Social Sculpture

This paper investigates socially engaged art criticism and its transmission in the Chinese context. It examines how Chinese art professionals over the past decade have sought valuable ways to evaluate this art phenomenon in local contexts, and how they creatively transformed the vocabularies of socially engaged art criticism to question commonly-held assumptions about participation in Western discourse. I see the process of transmitting and reproducing socially engaged art criticism in China as a “trans-lingual art practice,” which implies that meaning-making is not only based on the original text and its culture in local historical contexts but also depends on the recreation of meanings that artworks engender. Regarding socially engaged art criticism in China as a trans-lingual art practice, I argue that it involves a process of cross-cultural art knowledge-making in which the original meanings, connotations, discourses and theories of Western socially engaged art have been artistically reproduced in contemporary China, and mutually, the trans-lingual art practices of socially engaged art criticism contribute to the cross-cultural scholarship of global socially engaged art.

This paper analyzes the socially engaged art project Au milieu des bureux empilés and investigates if it can be possible to create open discursive spaces within schools for students to collectively develop conversations about the education system and their experiences of schooling. The article outlines one possible framework to do so and focuses on investigating the repercussions of these open discursive spaces in schools were students shared instances of lack of care. It explores how the developed conversations might have the potential to foster a certain sense of agency and of community within participatingstudents.

Public art and urban renewal have become integral to reconstructing urban landscapes. In this essay we assess how these two spatial practices converge and diverge in the historically and predominately Black community of the Third Ward in Houston, Texas. The essay examines the work of MF Problem and the Black Guys, two Black artist collectives based in the Third Ward. We argue that their public performances critically engage the spatial processes of gentrification and ghettoization in their neighborhood. Furthermore, these performances indicate a unique spatial imaginary held by Black artists that privileges the use value associated with long‐term residents’ views of public and private space over the potential exchange value rooted in urban renewal projects.

This thesis project is rooted in relationships─ the deep bonds which we share with one another, with our more-than-human kin, and our relationship with the abundant animate life that exists in the natural world. After losing several loved ones to cancer in a short time I became drawn to the interplay of grief and wounded ecology. This led to a methodological framework for making which involves thinking with grief and thinking with and through nature. Through curious and embodied engagement with the natural world, my aim is to create a material vernacular for grief using the formal and metaphoric language of nature. The questions I am researching through my thesis work are: How is the transformational nature of grief enacted through the intuitive, embodied, material, and metaphoric processes of making? How can the absence created by death be materially and conceptually made present through space and form? The research takes a phenomenological approach through walking, observing, sens...

Suzanne Lacy's three decades of performance and writing about her art and process have encompassed some of the most dynamic years of American political history and have deepened public awareness of issues of violence, rape, race, ethnicity, aging, and women's experiences of marginalization and economic disparity. Performance art, unlike other genres, leaves nothing behind. In it, the artist's actions, or those of a group, are the art, and the work is composed of four basic elements: time, space, the body of the performer, and the interaction of performer and audience. In seeking ways in which artists could play an active role in the politics of social change, performance art broke down cultural stereotypes about what constitutes "art." Its frequent inclusion of audience members in the actual work bridged the traditional separation between artist and public in a way that invited reflection and provoked, often through a shocking of audience sensibilities, a greater openness to the experience of the "other" and the need for change. As performance art cannot be commodified, it has no value to collectors and investors, but in its ability to combine elements of art, theatre, and political or personal commentary in powerful ways that bypass traditional intermediaries, i.e., galleries, agents, and the like, it brings the artist's message directly to the public. An artist who uses the power of images primarily to communicate information, emotion, and/or ideology and to criticize popular culture, or inspire her audience to action, is using art, in Lacy' terms, as a work of service to the greater good. The author documents how, since the 1970s, engaged visual artists have collaborated with scientists, planners, politicians, and others to facilitate and create change, often transgressing "traditional artistic formats in the process of creating an art that is formally and ideologically related to the service practices of engaged Buddhism." While the actual performances may have left nothing physical behind, Suzanne Lacy's detailed and compelling writings leave general readers, artists, and historians a record of a powerful and stimulating art form that, like its spiritual counterpart, is a response to the presence of suffering in the world and an anti-materialist and anti-hierarchical way of creating meaning.

Апстракт: Познато е тоа дека поранешните социјалистички општества тежнеат кон тоа да направат крупни промени во изгледот и да го заборават социјалистичкото минато, притоа свртувајќи се кон некое подалечно минато. Градот Скопје предничи кога станува збор за промовирање на поблиското и подалечното минато. Така, меѓу многуте споменици кои беа изградени во последнава деценија е и новоизграденото етно село односно "Македонско село" во Скопје. Причините за градењето на шеснаесетте куќи кои претставуваат копии од веќе постоечки некогашни живеалишта од повеќе македонски предели според инвеститорот е да се промовира македонската традиција и македонското градителство; и со него да се запознаат не само македонските граѓани туку и странските посетители на Скопје. Комлексот е резултат на предаторскиот економски либерализам на кој целта не му е квалитетна култура, туку профит од културата. Токму, претворањето на културата во роба значи управувана култура, или не култура како начин на живеење, туку како начин на трошење, односно како производ за на пазар. Клучни зборови: Македонско село, Скопје, економија, музеј, традиција. Вовед Во текот на историјата на неговото постоење, човекот неуморно создавал и творел дела кои денес се вреднуваат и се дефинираат како културно наследство, а

Nicolas Bourriaud's Relational Aesthetics (2002) provides a sophisticated critique of interactive aesthetics. His focus, however, is not literally interactive electronic art, but rather Conceptual Art of the 90s that deliberately reduces technical means and prompts human dialogic interaction. Bourriaud celebrates work that shifts the status of the art object from self-contained aesthetic thing to socially relational model (or field). In his view, technological art, in its very obvious claims to interaction reveals its association and complicity with broader regimes of simulated conviviality and interaction that characterize modern democratic society. It seems that interaction becomes all important in the instant that it effectively disappears. Here Bourriaud is clearly the heir to critics such as Adorno, Mumford and Baudrillard who question the social emancipatory claims of technological media. Despite its apparent Luddite tendencies, this critique retains value in terms of qualifying the rhetorical claims of electronic interaction. But for my purposes what is more interesting is the way in which Bourriaud draws upon key features of technological media in order to describe the sphere of genuinely critical interactive art. The digital image, for instance, in its programmatic, algorithmic potential provides a model for the contemporary art object. Rather than a static, fixed thing, the digital images represents a "generative power" (Bourriaud, 2002, p.70). I would argue as well that the notion of model itself reveals a debt to modern technological media, which constitutes not works but systems that obtain life and currency only through (problematic) interaction. Bourriaud's critique represents an effort then to tease out a notion of genuine interaction from the formal structure of its avowed enemy. It is hardly surprising then that every positive aspect of dialogic interaction is defined in terms of its difference from electronic forms of interaction. Very curiously, the latter is positioned both as model and evil double for the properly relational character of contemporary art.

Mekânın Üretimi" kitabında mekanı sosyal bir kategori ve bir üretim şekli olarak değerlendiren Lefebvre, sosyal mekanı, hem bir eylem sahası hem de bir eylem tabanı olarak tanımlar. "Sosyal bir 'özne' tarafından 'yaşanmış bir deneyime' dönüştürülen bu sosyal mekânı, pratik (iş, oyun) ya da biyososyal (genç insanlar, çocuklar, kadınlar aktif insanlar) gibi determinantlar yönetir." "Mekân(ı) bir şey değil de şeyler arası bir ilişkiler seti" (Lefebvre,1974, s.83) olarak ele alan sanatçılar, önerdikleri yeni düşünce şekilleri, alternatif sosyal organizasyonlar ve üretim modelleri ile, bu ilişkileri görünür kılan projeler gerçekleştirmekteler. Sonuç yerine süreç önem kazanırken, ürünün yerini diyalog, içeriğin yerini bağlam almakta. Projelerdeki "eylem-olarak-sanat" ve "sanatsal müdahale" fikri, sanat kurumlarının dışında kendi ortamlarını oluşturan sanat kolektifleri ile "sanat dışı"na kayarken, bir yandan da uluslararası sergilerdeki dolaşımı artmaktadır. Bu bildiride amaç, kökleri Fütürist, Dada, Durumcu (situationist) sanat pratiğine, kavramsal sanat ve feminist performansa uzanan, "Müdahale sanatı", "Yeni bir tür kamusal sanat" (Lacy), "Diyalogsal Sanat", "Taktiksel Medya" şeklinde adlandırılmaya çalışılan projeleri örneklemek; ayrıca bu müdahalelerle "anıt" fikrine getirilen farklı perspektiflere yer vermek. Bireysel müdahalelerden kolektif çalışmalara, sanat dünyasının tanınmış isimlerinden, son senelerde adını duyuran sanatçı gruplarına doğru giden bir düzen içinde örneklenecek çalışmalarda, temel bir kriter mevcut: Sanatçının, taktiksel eylemler ve sanatsal stratejilerle sosyal ve mekansal dinamikler içinde kendine aktif bir rol tanımlaması. Ayşe Erkmen "Gemilenmiş Gemiler" (2001) çalışmasında Japonya, Türkiye ve İtalya'dan birer vapuru/feribotu mürettebatıyla birlikte Frankfurt Main Nehri'ne getirtmiş ve bu nehir üzerinde bu vapurları birer yolcu taşıma çizelgesine oturtmuştur. Ait oldukları bağlamdan çıkarılıp yeni bir coğrafi bağlama yerleştirilen gemiler, yapılarındaki, görünüşlerindeki ve kültürel olarak hitap ettikleri insan toplulukları ile kendi sosyal mekanlarını oluşturuyorlar.

En la segunda mitad del siglo XX, en América, surgió un método en las ciencias sociales conocido como investigación acción participativa, el cual busca desdibujar la barrera entre el investigador y el objeto de estudio para que la comunidad que tiene un problema sea beneficiada, no a través de la publicación de un texto científico, sino mediante la solución efectiva del problema a través de acciones y estrategias colectivas en las que participan especialistas y habitantes de esa población.De manera paralela, en Alemania, Joseph Beuys desarrolló el concepto de escultura social que argumentaba que toda persona debía convertirse en creador, en un escultor o arquitecto del organismo social. Gracias a la influencia de Beuys varios artistas y colectivos han elaborado proyectos de interacción social en zonas de la periferia, en donde los creadores detectan un problema y elaboran una pieza que implica la participación de los habitantes de una comunidad o vecindario en desventaja. Estas obra...

The gallery or museum space has two sitting chairs facing each other.
  Visitors find two people talking there, sometimes. Sometimes the chairs are empty.
  On the blackboard are polaroids and statements on stickies left there by those who’ve sat in the chairs. With this is an explanation of the terms within which the two people have met, that is a description and flowchart of the algorithm that has made the match.
  Not unlike any number of social networking sites the people sitting with each other have through the mailing list of the gallery signed up to meet each for 20 mins in the gallery exhibition space.

Let’s step back for a moment and think about images and where they come from, both personal and collective. Think about your iPhone, Google, and other search engines and think about all this electronic data, everywhere, including your credit card transactions, your train pass swipes, all those cameras, all the data and images you take and are taken of you all on a daily basis. Where do they all go? Once, perhaps, they went into an archive, well certain images and records. The word “archive” derived from the Greek Arkheion, a house, or the residence of the superior magistrates. Images and documents were kept in the houses of the powerful. As such the archive more often preserves the history of the victors, while presenting such history as reality or scientific truth. The archive is a realist machine, a body of power and knowledge, and it sustains itself by repetition. More precisely, the authority of traditional archives controls and regulates the reproduction of their items.

Art Education at the Periphery of the CenterIt is not a matter of perception that the current educational landscape of K-12 schooling and universities has positioned the teaching of visual arts education at the margins of these institutional structures. Specifically, it has been our experience at the higher educational level that art educational discourse, especially PK-12 licensure for art educators, is considered peripheral by other faculty, administrators, and the public. In addition to these perceptions, the phenomena of "last resort" cannot be discounted as a reason art students completing their BFA or MFA filter into programs of art education thinking wrongly that teaching art is "easy" and a way to cure their dread of securing future income. Furthermore, we encounter the art educational discourse of arts- based research (ABR) within the context of fine arts degree programs (BFA/MFA) being viewed as either a social science or a type of "writing" a...

The open principles of socially-engaged arts practice frequently come into conflict with ethical considerations despite positive intentions on the part of the artist or commissioning body. When confronted by crises in society, particularly challenges and forms of discrimination that tend to slip under the radar, artists and other stakeholders in the arts and education often engage with dilemmas related to power imbalances, responsibility, political agendas and artistic quality. These dilemmas are discussed through a handful of projects created in Malta as part of the artistic research project ‘Acting on the Margins: Arts as Social Sculpture’ (AMASS), and other arts-based community- and artist-led projects. The article discusses possible methodologies towards fully democratic, horizontal, and sustainable processes, and opens questions around agency and intent in participatory art practice.

This article offers an approach to an analysis of the work of Espaliu, based on his reflections on the body, the presence of disease and death, and the attitude adopted by the creative artist towards these facts. At the same time it is a discussion of a world-view seen from the point of view of creative art and from the perspective of the public.

The notion of social sculpture (Harlan, Rappmann,  and Schata, 1984:56-61) was a theory created by Joseph Beuys in the 1970s, based on participatory community projects that would produce a change in society through creative processes. The German artist indicated that everything is art, that every person can be an artist (Berka, 2011:173) and the entirety of the aspects that conform life can be treated creatively (Sacks, Zumdick, 2013). In social sculpture an artistic piece is created that takes place in a social environment, it requires social engagement and the participation of the public for the conclusion of the piece in the creative process.
Beuys considered that social sculpture could generate a positive impact of social transformation in its structures and enrich the citizen. (Thistlewood, 1995: 185)
During his artistic career, Beuys created theories with a social approach and utopian vision. His idea of “plastic theory” (Harlan, Rappmann, and Schata, 1984:102-103) was based on broadening the concept of art and on an artistic process that his development was argued to be social sculpture. The idea of the way in which man can transform himself
into a sculptor and model a social system is the basis of his work.
There are numerous ways to approach the broad and enriching legacy based on Beuys’ theories and concepts (Sacks, 2011:90). Beuys’ legacy lives on today and there are artistic notions that link to the ideas expanded art concept (Finney, 2006) that stem from social sculpture such as socially engaged art (Persinger, and Rejaie, 2021. Thompson, 2017), community art (Crehan, 2013), social art practice (Atkinson, Dash, and Dash, 2005), and participatory art practice (Miller, Little, High, 2017. Conrad and Sinner, 2015). A historical overview of social sculpture will be taken and how it has developed into current notions such as socially engaged art, social
art practice, and community. By displaying artworks of authors working in these areas, it will be possible to establish a procedure to elaborate an artistic practice with a focus on art education. Finally, it will be presented pieces that can be elaborated in the area of Art Education, as well as the connections that are presented between the idea of social sculpture and its relation with education and the field of pedagogy.

Let’s step back for a moment and think about images and where they come from, both personal and collective. Think about your iPhone, Google, and other search engines and think about all this electronic data, everywhere, including your credit card transactions, your train pass swipes, all those cameras, all the data and images you take and are taken of you all on a daily basis. Where do they all go?
Once, perhaps, they went into an archive, well certain images and records.
The word “archive” derived from the Greek Arkheion, a house, or the residence of the superior magistrates. Images and documents were kept in the houses of the powerful. As such the archive more often preserves the history of the victors, while presenting such history as reality or scientific truth. The archive is a realist machine, a body of power and knowledge, and it sustains itself by repetition. More precisely, the authority of traditional archives controls and regulates the reproduction of their items.

Ивана Хаџиевска, „Институции на културна меморија - практични проблеми“, во Изложување на минатото – музеолошкиот пејзаж во Западен Балкан и справувањето со минатото, ур. Александар Војвода, бр. 21 (2022): https://dwp-balkan.org/mk/balkan-magazine-21-mkd/

The emerging paradigm of sustainability represents a challenging field in terms of new technologies, market regulations, and business models. Limits of both linear industrial development and consumerist way of living have been clearly identified since the late 1960s by the first systemic studies on the effect of human activities on Earth. Many contributions from different disciplines have paved the way for an open, participated, and responsible innovation approach, which is presently triggering the transition toward a nonexploitative human development. An anticipation of this conceptual framework can be found in Joseph Beuys’ art, which can still represent a source of inspiration for innovators, entrepreneurs, economists, and community leaders. In his artistic legacy—from the six blackboards of Perugia to the 7000 Oaks of Kassel—Beuys is still asking us to transform our everyday actions, joining the collective effort toward a new evolutionary stage of humanity, founded upon a holist...

After humans destroy the world we have created for ourselves, what will be left are the jellyfish. At least, this is the suggestion of the biologist Jeremy Jackson, who argues that the synergistic effects of mass extinction lead to the flourishing of some species – such as jellyfish – over others. Such thriving under the conditions of mass extinction is almost certainly not what Joseph Beuys had in mind when he argued that we are creating the “total artwork of the future social order”. But what would happen if we held these provocations together? Artworks for Jellyfish collects writings from artists, theorists and scholars of science on the question of how art mediates and mitigates our imagination of the future in the wake of an extinction event—or, to put it a little bit differently, how to make artworks for jellyfish.

With contributions by Julian A MP, Amanda Boetzkes, bug carlson, Nicole Clouston, Marc Couroux, Silas Fischer, Ted Hiebert, Terrance Houle, Cavil S. Kentis, Jessica Jacobson-Könefall, Ryuta Nakajima, Sky O’Brien, and Amanda White.

In this paper, we are considering the social aspects of the object "Porta Macedonia" as a part of the project "Skopje 2014", its political and cultural meanings, its symbolic aspects and its reflection on identity policies in contemporary Macedonia. We read buildings and monuments of "Skopje 2014" project as texts, interpret them as symbols recognizing as signs of multilayered ideas and interpretations of the nation under strong political patronage. The text shows how a monument in a very short period creates multiple layers of symbolism which, depending on social contexts, can be read in different ways.

In Mapping the Terrain: New Genre Public Art (1994) the author called for a new language of critique for the transient and publicly located art practices known today as social, or public, practices. Since that time authors have taken up the challenge to site the work in art historical, philosophical, and cultural contexts and to assess its aesthetic merits. One of the major themes is how, exactly, the social claims in this work can be calculated. This paper adds to that discourse through the examination of a complex and lengthy set of art projects in Oakland, California, through the lens of critical pedagogy. The Oakland Projects (including performance, installation, exhibition, civic action, curriculum, and workshops) focused on social circumstances, popular media representation, and public policies regarding urban juveniles in California between 1991–2001. This research examined five sites: institutions within health, education, criminal justice, and civic policy, and youth experi...

Live projects have a long-standing history in architectural education (Brown, 2012). The practice of live projects has increased substantially over the past twenty years and is currently being adopted in many other disciplines (“Live Projects Network”, 2019). Live projects can be defined as projects that “comprise(s) the negotiation of a brief, timescale, budget and product between an educational organisation and an external collaborator for their mutual benefit. The project must be structured to ensure that students gain learning that is relevant to their educational development” (ibid.). Internationally and locally, live projects have also increasingly become vehicles for meaningful community engagement (Harriss, 2011).

Often, live project literature focus predominantly on project descriptions. In such cases the project stories are told without critique and primarily from the author’s perspective, without positioning the projects “within a wider theoretical, historical or cultural context” (Anderson, 2017: 1). However, during the past few years there has been an increasing attempt at a more in-depth reflection on and analysis of live project practices, principles and methodologies (Morrow, Chhaya & Pomal, 2014). Anderson and Priest (2012) have been instrumental in developing several tools for classifying, analysing and discussing live projects. Through the Live Projects Network, they have published a spectrum of live project factors (“Live Projects Network”, 2019) and Anderson has also continued to develop a live project taxonomy (Anderson, 2017). In developing the taxonomy, Anderson found that the “expertise of the live project participants is capable of overcoming contextual resource limitations” and that the taxonomy itself will “allows us to identify the ways in which live projects are influencing contemporary … education, research and practice” (Anderson, 2017: 1).

On a similar trajectory to live projects, community engagement initiatives in South African higher education have also seen exponential growth over the past two decades.  However, definitions, practice and administration of community engagement projects still vary greatly (Bhagwan, 2017) and are often “uncoordinated and … the result of individual initiative, rather than of strategically planned, systematic endeavours” (Council for Higher Education, 2010: iii).

Being both live project and community engagement enthusiasts, we want to explore existing live projects that are embedded community engagement projects through the lens of Anderson and Priest’s spectrum of live project factors (in Harris & Widder, 2014: 47). The context of the selected projects is positioned in architectural education in South Africa. Our aim is to see if the spectrum of live project factors highlights specific pedagogies, practices and expertise (Anderson, 2017) within these local projects. The projects will be identified from existing live project literature, with specific reference, but not limited to, the Live Projects Network (http://www.liveprojectsnetwork.org) and DesignBuildXChange (http://www.dbxchange.eu) online platforms.

We hope that our findings will contribute to the development of a conceptual live project framework for community engagement in South African architectural education, with the possibility of transferring such a framework to other disciplines.

Современите принципи на проектирање, преку користење на Building Information Modeling (BIM) можат да овозможат изведба на комплицирани конструктивни системи, без можна колизија во различните фази на објектот, олеснувајќи и убрзајќи го процесот на реализација на објектот. Во трудот е даден пример за употреба на овој современ принцип на изведба, преку комплексен конструктивне систем на челична конструкција со двокатна спрегната меѓукатна конструкција во еден од модулите на објектот. Опишани се сите фази на изведба, споредувајќи ги со реалната поставеност меѓу проектираниот модел и изведената состојба.

The concept of spectatorship has evolved from a particular patriarchal perspective on the world that rejects embodied experience and allows the eyes to stand in for the body as a whole. What happens to the idea of the screen when we, like Alice, insert our whole body into it? What happens to the screen, the interface and to our subject position when we become interactive agents rather than passive observers? Exploring feminist and posthuman interfacesnew kinds of dynamic screen technologies-and the new subject positions artists are creating, this study of experimental works by

Wer kennt nicht die chinesische Weisheit »Wenn viele kleine Leute an vielen kleinen Orten viele kleine Dinge tun, können sie das Gesicht der Welt verändern«. Darum geht es auch in unserem Erfahrungsbericht aus dem Apostolischen Vikariat Bontoc-Lagawe. Wir haben das Monitoring Programm des Social Action and Development Centers (SADC) kennen gelernt, das sich zum Ziel gesetzt hat, Korruption auf der Grassroots-Ebene zu begegnen.

Since the early 1990s, Social Innovation (SI) has developed as a field of research, with advancements being applied to management, entrepreneurship and policymaking. In exploring SI processes, we realize that aspects of them have much in common with the architectural design process, but there is little awareness of these processes in architectural practice or in architectural schools. One of the weaknesses of architects as a result of their training is a lack of skills and tools to manage effectively the social aspects of their projects. Architectural education typically focuses on the final product as a built form or a spatial design. This essay analyses the potential role of SI in user-centred architectural projects through a case study of the workshop "From Territory to Detail", which was realised in rural Colombia. The workshop was aligned with Live Project's educational model, which emphasises the importance of the social aspects of a project. The aim of the essay is to identify theories and models which will be of mutual benefit to architecture and SI, and to suggest a way forward for SI processes to be incorporated within architectural schools.

Since the industrial revolution, the earth's environmental health has steadily grown worse, arguably approaching a critical state. While science and technology offer innovations to help move towards a sustainable planet, another less obvious field is also working towards a more positive environmental future. Environmental art is defined as an artistic process in which an artist engages with the natural environment. An artistic movement that began in the 1960s, environmental art has gradually evolved into a form that encompasses a large number of ecologically driven works, which allow artists to improve environmental conditions through a more proactive, yet aesthetic role. Environmental art draws on a wide variety of approaches, including ecological feminist principles (Ecofeminism); large, remedial landscape architecture; biosculpture, that incorporates a living components, like water purifying moss; as well as social sculpture that aims to combine environmental conscience with social reform. These works introduce an aesthetic dimension to environmental remediation, incorporating sculptural and design elements. While forming a core element of environmental art since its inception, ecological aestheticism is slowly becoming a more wide spread art form. Presenting various different interactions between artist and environment, this paper will begin with a brief overview of the early environmental art movement that establishes the history of environmental art and contextualises more recent environmentally remedial artworks. It will also discuss some of the different forms of environmental art, to finally focus on the forms that are ecological in focus that repair damaged ecosystems, offer environmental solutions and generally serve a remedial function in a positive environmental future.

Предмет на нашиот интерес е културното наследство во КатлановскоСкопско Блатечката област. Оваа област се наоѓа на исток од Скопје, во Скопската Котлина и го опфаќа течението од двете страни на реката Пчиња, левата страна на реката Вардар и Катлановското Блато. Во овој богат крај со биолошка разновидност и развиен бањски туризам уште од римско време (Катланово), се наоѓаат
повеќе археолошки локалитети (Таор, Бадер, Кочкова населба),
доцноантичка и средновековна тврдина Кожле и повеќе цркви: Св.
Ѓорѓи во Блаце од XVI до XVII век, Вознесение Христово или Св. Спас
во Кожле од 1847 година, Црква Св. Троица од XIX век во Брезница,
Кожленскиот манастир со црквата Св. Богородица, меѓу кои со својот фрескоживопис се издвојува Успение Богородично во Дивље од 1604 година. Скопската Блатија е позната и во фолклористиката со обичајот русалии, во етнологијата по брзите „северни ора“ и специфичната народна носија со разнобојна и разиграна орнаментика.

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Directions of the development and strategies of cultural policy tend to be determined by temporary preferences or even particular vogues for certain models of culture-making and culture promotion. To say that this is so because culture itself and culture-related practices undergo transformations would be to state the obvious. Be it as it may, the concept of cultural attendance, whose meanings vary rather widely, appears to be the key aspect in the current transformations. How exactly cultural attendance is defined has implications for strategies of cultural policy. In very broad lines, the current understanding of cultural attendance shifts away from activities designed within narrowly circumscribed institutional spaces which guarantee involvement in high culture. This shift results, most generally speaking, from the dynamics of social processes and has been embraced by multiple research studies which reveal hazards associated with the dichotomous vision of culture, where high culture is glorified and low culture is deprecated.

An expanded conclusion, divided into two parts: MANOEUVRING SCULPTURE articulates the ways that sculpture has been manoeuvred towards becoming an event through a series of methodologies, thereby addressing the first research question, which is: how can sculpture be practised as a proliferating event? TOWARDS A PROLIFERATING EVENT is the second part of the expanded conclusion and addresses the remaining research questions, which are: How does engaging sculpture as event produce relations between modes of production, engagement and reception? And: In what ways does approaching sculpture as an event contribute to contemporary practice? The contributions of the PhD are also articulated. Chapter references and an overall bibliography

Con questo breve lavoro si è proposto di analizzare l’opera 7000 Querce del maestro tedesco Joseph Beuys e come questa sia stata una delle più alte e compiute realizzazioni della sua scultura sociale. Fu realizzata nel 1982 in occasione della settima Documenta a Kassel in Germania. Si tratta di un lavoro tardo (Beuys, infatti, aveva 62 anni all’epoca e morì dopo solo quattro anni) e come tale il linguaggio artistico del maestro era ormai compiuto. Si è cercato quindi di fare una breve riassunto della vita di Beuys concentrandosi in particolare sui momenti più rilevanti per la sua formazione; per poi passare a prendere in esame la scultura sociale e altri aspetti relativi alla sua visione artistica (quali il suo impegno politico e ambientalista, riportando delle opere esemplificative). Tutto questo per fornire una contestualizzazione e comprensione della ricerca del Maestro che, seppur breve, fosse il più esaustiva e completa possibile. Lo scritto si conclude con l’approfondimento sul lavoro 7000 Querce in cui prima viene spiegato il progetto nel concreto e poi analizzato alla luce dell’arte del Maestro e infine un’appendice fotografica.

This paper investigates the interaction between reality and imagination in the architectural design process. It engages with four inter-related inquiries. First, the interplay between reality and imagination in the architectural design process in student design-build live projects. Second, the interplay of reality and imagination for different agents in the architectural design process. Third, how the work of John Hejduk (1929-2000) enables a reappraisal of conceptions of reality and imagination in architectural design. Fourth, we address a live project for The Story Museum in Oxford, UK – a physical architectural space concerned with imaginary spaces – that suggests how an understanding of reality and imagination might be deepened in the architectural design process.The text reappraises the interplay of reality and imagination in architectural design as a cognitive process. There are two aims: to reassess empirical responses and received wisdom about what is real and what is imagin...

Reflection Submitted in Partial Fulfillment of the Requirements for the Degree of Philosophiae Doctor (PhD) in Artistic Research at the Faculty of Arts and Craft, Oslo National Academy of Arts. Supervisor: Mary Jane Jacob. Second supervisor: Olga Schmedling.

This paper examines the role of participatory, performative forms of art that incorporate new media technologies as educational tools, in a wider social context. In particular, using paradigms from technology-based artistic performative and participatory expressions, the research underlines the importance of technology in diminishing the passive role of the viewers and focuses in alternative forms of educational experiences and social memory transmission. Herein the historical continuity of participatory notions is depicted from primitive cultures to the contemporary paradigm of the work of Rafael Lozano Hemmer, and from the Brechtian Epic theatre to the ritual performances of Joseph Beuys. In this context educational theories are presented focusing on the acquisition of knowledge through the notions of interactivity, participation and the experience of social space itself. Furthermore, through Connertons’ idea of performance as an act of ritual remembering, these kinds of events th...

and yet you are called to represent your country in an international art exhibition? Los Angeles-based artist Mark Bradford tried to tackle this question in his presentation at the United States pavilion at the 57th Venice Biennale.

Co-curated by Baltimore Museum of Art Director Christopher Bedford, and by Baltimore Museum of Art Senior Curator Katy Siegel, Mark Bradford’s Tomorrow Is Another Day explores questions of representation, feelings of marginalisation and disillusionment, and how it feels to be at the margins in today’s so-called democratic societies.

Published on the occasion of 'Life Instinct', Anne Percoco's solo exhibition at Nurture Art in Brooklyn, New York City, in 2012.

This body of work presented at NURTUREart celebrates makeshift solutions, survival instincts, and reuse of discarded material. Curated by Marco Antonini.

As New York Arts Magazine correspondent I have met and interviewed artists Michael Rees and Robert Gero on the occasion of their exhibition 'Tactical Play Exchange' in New York City.

Michael Rees is an American artist practicing sculpture making, installation, animation, and interactive computing. He has exhibited his works widely, including at the Whitney Museum of American Art, New York, NY (1995 Whitney Biennial, 2001 Bitstreams Exhibition); Bitforms gallery, Universal Concepts Unlimited, The Aldrich Museum of Contemporary Art, Ridgefield, CT (Putto Large and Moving 2004, Pop Surrealism 1998, Best of Season 2001), The MARTa Museum, Herford, Germany (Putto 4 over 4 2005), and The Kemper Museum of Contemporary Art, Kansas City, MO (Putto 2x2x4 permanent installation of sculpture and animation).

Robert Gero’s work – both built and written - is grounded in the practical and theoretical intersection of art practice, philosophy and social-architectural systems.

He holds an M.F.A. in sculpture and an M.A. in philosophy/aesthetics from California State University, Los Angeles, and a Ph.D. in philosophy (with concentrations on philosophy of art/ and art theory) from the New School for Social Research in New York.

He has exhibited nationally and internationally, selected exhibitions include The Museum of Arts and Design, Out of Hand; Materializing the Postdigital, New York, NY,  the 45th Venice Biennale, Venice, Italy, Artist Space, New York, Holly Solomon Gallery, New York, Tom Solomon’s Gallery, Los Angeles, Dorsky Gallery, New York, Pablo’s Birthday Gallery, New York Favorite Goods Gallery, Los Angeles, Frederieke Taylor Gallery, New York, Makor Gallery, New York, UICA, Grand Rapids, Lab Gallery, New York, Santa Monica Museum of Art, Santa Monica CA. He has recently been awarded an Art Matters grant, NY (2011).

"The French contemporary artist Pierre Huyghe enjoys international acclaim, witness the many one-person and group exhibitions in which his work has been featured, and the prizes he has been awarded. His workplace in New York City, where this interview was conducted on January 20th, 2017, is an office where research and thinking take place and not a studio where things are made. The work Huyghe and/or others produce following his directives seems based upon raising questions, but what these are is unclear. Therefore, what the answers are is equally so".

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