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“Studies in Visual Arts and Communication – an international journal”Volume 9 – Nr 1, 2022 |
Table of Contents
June 2022; 9(1)
1. Cristina Moraru
Post-politics and contemporary art in the era of global capitalist crisis
Studies in Visual Arts and Communication – an international journal / June 2022 9(1)
ABSTRACT
We live in times of interregnum (Zygmunt Bauman), times when power is being renegotiated, and even though it seems as the only effective form of exercising power in our actual state of emergency – a state of siege, in which biopolitics are replaced by necropolitics (Marina Gržinić), our current crisis is determined by the fact that the old is dying and the new cannot be born (Antonio Gramsci). Given the economic globalization and the liberalization of the capital market, the networks of capitalist power evolved globally, while political thinking remained local and ineffective. However, it is precisely this global turn that generated a coagulation of critical reactions in the art field – which associate neoliberal thinking with a global orientation (Simon Sheikh). Between global power and local politics, a fundamental contradiction arises. This is why the art world needs to establish a model of resistance against the globalization symptoms of contemporary art, as the biennalization and the neoliberalization of curatorial thinking, and start planning for an aesthetic revolution using artistic practices as manners of active involvement in the constitution of the creative metapolitical project of a sensory community that holds the promise of a better world for both, art and life (Jacques Rancière).
Keywords: post-politics, agonism, contemporary art, labor, globalization, capitalist crisis, aesthetic revolution, politics of the sensible.
2. Gabriela Freitas
Becoming-abject as a punctum of political resistance: abjection textures in the images from Silent Book by Miguel Rio Branco
Studies in Visual Arts and Communication – an international journal / June 2022 9(1)
ABSTRACT
In this article I analyze the images on the photographic book Silent Book by the Brazilian photographer Miguel Rio Branco with the objective to understand how the photographer appropriates from an aesthetic of abjection to constitute the notion of becoming-abject (in dialogue with Deleuze, Guattari, Kristeva and Bataille), in a way that punctum (Barthes) in these photographs can be interpreted as a form of political resistance (Rancière). The book is composed by 77 photos, diagrammed in diptychs which, at times, become triptychs, and constantly alternate their relational meaning. The quasi-abstraction of the pictures in Silent Book directs our gaze to its visual aspect and, from there, to the divagation of the non-linear narratives that permeate them. Their warm and dark colors and, especially, rough textures take the spectator to the edge of interpretation and establish these images at the limit of the imaginary of abjection: the decadent ruin, the eroticism, the dirt, the horror, the fatigue, the death. In this context, the abject becomes a form of highlighting what before was placed aside, promoting the necessary perception of the different and of otherness, as an alternative to the overload of positivity and individualism in contemporaneity, as pointed out by philosopher Byung-Chul Han, constituting, therefore, a form of political resistance.
Keywords: photography, Miguel Rio Branco, becoming, abject, texture, becoming-abject, punctum, political resistance.
3. Laura Partin
Tino Sehgal – les ruses de la chorégraphie (Tino Sehgal – The Ruses of Choreography)
Studies in Visual Arts and Communication – an international journal / June 2022 9(1)
ABSTRACT
Tino Sehgal refuse le terme « performance » et préfère appeler ses œuvres des « situations ». This is good de 2001, qui a été exposée à Düsseldorf, dans le cadre de la Kunstsammlung Nordrhein-Westfalen, est une œuvre basée sur une situation inattendue où le gardien du musée sort de son rôle et commence à avoir un comportement inhabituel, comme une chorégrafie absurde. Ce comportement s’éloigne de l’attente conventionnelle concernant l’invisibilité sémiotique du gardien et l’interaction quasiment absente entre lui et le public. Les histoires personnelles créent l’illusion de l’intimité, puis l’abandon brusque crée un vide et laisse le spectateur-participant dans une position inconfortable. L’objectif de cet article est d’analyser les différentes stratégies de « tromperie » que Tino Sehgal utilise pour produire de la confusion dans l’esprit du public amateur d’art contemporain, en profitant des attentes créées par l’espace institutionnel, afin de dévoiler les enjeux de sa démarche artistique.
Mots-clés : tromperie, performance, situation, institution, art, participation.
4. José María Alonso Calero
La interacción a través del constructo interdisciplinar del flujo de la escena frente al constructo multidimensional de la sensación de presencia
Studies in Visual Arts and Communication – an international journal / June 2022 9(1)
RESUMEN
Este artículo se enmarca en un ámbito interdisciplinar compartido del arte como es el Media Art desde la visión de la era postmedia de Brea. Nos situamos en un espacio donde la de toma cuerpo la idea de lo expandido en el arte, en referencia a Rosalind Krauss, al igual que la idea de cine expandido de Gene Youngblood donde la multiplicidad y la hibridación abren el campo de visión interdisciplinar del arte. Partimos del contexto de la experiencia de interacción viene mediada por la tecnología en forma de experiencia de interacción en términos de IPO, desde donde situamos el concepto de flujo de la escena en relación a la sensación de presencia. Consideramos que la sensación de presencia abarca cuestiones que van más allá de la afección general respecto a lo físico y a lo sensorial, ya que contempla la singularidad del individuo en su componente psicológica, y, sobre todo, sociocultural. Por tanto, podríamos decir que el flujo de la escena y la sensación de presencia no son causa el uno del otro, sino más bien se retroalimentan mutuamente, ya que son eventos que suceden en paralelo.
Palabras clave: Media Art; interacción; interdisciplinaridad; flujo de la escena; presencia.