Current issue: Vol 8(1)

“Studies in Visual Arts and Communication –
an international journal”

Volume 8 – Nr 1, 2021

Table of Contents

June 2021; 8(1)


1. Eva C. Mesas Escobar, María Dolores López Martínez, Eva Santos Sánchez-Guzmán

El cadáver exquisito en las experiencias de creación compartida
Studies in Visual Arts and Communication – an international journal / June 2021 8(1)

RESUMEN
Con el presente texto nos adentramos en las aportaciones que el surrealismo, a través de su experimento creativo llamado Cadáver exquisito, ofrece para generar metodologías de trabajo en la creación compartida. Desde este experimento y sus variantes, revisamos un conjunto de experiencias artísticas colectivas que hemos desarrollado en los últimos años, relacionado con contextos artísticos, sociales y comunitarios.

La idea que hace fluir este tipo de creaciones es el nacimiento de un cuerpo común, entendido como colectividad, que crece desde la suma de aportaciones individuales. El cadáver exquisito es un juego de gran interés para la activación de la creación colectiva, que se da en el espacio-ambiente y que concluye en una obra ante la cual la sorpresa del encuentro con lo inesperado hace emerger los vínculos vividos en el proceso.  Según esto, lo interesante de estas experiencias no son sólo los resultados, sino el mismo proceso de creación y aquello que se activaba a nivel relacional y colectivo.

Las experiencias mostradas invitan a vagar invirtiendo el orden lógico de la actividad creadora, en el sentido de entregarse a los procesos de forma despreocupada, a habitar nuevos escenarios, a deambular por ellos y permitir que surjan nuevas imágenes del mundo.

Palabras clave: Surrealismo, cadáver exquisito, juego, creatividad compartida, expresión artística, diversidad.

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2. Ali Shobeiri

Thinking from Materials in Andy Goldsworthy’s Environmental Artworks
Studies in Visual Arts and Communication – an international journal / June 2021 8(1)

ABSTRACT
By adopting posthuman ecology as its methodological framework, the author of this paper examines how British environmental artist Andy Goldsworthy’s conceptualization of nature can radically undermine the nature/culture dichotomy. To do this, the author will survey the first and the second waves of environmental art movement, also known as Representational and Performative Environmental Art, in order to situate Goldsworthy’s small-scale works within the latter. Then, by embracing Tim Ingold’s idea of “thinking through making” within materialist ecology, the author puts forward that Goldsworthy’s environmental art can resist the old-age hylomorphic model by using intuitiveness and improvisation as its strategy. In doing so, Goldsworthy eschews from turning nature into a representation that is to be manipulated by human subjectivity from afar, precisely by thinking from natural materials rather than about them, thus inviting us to conceive all human and nonhuman organisms as an intricate conglomerate of “leaky things” in an endless flux of ecological becoming.

Keywords: Ingold, materiality, environmental art, nonhuman, Goldsworthy, hylomorphism.

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3. Katarina Andjelkovic

Moving Desire through a Machinic Assemblage. Rethinking Transmediality with Man Ray
Studies in Visual Arts and Communication – an international journal / June 2021 8(1)

ABSTRACT
Art in the period immediately after World War I witnessed a general interest in becoming more machine-like, and artists like Man Ray (1890-1976) challenged the functions of the basic optical machines used by artists. Instead of using the camera as a machine for making documents, Ray used it as an instrument for exploring ‘desire’. Drawing on Lacan’s theory of desire, I propose that, with Ray, desire entered the process and became the purpose of flows, multiplicities, production, and repeated reproduction. This claim is supported by Deleuze and Guattari in Anti-Oedipus, when they assert that “desire is not primarily connected to a specific object, but is always the desire of an arrangement (assemblage)” (Deleuze and Guattari 1983). In such constellation, ‘desire’ becomes part of diverse processes that mark the “transition” of the object to the image and vice versa, as typified in Man Ray’s art. Likewise, machine is a tool at the service of Ray’s mind, be it automatism characteristic of the surrealism or subverting typical means of reproducibility. The hypothesis is that, when observed from the perspective of Deleuze and Guattari’s machinic approach, the foundations of Man Ray’s painting can be contextualized as machinic, in a close connection with the concept ‘desiring-machines’. The aim of this paper is to renew a concern with the medium by looking at the transmedia nature of Man Ray’s painting as being machinic. The transmedia nature of Ray’s painting will be examined in the case of his painting DANGER/DANCER. L’impossibilité (1917-1920), by looking at how ‘desiring-machine’ undermines ordinary machine functions.

Keywords: desire, machine, transmediality, Man Ray, Gilles Deleuze & Felix Guattari.

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4. Hamida Sivac

Subversive syntax. A comparative investigation into artistic methods aimed at subverting linguistic communication in Feminist Art of the mid-1970s
Studies in Visual Arts and Communication – an international journal / June 2021 8(1)

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5. Jonathan Joy

From Attendance to Performance: The Spectatorial Experience and the Emergence of Live Cinema
Studies in Visual Arts and Communication – an international journal / June 2021 8(1)

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6. Lorenzo Rossi

Michael Haneke and the Trauma of Europe
Studies in Visual Arts and Communication – an international journal / June 2021 8(1)

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7. Luca Cardone

The performative role of the body in gamified vision and VR
Studies in Visual Arts and Communication – an international journal / June 2021 8(1)

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