‘zany aesthetic’. This thesis uses an experimental arts based research methodology that relies on drawing, animation, and installation to uniquely reflect how our world has been shaped by this kind of stressful hyper-connectivity. In particular, this thesis explores the meaning of ‘zaniness’ as a symptom of this kind of contemporary information overload. By exploring the zany in visual terms, this thesis aims to reveal new qualities of this aesthetic category by reflecting on the exhibited creative outcomes produced over the course of this project. Ngai, in her Our Aesthetic Categories: Zany, Cute, Interesting (2012), claims that zaniness appears across film, television, video games, poetry, literature and art as a reflection of how we perform our labour in late capitalism. Specifically, Ngai suggests the non-stop action of characters like Lucy Ricardo of television’s I Love Lucy or Looney Tunes’s Wile E. Coyote offers a way of seeing the aesthetic in the 24/7 world of production and consumption. However

Persian language in Iranian art has had many Functions a long time ago. This function has been revealed sometimes in imagery form for literary fiction in Iranian painting, and sometimes in ultra-modern in form of representation of words, letters and sentences in the works of Iranian contemporary artists, including Ghahve-Kaneh and Sagha- Kane style painting. After the 70s, line drawing also paid attention to values of words and letters too, among them some conceptual artists, with the pursuit practical background of language make different representations from words and letters in their works. What is necessary is that, Persian language is a treasury which has many capabilities for transmission of ideas and concepts. As for contemporary conceptual art, we can see that these capabilities have been neglected. This means that with Compilation of conceptual art and analysis of them. The question is, how can Persian allusions be involved in the structure of the creation of conceptual art? The findings of this descriptive-analytical study show that by doing this, with change substance in language, it means, word to art essence, ready one, produce, which follow construction of idea transmission of conceptual art, non-skillful being predetermination programing, non-subjectivity, also evidence and briefness.

Mieko Shiomi’s creative practice extended beyond the conceptual bounds of her training and the geographic limits of her birthplace, reflecting her willingness to think outside the confines of convention. Born in Japan in 1938 and educated in music, she translated her ideas about space and time, which had genesis in her musical training, into artworks that employ the human body. Her first forays beyond music were her action poems, which she created independently around the same time other artists were writing event scores along the same lines. The first visual object she created was her Endless Box (1963-), a set of thirty-four paper boxes nested inside each other, which turns the idea of diminishing sound into diminishing space into a visual of diminishing boxes. Shiomi’s work as an experimental composer and her Endless Box put her in contact with Fluxus, the international artist collective based in New York. Her involvement with Fluxus epitomized Japanese and American cross-cultural exchange during the explosion of performance art in the sixties. During her year in New York and after she returned to Japan, she orchestrated her Spatial Poem (1965-1975), an extraordinary convergence of conceptual and material art. Shiomi’s created her art to be more than observed; she intended it to be enacted or interacted with. Performing or handling her work is an apt way of gaining knowledge about it as its corporeal aspects are central. Bodily knowledge of Shiomi’s artworks significantly expands understanding. This thesis will look at how selected artworks express Shiomi’s ideas, more closely examine them beyond their guise as Fluxus output, and, by performing, remaking and interacting with selected works, will present the greater understanding gained through these physical explorations.

This study has revolved around the relationship between humans and nature. Its starting point was a plan to remediate antique ways of depicting landscape and nature, connected to theories about perceptual and conceptual depictions. Views of nature and their effect on stress levels are today studied in healthcare settings together with emotional state. The study aimed to investigate people's preference for different styles of images depicting nature (perceptual and conceptual style) and how or if they can vary with the context., There are other digital material (eg film, image or audio files) or models/artifacts that belongs to the thesis and need to be archived. / Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.

In this thesis, work has been carried out in order to explore the role of materiality in works of conceptual art – and what possible influence the preservation of such objects might have for their meaning within the context of a modern art museum. The study is divided into three parts, where the initial one examines the concept of materiality, the second part maps the history and complexity of conservation, and the final part is based on three case studies of individual artworks. The research is carried out through a literature study within the fields of conservation and art history, as well as different kinds of institutionally produced reports along with exhibition descriptions and art reviews. Interviews have also been carried out with a curator and conservators from two museums of contemporary art, Moderna museet in Stockholm and Kunstsammlung Nordrhein-westfalen in Düsseldorff. One aspect of the study has been to, from a perspective of discourse theory, investigate whether any so-called antagonistic relationships could be identified within the practices of the art museum, between different professional attitudes towards the idea of preserving artworks where the materiality may or may not be of relevance for the conceptual integrity of the piece. No such antagonism has been observed, but rather a situation where the professional boundaries are blurred in relation to the individual object. In the theoretical forms of a communicative network, conservators, curators and the artist responsible for the piece engage in the custodial presentation of the artwork. In this work, traditional notions of preservation may give way to a process-oriented relationship with the object to enable a continuous relevance toward the public and as an active part of the contemporary art scene. Even if the context of the art museum establishes the physical limits of the conceptual art composition, the preservation of the artwork may be viewed as pragmatic in terms of its materiality – wh

This essay suggests that the box Artists and Photographs, published in 1970 by Marion Goodman’s editing house Multiples, Inc., features the multiple as a new form of exhibition in which photography plays a crucial role. It will be argued that the multiple as exhibition relies less on photography’s often quoted qualities in terms of documentation, reproduction and information, but rather on its capacity to transform the world into a museum (Smithson) and its hybrid socio-cultural status as a complex environment drawing on heterogeneous codes, symbolic systems and ways of distribution.

En una subasta de Sotheby´s del año 2018, una versión en óleo de la obra del artista callejero anónimo que firma con el nombre de Banksy se autotrituró parcialmente en el momento en el que era pujada al mejor postor. En el acto propiciado por Banksy a se ponían en juego asuntos teóricos de gran calado. Por un lado, el aprovechamiento del tópico teórico de la agencia material, en este caso, encarnada en un objeto artístico que “cobró vida” en el momento de la subasta; en segundo lugar, el acto en sí de la autodestrucción de la obra, que entronca, aunque particularizándolo, con los numerosos gestos iconoclastas que durante siglos han estado asociados con el contexto del arte; en tercer lugar, la importancia del fin perseguido por Banksy con esta acción, un fin no exento de aporías, contradicciones y fascinantes paradojas que terminan en la interesante reflexión en torno a la institucionalización y la comercialización de las obras de arte. Todos ellos entroncan con el espíritu con el que nació el arte conceptual., At a Sotheby’s auction in 2018, an oil version of street artist Banksy’s Girl with Balloon partially self-destructed as it was being auctioned off to the highest bidder. The event brought into play important theoretical issues. Firstly, the exploitation of the theoretical cliché of material agency, in this case, embodied in an art object that «came to life» at the moment of the auction; secondly, the act itself of the self-destruction of the work, which connected, albeit in a particularised way, with the many iconoclastic gestures that have been associated with the context of art for centuries; thirdly, the importance of the end pursued by Banksy, an end not exempt from aporias and fascinating paradoxes that ended in the interesting reflection on the institutionalisation and commercialisation of works of art. All of them are connected with the spirit in which conceptual art was born in the sixties.

The oeuvre of contemporary Japanese photographer Rinko Kawauchi is characterized by an approach that gives precedence to process over product and combines conceptual art with vernacular traditions, making her pictures happily imperfect. Starting with Kawauchi’s transmedial concept of the image, often positioned between word and image and mainly materialized through photo books, I propose that Kawauchi’s photographs are imperfect thanks to her experimentation with technical mistakes, the vernacular subject-matter of everyday snapshots, seriality, sequencing, and format variation, elliptical visibility, the aesthetics of color, and a non-linear temporality. Imperfection, furthermore, emphasizes the materiality of the medium, and removes photography from the referent-centered documentary domain by way of aesthetic, rather than semiotic, significance. Imperfection also activates different modes of reception, emphasizing emotional involvement and participant viewing., Clara Masnatta, ‘Rinko Kawauchi: Imperfect Photographs’, in Errans: Going Astray, Being Adrift, Coming to Nothing, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 24 (Berlin: ICI Berlin Press, 2022), pp. 141-58

What is the future of conceptualism? What expressions can it take in the 21st century? Is there a new role for aesthetic experience in art and, if so, what is that role exactly? Aesthetics, Philosophy and Martin Creed uses one of this generation's most important and influential artists to address themes crucial to contemporary aesthetics. Working in an impressive variety of artistic media, Creed represents a strikingly innovative take on conceptualism. Through his ingenious and thought-provoking work, a team of international philosophers, jurists and art historians illustrate how Creed epitomizes several questions central to philosophical aesthetics today and provides a glimpse of the future both of art and aesthetic discourse. They discuss key concepts for Creed's work, including immediacy (in his photographs of smiling people), compositional order (in his geometric paintings), simplicity (in Work No. 218, a sheet paper crumpled into a ball) and shamelessness (in his videos of vomiting people). By bringing a working artist into the heart of academic discussions, Aesthetics, Philosophy and Martin Creed highlights the relevance of philosophical discussions of art to understanding art today.

El projecte presentat consisteix en la investigació sobre l'equinoteràpia i el coneixement profund de la seva aplicació terapèutica amb l'objectiu de realitzar l'art conceptual enfocat a un còmic. L’objectiu principal consta en estimular l'ús d'aquestes tècniques en tractaments a pacients amb Trastorn de l’Espectre Autista, utilitzant un producte artístic com el còmic com a motor informatiu i persuasiu, i generar una posterior demanda de l’equinoteràpia en centres especialitzats i entitats mèdiques públiques per a facilitar-ne l'accessibilitat i aconseguir-ne una regulació. Per al desenvolupament, s'elabora un concept art tenint a partir d’un procés investigatiu dels diferents tractaments, personalitats i tipologies dels animals, etòlegs i entrenadors i pacients. També s'analitzen els camps d'aplicació i s'estudia el target (principalment nens i joves i els seus pares o tutors) de cara a definir un estil eficaç per a la campanya de comunicació. Durant la recerca, s’obre un ventall malauradament inabastable de possibles patologies, trastorns i perfils clínics, la qual cosa requereix focalitzar el treball en un perfil concret, per a poder desenvolupar un disseny centrat en l’usuari concret. És per aquest motiu que s’escull l’autisme. Es descobreix que en el mercat actual existeixen còmics d’activisme relacionats amb l’autisme i còmics de funcionalitat distractiva associats amb l’equitació convencional esportiva i amb cavalls, no obstant, no es troba mitjançant búsqueda cap producte que ajunti els dos conceptes -equinoteràpia i autisme-, per a aplicar-lo en un camp seriós, com en el motiu que planteja el present treball. Un cop acabat el procés d'investigació es realitza un treball d'art conceptual complet fins a definir els personatges i les seves característiques emocionals i visuals i un disseny de fons i escenaris per a aplicar-ho al producte final: un còmic. Finalment es dissenya un test que permet definir la validesa de la proposta realitzada amb públic objectiu

‘A path along the floor, of proportions 1×21 units, photographed. Photographs printed actual size of objects and prints attached to the floor so that images are perfectly congruent with their objects.’ With these words of instruction, typed on a humble card in 1967, Victor Burgin conceived one of the most profound and remarkable works of photographic art. Each time it was exhibited, it had to be made anew, unique to its setting. Embracing Minimal and Conceptual art, performance and site-specific installation, there is no other artwork like Photopath. In his characteristically analytical and associative manner, writer and curator David Campany takes the reader through the history and implications of Photopath, and their place in the breadth of Victor Burgin’s art and theoretical writings., https://www.librarystack.org/victor-burgins-photopath/?ref=unknown

La correspondencia llegó a ser el soporte perfecto para algunos artistas de la segunda mitad del siglo pasado interesados en difundir las nuevas ideas experimentales y conceptuales. La decepción sobre el arte de masas, las élites artísticas y el mercado del arte, sumado a la creciente accesibilidad de las tecnologías como las fotocopiadoras y el boom de los medios de comunicación como herramientas culturales, llevaron a concebir y definir el mail art. A lo largo de este trabajo se revisarán los principales sucesos y artistas que fueron definiendo la red de arte correo y los proyectos que formaron parte de esta de manera internacional entre finales de la década de los cincuenta y principios de los ochenta, poniendo especial atención en los sesenta y setenta. El contenido se centrará en las propuestas tanto postales, como editoriales y las respectivas convocatorias que sirvieron para explorar la creación de una de las primeras redes artísticas a nivel global, la red eterna., Correspondence became the perfect support for some artists of the second half of the last century who were interested in spreading the new experimental and conceptual ideas. The disappointment with the art of masses, the artistic elites and the art market, combined with the growing accessibility of technologies such as fotocopying and the boom of media as cultural tools led to the conception and definition of mail art. Throughout this project the main events and artists who defined the network of mail art and the propositions that were part of this from the late 1950s to the early 1980s will be revised, with special attention to the 1960s and ‘70s. The content will focus on the postal and editorial propositions, as well as the respective events that allowed the creation of one of the first global artistic networks, the eternal network.

Aquest projecte tracta de crear un univers de personatges i entorns que serien necessaris per a un comic de ciència-ficció i crear un artbook amb el treball visual que obtingui en el procés, per tant, se centrarà en la preproducció d'un comic. Aquests personatges seran hibrids d'humans animals, tractaré d'integrar comportament animal real en les seves personalitats i costums i, també s'enfocara en buscar com crear-los d'una manera creible a escala anatòmica. El públic plantejat són aficionats de l'hipotètic comic o de l'art. Tot això, tracta de tenir una explicació logica en l'àmbit cientific, però degut a Firrealisme de la idea en si de què existeixin hibrids humans-animal, és bastant limitat També buscará crear uns personatges amb dinàmiques gracioses, i un argument que porti a la comèdia, ja que es basa en comics de tire cómica. El treball es farà amb el procés de preproducció, producció | postproducció. A la preproducció és farà tota la investigació necessària per començar a produir, la producció, que serà començar a treballar en el concept art en sl, I les il·lustracions, o tires necessàries. La postproducció serà maquetar i editar les imatges que siguin necessàries per al producte final de l'artbook. Els programes amb els quals es farà feina principalment seran Procreate Clip Studio Paint per crear les il·lustracions i esbossos, I per maquetar en un principi es va plantear amb InDesign, però vaig acabar amb Canva. Per planejar s'utilitzarà Notion.so com a pagina web, on s'organitzarà el treball, i s'anotarà la informació que trobi i les idees que tingui.

virgil b/g taylor: Minor Publics is a large-scale installation exploring the boundaries between art and memorial through research and poetic encounters with Sol LeWitt’s Black Form–Dedicated to the Missing Jews. Originally installed in Münster as part of the 1987 Skulptur Projekte, LeWitt later sold the sculpture to the city of Hamburg in 1989 and donated the fee. Black Form represents an oft-overlooked component of LeWitt’s work that extends beyond his conceptual and dematerialized methodologies to address deeply political and personal questions. The exhibition is framed by a core text by taylor that ruminates on the notion of a “bima”— a Greek and Hebrew architectural term referring to a stage or raised tribune from which to speak. Minor Publics explores Black Form within the context of ongoing debates surrounding the appearance and function of memorials to the victims and survivors of mass violence in metropolitan and colonial landscapes of genocide. taylor’s new compositions unfurl as a series of language-based graphic interventions and study environments that develop an intimate vocabulary around LeWitt’s work while also foregrounding cultures of public memory., https://www.librarystack.org/a-script-for-minor-publics/?ref=unknown

Information overload and algorithmic systemisation have come to characterise our everyday experience. While this state of hyperconnectivity facilitates communication and instant retrieval of knowledge, our networked systems overwork and overwhelm us as users. In particular, the total integration of the Internet into lived experience has had undesirable effects on our workplaces, attention spans, decision-making and emotions. Workplace employees are expected to be contactable and productive at any time; the novelty produced by information feeds rewards inattention; algorithms choose songs, meals and romantic partners for us; and lifestyle performances on social media provoke a fear of missing out. This is to say that our hyperconnected reality places us in a forever switched-on world where the lines between work and play have become obscured. According to theorist Sianne Ngai, the state of being constantly ‘on’ in this way manifests culturally in what she calls the ‘zany aesthetic’. This thesis uses an experimental arts based research methodology that relies on drawing, animation, and installation to uniquely reflect how our world has been shaped by this kind of stressful hyper-connectivity. In particular, this thesis explores the meaning of ‘zaniness’ as a symptom of this kind of contemporary information overload. By exploring the zany in visual terms, this thesis aims to reveal new qualities of this aesthetic category by reflecting on the exhibited creative outcomes produced over the course of this project. Ngai, in her Our Aesthetic Categories: Zany, Cute, Interesting (2012), claims that zaniness appears across film, television, video games, poetry, literature and art as a reflection of how we perform our labour in late capitalism. Specifically, Ngai suggests the non-stop action of characters like Lucy Ricardo of television’s I Love Lucy or Looney Tunes’s Wile E. Coyote offers a way of seeing the aesthetic in the 24/7 world of production and consumption. However, Thesis (Professional Doctorate), Doctor of Visual Arts (DVA), Queensland College of Art, Arts, Education and Law, Full Text

The polemic visual poetry magazine Lotta poetica made its debut in Italy in the early 1970s. Led by poets Isaia Mabellini, alias Sarenco, and Paul de Vree, the magazine was born with a clear international vocation and openly involved in the social struggle. Since its inception, they started an intense controversy centered around demonstrating how conceptual art was a plagiarism of visual poetry, which lasted several of its early years. This article explores what was Lotta poetica, how this controversy took place, and how it fitted in the particular political and sociocultural context of Italian 1970s. We will also explore how Lotta poetica understood American conceptual art as another token of U.S. colonialism, as well as the intentions behind bringing up this controversy., A principios de los años setenta aparece en Italia la polémica revista de poesía visual Lotta poetica. Dirigida por los poetas Isaia Mabellini, alias Sarenco, y Paul de Vree, nace con una clara vocación internacional y con una abierta intención de lucha social. Ya desde el número uno van a abrir una intensa polémica que ocupará los primeros años de la revista, centrada en demostrar que el arte conceptual americano fue un plagio de la poesía visual. A través de este artículo vamos a abordar qué es Lotta poetica, la manera en que se produce este debate y cómo se inserta en el entramado político y cultural del momento. Analizaremos también cómo se interpretó desde Lotta poetica el arte conceptual como un producto más del colonialismo cultural estadounidense, así como sus intenciones al crear esta polémica.

The essay analyzes the final series of work by the French postmodern artist Yves Klein. The Fire paintings were created in 1961-1962 during a performance at the research laboratory of the National Gaswork of France, located outside Paris. Klein used a two-meter-long gas pipe to spray fire on wet canvas and damped Swedish cardboard to create an abstract, minimalistic body of work. The founder of Nouveau Réalisme Klein took traces of fire through a canvas and created a series including more than 150 oeuvres. In this research, semiotic philosopher Charles Sanders Pierce's method has been applied to analyze 23 selected artworks that devise the incarnation of the myth through five different analysis theories: fire, the creation, universe, man, and passion. Through layers of conceptual ideas, the research shows that Klein's body of work is more mystical than rational, just like the artist's personality. The analyst concludes that the 23 selected Fire paintings are constructed with ambiguous philosophical questions about existence and invoke our imagination with inspiration from alchemy. As in the Nouveau Réalisme manifesto, the essence of the paintings was to create traces of life. The research substantiates that the conceptual series of oeuvre represents the creation of life and universe, as the end of our physical life marks the beginning of our reincarnation. The inspiration for the Fire paintings came from Catholicism, Rosicrusian Order, spiritualism, judo, alchemy, and contemporary historical situations and science during 1950-1960.