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Zum Verhältnis von Politik und Ästhetik in der Gegenwart
Aktuelle Positionen zum europäisch-afrikanischen Diskurs. Material - Gestaltung - Kritik
Elfriede Jelineks Konzept des Sekundärdramas
Series: Theater, 88

Forensic Anthropology, hg. v. Dennis C. Dirkmaat, Malden, Oxford: Wiley-Blackwell, 639-648. Fortress Europe (2015), »Immigrants Dead at Frontiers of Europe«, http://fortresseurope. blogspot.com/2006/02/immigrants-dead-at-frontiers-of-europe_16.html (01.12.2017). Grant, Stefanie (2011): »Recording and Identifying European Frontier Deaths«. In: Euro- pean Journal of Migration and Law 13: 2, 135-156. Grzinic, Marina/Tatlic, Sefik (2014): Necropolitics, Racialization, and Global Capi- talism. Historicization of Biopolitics and Forensics of Politics, Art, and Life, Lanham

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Using the #Feesmustfall Movement as a Pivot for Discussion | 195 Suzanne Beukes Migration, Political Art and Digitalization | 211 Sara Wiederkehr Gonzáles “You’re Not Left Thinking That You’re The Only Gay in the Village” The Role of the Facebook Group Seksualiti Merdeka in the Malaysian LGBT Community | 227 Veera Helena Pitkänen Finding a Visual Voice The #Euromaidan Impact on Ukrainian Instagram Users | 239 Karly Domb Sadof Google A Religion E xpanding Notions of Religion Online | 251 Joanna Sleigh Notes on Contributors | 263

J.: Liberated Cinema: The Yugoslav Experience, Bloom- ington: Indiana University Press 2002. Harrison, Charles/Wood, Paul (eds.): Kunsttheorie im 20.Jahrhundert [2 volumes], Hamburg: Hatje Cantz 2003. Horton, Andrew: “The Rise and Fall of the Partisan Film: Cinematic Per- ceptions of a National Identity”, in: Film Criticism 12.2 (1987): 18-27. Jelinek, Alana: This is not art, London et al.: I B Tauris & Co Ltd 2013. Klanten, R. et al.: Art & agenda: Political art and activism, Berlin: Gestal- ten 2011. Levi, Pavle: Disintegration in frames: Aesthetics and

Foreword Mateusz Borowski, Małgorzata Sugiera In the last two decades, the landscape of performative art practices has radically changed. New forms at the crossroads of science and fiction, ‘pure’ and political art, and one- and multi-person projects have been rapidly emerging and devel- oping. The new forms hybridize various media, merging live and mediated par- ticipation to offer individualized experiences on both an affective and cognitive level. As a consequence, every artifact produced in these arrangements becomes a unique example of a new

others. POLITICAL ART: NO CONCLUSION This leads to the question of the political potential of art. To my mind, this is a key question in the intersections of the humanities and the social sciences: how do we situ- ate the political of art elsewhere than in the thematic domain, which is so dangerously close to propaganda? In more subtle and effective political art, a compelling narrative unfolds, but not as a series of events told ›in the third person‹. Rather, the narrative is performative, as the work stages an encounter between the work and the viewer. In our

-der-kuenste-eine-besprechung-von-on-not-knowing-how-artists-think-hg-von-eli zabeth-fisher-und-rebecca-fortnum-london-2013/ (15.02.2015). WISSEN IN BEWEGUNG – DAS WISSEN DER KÜNSTE | 161 „The idea of meaning being fixed inside an artwork seems reductive; the best art for me provokes new thoughts and meanings, again and again. The problem or weak- ness of some so-called ‚political art‘ is often in direct relation to its apparent success in communicating a clear and simple message. I find it rewarding when people read new meanings into our work, meanings that we didn’t know about.“5 Da Forsythes „choreographic objects“ sich in einem

index is a sign that is physically or causally connected to its meaning. Linguistic deixis is a specific form of indexicality. It has as specificity that it is bound to the subject, as his or her extension in Bergson's sense. Psychic space is material, and the primary thrust of political art lies in that materiality (see fig. 4 above).18 For the concept of psychic space, the best source is once more Silverman. In her theory of the formation of subjectivity and the place of the body therein, she argues that “(...) one's apprehension of self is keyed both to a