scholarly journals Venecijanski Bijenale na putovima autorskih koncepcija (2003. – 2017.)

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 364
Author(s):  
Vinko Srhoj
Keyword(s):  
Contemporary Art ◽  
The State ◽  
Artistic Production ◽  
Art Scene ◽  
Present Trend ◽  
The Cost ◽  
Global Art ◽  
Artistic Quality ◽  
Venice Biennale

This retrospective overview of the oldest exhibition of contemporary art, the Venice Biennale, focuses on the artistic concepts of its selectors from the 50th exhibition in 2003 until the latest, 57th, which took place in 2017. The central thematic exhibitions of the Biennale have become the benchmark for evaluating the entire artistic production of the two-year interval, the main trends on the global art scene, and the spirit of the time. Analysing the selectors’ concepts, the author has indicated some of their qualities and deficiencies and assessed the state of theoretical superstructure of curatorial concepts at the time and their comparability with the actual, converging or diverging state of artistic production. His conclusion is that the Biennale has been losing momentum and flow, and that the selectors’ concepts are often imposed at the cost of artistic quality. The exhibition of Damien Hirst (2017) has confirmed the already present trend in which the collateral exhibitions taking place during the Biennale tend to overshadow the Biennale itself and shift the focus on the more compact and artistically more appealing exhibitions of individuals, art groups, or phenomena.

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

Parties, Pavilions and Protests: The Heteronomous World Politics of the Russian Pavilion at the Venice Biennale

2019 ◽  
Vol 27 (2) ◽  
pp. 29-61
Author(s):  
Julia Bethwaite ◽  
Anni Kangas
Keyword(s):  
International Relations ◽  
Contemporary Art ◽  
Soft Power ◽  
Cultural Diplomacy ◽  
World Politics ◽  
The State ◽  
Different Types ◽  
A Site ◽  
Venice Biennale

This paper focuses on the role of contemporary art in international relations and world politics. In IR, art is often examined within the framework of cultural diplomacy, country branding, and soft power, or approached as a site of resistance. We argue that the concept of heteronomy offers an alternative conceptual framework for analysing contemporary art in world politics. It highlights the interaction of various fields such as art, commerce, the state and media. We concretise this approach with an analysis of the Venice Biennale. We show that the Biennale is heteronomous in the sense of being an arena where actors from various fields struggle for power by accumulating different types of capital. We focus our analysis on the Russian national pavilion in 2011–2015 and show how the efforts of the country's elite to legitimise its position intertwined with the projects of the state, sponsors, artists, curators and art market actors.

Contemporary Art: A Very Short Introduction

2020 ◽  
Author(s):  
Julian Stallabrass
Keyword(s):  
Contemporary Art ◽  
Art World ◽  
Short Introduction ◽  
Big Business ◽  
Art Scene ◽  
Global Art

Contemporary Art: A Very Short Introduction presents a radical analysis of the global art scene. Contemporary art has never been so popular—but the art world is changing. Today, there is growing interest in questions over the nature and use of contemporary art, and over who controls its future. This VSI studies how new regions and nations, such as China, have leapt into astonishing prominence, overturning the old Euro-American dominance. It also examines the powerful influence of big business and the super-rich on the art world, and the reinvention of artists and museums as brands.

scholarly journals India at the Venice Biennale: Collateral Events From and Beyond the Nation

2020 ◽  
Vol 9 (1) ◽  
pp. 70-89 ◽  
Author(s):  
Nuria Querol
Keyword(s):  
Contemporary Art ◽  
Analytical Framework ◽  
The State ◽  
Interview Data ◽  
Original Research ◽  
Venice Biennale

iCon: India Contemporary (2005) was not only the first collateral event of India at the Venice Biennale, but it also began as a bid to become a national pavilion – an ambition that was ultimately unsuccessful. Drawing on original research and interview data surrounding the exhibition, this article examines the collaborations and conflicts between private art institutions, artists and the state in the context of India’s participation in the Venice Biennale since the 2000s. The article foregrounds a transversal approach – that is, an analytical framework that unsettles the conventional dichotomy between national pavilions and collateral events – and demonstrates how commercial galleries and private art institutions have acquired an important role in the production and exhibition of Indian contemporary art in global biennial circuits.

scholarly journals Efficacia dell’arte, strategie di rete e approccio trasformativo a paesaggio e patrimonio alpino

ARCHALP ◽  
2019 ◽  
Vol 2 NS (Issue 2 Ns, July 2019) ◽  
pp. 123-133
Author(s):  
Gianluca d’Incà Levis
Keyword(s):  
Contemporary Art ◽  
The State ◽  
Architectural Heritage ◽  
Aesthetic Value ◽  
Industrial Archaeology ◽  
Artistic Production ◽  
The Past ◽  
Innovation Culture ◽  
Simple Economic ◽  
Alpine Landscape

Ever since 2011, Dolomiti Contemporanee (DC) has been operating on the contemporary identity of the mountain, and on the state of the Landscape, as well as the cultural, historic, and architectural Heritage inside the region of UNESCO’s Dolomites. Its research takes shape in the reactivation of large, issue-heavy industrial archaeology sites and compounds: former factories, former social villages, iconic architectural creations, with a great historical or aesthetic value, abandoned and underutilized, immersed in the powerful nature of the Dolomitic region. DC works on the redefinition of the mountain’s identity, building re-innovative and thematic critical images. In this sense, we refuse to recognize as an acceptable identity for the Alpine landscape the hotchpotch of stereotypical reductions which deliver a bland and reified vision of it, one that almost always involves plain and simple economic and touristic exploitation of the asset, to the detriment of its real potential’s nourishment. DC’s practice puts at the centre the need for re-enhancement and functional re-use of a few exceptional sites, which must be re-processed and re-activated. It is a responsible necessity of care and an opportunity for the regeneration of extraordinary underdeveloped sources of potential at the same time. Contemporary art, innovation culture, network strategies, those are some of the “techniques” through which such sites, so important in the past and now lifeless, are tackled, and morphed into cultural and artistic production centres, finally operative again, engines able to represent and provide new value to the territory.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

PREREQUISITES FOR THE FORMATION OF A MECHANISM FOR STATE REGULATION OF SOCIAL GUARANTEES IN THE REGION

2017 ◽  
Author(s):  
Vitaly Lobas ◽  
◽  
Elena Petryaeva ◽  
Keyword(s):  
Social Protection ◽  
Well Being ◽  
State Regulation ◽  
The State ◽  
Point Of View ◽  
Periodic Review ◽  
Cost Of Living ◽  
Economic Relations ◽  
State Management ◽  
The Cost

The article deals with modern mechanisms for managing social protection of the population by the state and the private sector. From the point of view of forms of state regulation of the sphere of social protection, system indicators usually include the state and dynamics of growth in the standard of living of the population, material goods, services and social guarantees for the poorly provided segments of the population. The main indicator among the above is the state of the consumer market, as one of the main factors in the development of the state. Priority areas of public administration with the use of various forms of social security have been identified. It should be emphasized that, despite the legislative conflicts that exist today in Ukraine, mandatory indexation of the cost of living is established, which is associated with inflation. Various scientists note that although the definition of the cost of living index has a well-established methodology, there are quite a lot of regional features in the structure of consumption. All this is due to restrictions that are included in the consumer basket of goods and different levels of socio-economic development of regions. The analysis of the establishment and periodic review of the minimum consumer budgets of the subsistence minimum and wages of the working population and the need to form state insurance funds for unforeseen circumstances is carried out. Considering in this context the levers of state management of social guarantees of the population, we drew attention to the crisis periods that are associated with the market transformation of the regional economy. In these conditions, there is a need to develop and implement new mechanisms and clusters in the system of socio-economic relations. The components of the mechanisms ofstate regulation ofsocial guarantees of the population are proposed. The deepening of market relations in the process of reforming the system of social protection of the population should be aimed at social well-being.

The Self-Undermining State

2017 ◽  
Author(s):  
Arjun Chowdhury
Keyword(s):  
State Formation ◽  
Final Section ◽  
The State ◽  
The Self ◽  
Central Authority ◽  
Interstate War ◽  
External Threats ◽  
Willingness To Sacrifice ◽  
The Cost

This chapter provides an informal rationalist model of state formation as an exchange between a central authority and a population. In the model, the central authority protects the population against external threats and the population disarms and pays taxes. The model specifies the conditions under which the exchange is self-enforcing, meaning that the parties prefer the exchange to alternative courses of action. These conditions—costly but winnable interstate war—are historically rare, and the cost of such wars can rise beyond the population’s willingness to sacrifice. At this point, the population prefers to avoid war rather than fight it and may prefer an alternative institution to the state if that institution can prevent war and reduce the level of extraction. Thus the modern centralized state is self-undermining rather than self-enforcing. A final section addresses alternative explanations for state formation.

Constructing Images of Deviance: A Look at State Intervention into the Problem of Wife-Battery

1983 ◽  
Vol 31 (1_suppl) ◽  
pp. 60-76
Author(s):  
Patricia A. Morgan
Keyword(s):  
Social Problem ◽  
State Intervention ◽  
The United States ◽  
The State ◽  
Structural Position ◽  
Wife Battering ◽  
The Social ◽  
Class Context ◽  
Definition Of ◽  
The Cost

Patricia Morgan's paper describes what happens when the state intervenes in the social problem of wife-battering. Her analysis refers to the United States, but there are clear implications for other countries, including Britain. The author argues that the state, through its social problem apparatus, manages the image of the problem by a process of bureaucratization, professionalization and individualization. This serves to narrow the definition of the problem, and to depoliticize it by removing it from its class context and viewing it in terms of individual pathology rather than structure. Thus refuges were initially run by small feminist collectives which had a dual objective of providing a service and promoting among the women an understanding of their structural position in society. The need for funds forced the groups to turn to the state for financial aid. This was given, but at the cost to the refuges of losing their political aims. Many refuges became larger, much more service-orientated and more diversified in providing therapy for the batterers and dealing with other problems such as alcoholism and drug abuse. This transformed not only the refuges but also the image of the problem of wife-battering.

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