The itinerary in art painting.

According to a certain myth a drawing was born through an act of a girl from Corinth who drew the shadow of her lover on the ground at the moment of his leaving (once upon a time, wars were a compulsory reason for moving from place to place, just as were the Olympic Games or pilgrimages). Einstein’s special theory of relativity (1905), the thesis on the equivalence of mass and energy (E=mc2), and the use of a statistically credible apparatus in the interpretation of physical phenomena ensured that space and time, up to that point in time - and in accordance with Kantian theory - the assumed forms of objective cognition (i.e. the previous ones, independent of cognition gained through experience) now become variables dependent on observer-subject movement parameters. Travelling, like art - as described by Hegel - bears the “character of the past”; travelling is a Gada merian confrontation with a bourgeois religion of education and its ceremony of enjoyment (it shares the state of “not working” with the celebration of a festivity). There are two ways in which art approaches movement: as an object of an artistic act and as a view from which the work is ob served. It is therefore possible to differentiate between art which deals with the topic of a change of place (genre images of travels, the art of representation of movement, and works of art which are in motion - the actual movement of kinetic art), and art designed for a gaze from a moving car (billboards). But artists can move too. Just like Villard de Honnecurt, builder-traveller, whose knowled ge is based on direct observation, so did Le Corbusier set off on 7 May, 1911, on his journey to Istanbul, towards the past, a real and metaphorical - Voyage d’Orient - where, under the influence of rigid geometry, the whiteness of buildings and the triumph of a square, a cube and a sphe re beneath the glare of a coat of whitewash, his idea of the Domino system of construction, a mo dernistic manifesto, was born. Travelling as an invitation to escape, a synonym of unconditional freedom, is “a source of emotion” (Le Cor buisier), of discovery, reading and interpretations. Le Cor buisier’s “mind and heart have experienced the most turbulent of emotions...” in that town “whose composite structure condensed within itself all the cities of the world.”

How a method in the critical theories of literature can be applied to art history

2015

Dos Algarves: Tourism, Hospitality and Management Journal, 2023

The scope of this theoretical study is centred on the analysis of artistic practices developed during travel, focusing on the construction of the relationship between art and travel from the 16th century to the present. In order to do this, a historical perspective focuses on the journey to Italy, the obligatory destination for travellers in the modern era. From the nineteenth century onwards, contemporary artists sought to observe how travel became an artistic discourse. The term 'artourist' is introduced as a description of the artist who is a traveller and a developer of artistic projects. The research followed the methodology of virtual curatorship, which subjectivises and expands a reflective body of works of art and tourism. This article promotes the argument that tourism, despite the veiled pejorative connotation of academic profiles of the visual arts, can be an essential mechanism for artistic creation and imagination. In defence of free-thinking, this article presents an expanded reflection, pointing to theories and cases that reveal the contributions of the relationship between art and tourism as two complex systems through its protagonist: the travelling artist.

2015

While recent scholarship dealt with the economic and political historiographies of road systems, this book focuses on routes as stimuli of cultural transfer and artistic production. Framed in the historiography of longue durée, routes may be addressed as trajectories that cut across cultural geographies and periodizations. With focus on the early modern period, the volume foregrounds an unprecedented expansion and transformation of route-networks. New combinations of transcontinental routes profoundly affected cultural topographies and smbolic paradigms. The rise of Asian and European port cities as nodes of maritime systems and prosperous cultural contact zones is closely linked to these shifts; routes, hubs, and the fabrication of collective imaginations about them therefore constitute the central themes of this book. Contributors: Christian Kravagna, Monica Juneja, Eugene Y. Wang, Elizabeth Kindall, Sophie Annette Kranen, Julia Orell, Juliane Noth, Joachim Rees, Nora Usanov-Geißler, Evelyn Reitz, Ulrike Boskamp

2008

Conventional wisdom suggests that art, culture, and society are distinct arenas of knowledge which have nothing to do with the study of tourism. However disconnected these activities may appear on the surface or when considered independently, the practice of tourism clearly indicates that, contrary to conventional wisdom, all four spheres of daily life are profoundly intertwined. What is more, such daily practices strongly suggest that tourism remains deeply dependent on and indebted to the production and availability of art and the creation of culture in a variety of social contexts. Without such social contexts and cultural difference, artifacts and creative interventions remaining open to the tourist, the very act of tourism itself would be unimaginable. Art, Culture, and Tourism I seeks to give students of Tourism Studies a critical, holistic, and coherent grounding in the appreciation of the work of art and the creation of culture in contemporary society and in relation to the practice of tourism. We will do this by investigating the contemporary museum, arguably one of the first and perhaps most significant interfaces between art, culture, and society that a tourist encounters. This investigation will examine whether, in approaching art, culture, society through the museum, students of tourism studies can critically negotiate between the needs and the work of art and artists and the production of culture in the context of a living social environment on the one hand, while trying to reconcile these with the commodification of art and culture in the development of commercial commodities that, in exploiting art, culture, and the social for the purpose of tourism, may indeed undermine the very integrity and existence of that art, culture, or society.

Hermann Corrodi (1844-1905). Italy and the East. Enchantment and Fascinations of a Nineteenth Century Traveller, exhibition catalogue edited by Teresa Sacchi Lodispoto and Sabrina Spinazzè, Roma, Galleria Berardi, 2016

Karin Gludovatz, Juliane Noth, Joachim Rees, eds., The Itineraries of Art: Topographies of Artistic Mobility in Europe and Asia, pp. 9-32., 2015

In: Egypt and Austria IX - Perception of the Orient in Central Europe (1800-1918). Proceedings of the Symposium held at Betliar from October 21st to 24th 2013. Szerk. Ľubica Hudáková, Josef Hudec. Krakkó, Aigyptos Foundation, 2016, 213–236. ISBN 978-83-7490-932-7

Travelers & Artists, 2024

The bibliography of the travelers and painters on Ottoman land is a by-product of the author's river-research titled The Evolution of the Ottoman House. 4 parts of this independent work, which is evolving into a book, have been published as conference proceedings and articles. The study started with research presented at the Conservation and Implementation of Wooden Structures Symposium of Istanbul Metropolitan Municipality, KUDEB (Conservation, Implementation, Supervision Bureau) and was published in Turkish and English in the proceedings book. Although this presentation has a distinctive structure, it was understood that some sections should be examined and detailed. These were the problems of how the transition from the Byzantine house to the Ottoman house was and why the "çardak", an Iranian masonry building style, was started to be used for wooden structures by the Ottomans . The findings and propositions of this research were published as two separate articles. During all these studies, it was seen that the limited research and publications of architectural historians could only provide healthy clues for the recent times, since the house was always overshadowed by monumental Ottoman structures. On the other hand, we were experiencing that the Ottoman houses that we restored had evolved through trial-and-error processes that stretch back far back. Evolutionary processes, on the other hand, could only be read on a very limited number of 18th and 19th buildings that survived and were not damaged by restorations. Another important source for a full understanding of the process was the results of archaeological research. We saw that the architectural whole, which we call the Ottoman house, dates to the Neolithic in the Eastern Balkans and Anatolia. On the other hand, it was seen that the Turks (Seljuks and Turkmens) had never used such a wooden structure system before Anatolia, that the Ottoman house (Anatolia) was local and spread to Anatolia and the Balkans, especially after its developments in Constantinople. These processes would also need to be carefully studied. The research had to cover not only Ottoman lands but also Eastern Roman, Byzantine and Seljuk civil architectures. Still, archeology, history, architecture and art history, and the buildings themselves were insufficient to fully read the process. For example, there were important gaps that could not be filled, such as the period when Byzantium was interrupted by the Latin Empire. The reason why the Ottomans continued the woodebbvcc x n building system in Constantinople despite the great fires was another paradox that we had difficulty in understanding. As you move away from the capital, there is very little documentation about the Ottoman house. We should have also investigated the emergence and spread of the Ottoman house as a concept. At this point, it was understood that travelogues and engravings could provide clues to complete the missing links. Based on this need, we started to examine the previously studied travel books. For this purpose, it turned out that travelogues should be read as much as possible, and their traces should be sought in any secondary source. In some travel books, the traveler's references to previous travelers not only enabled the author to reach another first source that had not been noticed before, but also gave important clues about the changes in the structure in question over time. The process of using travelogues and engravings to write the history of the Ottoman house was presented as a paper in Sarajevo (Bosnia-Herzegovina). While it is thought that the development of the Ottoman house ended due to the transition from wood to masonry due to fires, especially in Constantinople, 18th -19th centuries. We have concluded that the notables, who emerged as a necessity in the centuries and became stronger, extended their lives with the ayan palaces they erected or modifies using the architectonics of the Ottoman house. The presentation will be included as a chapter in the proceedings book of the symposium. The fifth part and the final part of the river-research will cover the development of the house in the Balkans and Anatolia from the Neolithic to the Middle Ages, based on archaeological research.