Welcome to our section Modern Art Effects. The will of the the team of HappenArt, Arts and Culture Platform, makes you discover its selections of books. Conferences, analyzes and critics of contemporary art.
Modern Art Effects, submission conference or events ⇒
Modern Art Effects Contemponary
Of course one could say: why bother? We live in a pluralistic culture where every form of art. Old and new. Also, high and low and every shade of grey can exist in freedom and can compete for attention in public space. But this is not so. Also, our culture is not pluralistic at all. The money destined to support contemporary artistic enterprise in public space. IIe. new art and new music. Is carefully channelled towards art forms which follow a definite collection of narrow ideas and Assumptions,.developed in the postwar period, with the exclusion of alternatives. It is schocking to discover that. Many serious artists are working independently of what ‘the establishment’.
Expects from ‘new art’. Still cultivating high artistic standards, and many of them of great talent. But they cannot be seen in the museums of modern art or heard at the festivals of new music. Both the kind of places entirely dedicated to modernism, postmodernism. Finally,concept art, etc. etc. Mostly all possible forms of nonsense and puerile attempts.
This means that these artists cannot. Or hardly, reach audiences who could be pleasantly surprised about such a variety of high quality works. There are many people around in these institutions. Whose ignorance and irresponsibility make sure that serious new art and new music. Cannot be found there. New art and new music have become a separate category. Next to the museum culture of the old collections. Of paintings and sculpture and old music in the concert halls and opera houses. Run by an entirely different kind of people who. Understandably, don’t care much about the ‘new’ forms which merely demonstrate a sorry decline. And most of the time present new works merely out of a sense of polite obligation. New visual art and new music. As found in the established forms of presentation. hHve killed themselves off completely in the chase after entirely nonsensical goals.
Modern Art Effects. HappenArt.
Modern Art Effects
APPROACHES TO VIDEO ART
“The history of video is a complex story because it was born in the middle of the crisis of modernism, it inherits formalist considerations but it is, at the same time, confronted with its hybrids (cinema, photography), its lures (television) and its future (digital). It is therefore a story which has nothing autonomous, but which nevertheless constitutes, if not a specific territory, an area exchange, circulation, transformation of images as well as genres, conceptual domains, relationships. »
Françoise Perfect, “Introduction”, in Video: an art
contemporary, Paris, Éditions du Regard, 2001, unpaginated.
Appearance of video art.
“The appearance of video art in the United States and Europe is linked to the development of Fluxus in the early 1960s. It demonstrates a desire to challenge the television image fixed in a narrative schema derived from language and participates in the upheaval of traditional art practices and techniques initiated by artists such as Robert Rauschenberg, John Cage, etc. In 1963, Nam June Paik and Wolf Vostell make the first tests of image distortions. […]
We often distinguish three categories of work in video art:
Video recording of a performance, a concert, a happening: witness video, living memory which can also be integrated into the action. These images broadcast in real time on which we can immediately intervene have attracted many so-called behavioral artists and played a determining role in the development of Body Art.
Experimental video (sometimes called formal video) first uses electronic image processing which allows countless manipulations (artificial coloring, deformations, special effects, feedback), then more recently images produced entirely by computer: images in 2D, whose basic tool is the graphic palette, 3D images, images without a camera: these synthetic images suggest a revolution in communication and
Video installations: video sculptures, video environments, often use several monitors sometimes associated with objects of a completely different order. These so-called closed-circuit installations (where the viewer is himself integrated) or, on the contrary, multi-channel with frontal or dispersed vision, depend as much on the equipment used as on the intentions of the artist. But they always involve reflection on time, space and even the movement specific to video. »
Mathilde Ferrer, Marie-Hélène Colas-Adler and Jeanne Lambert-Cabrejo (dirs.), Groups, movements, trends in contemporary art since 1945, Paris, ENSBA, 2001, p. 57-58.
Basic material of the image.
“In the same way that the eyes scan the visual field to topographically understand the measurements and shapes and construct a representation, the electronic cannon releases points of light on the receiving surface (the monitor panel), by scanning at a speed calculated in nanoseconds, in order to constitute an image acceptable to the eye. The point in video is therefore a temporal fraction of the scan; the fundamental material of the video image is the point-duration and no longer the point-space of photography and cinema. Optical scanning and electronic scanning present therefore similarities in their way of breaking down space into duration, and of developing a representation based on a true analysis. The electronic light-space-time points are scanned in rows or lines juxtaposed horizontally by hundreds (this varies depending on the system, around 600, 625 for Secam standards and Pal to form the video surface). […]
The videographic image pre-exists any mimetic representation that it could represent: it is the snow screen which appears as soon as the screen lights up, as soon as the device (television or camera) is plugged in, when the programs are completed but the machine remains activated. This electronic snow, a veritable vibratile matrix, potentially full of all the images of the world, represents a primitive state of the image, a state of it before its realization as than appearance: snow as becoming-image, element, food from which the flesh of the image will be made. Image element, the pixel is perceived in its mathematical precision when the gaze approaches the screen a little too closely; while in a more enveloping vision, it participates in a starry surface of white points in active darkness. […] Peter Campus (1947, USA) experiments the images of snow in the single-track Set of Coincidence (1974), playing “tone on tone” of the silhouettes of his body cut out in the vibrant substance whose texture is different from that of the background: snow on snow, the figure camouflages itself thus, by mimetic effect, on a “background” which turns out to be made of the same dough as it. Both containing and contained, without thickness, this frame being sparkles in an identical environment, advancing in the form of a dematerialized, “ghostly” and evanescent body. Multiplied image of a weightless body evolving in a false depth, highlighting of the scintillating material, fascination with the volubility of the video signal…: so many mirages which will attract the explorers of the first decade but also the more informed travelers of the following.”
Françoise Perfect, Video, contemporary art, Paris, Editions
du Regard, 2001, p. 96-97
Modern Art Effects
The studio vu lectures series 2021-2022 and the THE VANDERBILT UNIVERSITY DEPARTMENT OF ART welcomes MARIE WATT on October 20, 2021 at 2:30 PM (CST) via Zoom. Registration required.
The College of Arts and Science – Oct 20, 2021 (at 2:30PM) Vanderbilt university, Nashville (US)
Studio VU is a free arts lecture program and open to the public.
Registration link: https://vanderbilt.zoom.us/meeting/register/tJ0pfu-urj4oH9NDNeDd2T1bi8aYRgUtvqXT
Alternate option: Please email firstname.lastname@example.org for registration link.
Marie Watt is an American artist and citizen of the Seneca Nation with German-Scot ancestry. Her interdisciplinary work draws from history, biography, Iroquois protofeminism, and Indigenous teachings. In it, she explores the intersection of history, community, and storytelling. Through collaborative actions she instigates multigenerational. Cross-disciplinary conversations that might create a lens. Conversation for understanding connectedness to place, one another, and the universe.
Watt holds an MFA in painting and printmaking from Yale University. She also has degrees from Willamette University and the Institute of American Indian Arts. In 2016 she was awarded an honorary doctorate from Willamette University.
Painting and Sculpture.
She has attended residencies at the Skowhegan School of Painting and Sculpture and the Vermont Studio Center; and has received fellowships from Anonymous Was a Woman, the Joan Mitchell Foundation, the Harpo Foundation and the Ford Family Foundation and the Native Arts and Culture Foundation.
Marie serves on the board for VoCA (Voices in Contemporary Art) and on the Native Advisory Committee at the Portland Art Museum. Then in 2020, became a member of the Board of Trustees at the Portland Art Museum. She is a fan of Crow’s Shadow, an Indigenous founded printmaking institute located on the homelands of the Confederated Tribes of the Umatilla, as well as Portland Community College.
Selected collections include the Seattle Art Museum. The Whitney Museum of American Art. Albright-Knox Art Gallery. Yale University Art Gallery. Crystal Bridges Museum. Smithsonian Institution’s National Museum of the American Indian and Renwick Gallery. Tacoma Art Museum. Denver Art Museum, and the Portland Art Museum. She is represented by PDX Contemporary Art in Portland, Oregon. Greg Kucera Gallery in Seattle. Washington, and Marc Straus Gallery in New York City, New York.
Modern Art Effects
White Cube Hong Kong – Until 8 May 2021
Conversations: Joan Simon and Andrea Lissoni on Bruce Nauman
White Cube was pleased to present an exhibition of video works by Bruce Nauman. Widely regarded as one of the most influential contemporary artists in the world, this is the first exhibition of his work in Hong Kong.
“Présence / Absence” presents two single-channel works, from 1999 and 2001. As well as three projections on two screens produced in 2013, which highlight the artist’s experimental approach. Both in front of and behind the camera. Shot on his ranch in New Mexico, in his studio or in the surrounding landscape. They are explorations of spirit and matter. Using elements of performance, work. Language. Illusion and duration. The works explore the cognitive and social spheres.
Choosing the right questions.
Nauman said that “[…] what makes the job interesting is choosing the right questions. Then as you go along. The answers are what’s interesting. With an economy of means. Then, the duration of the work often determined by the duration of the medium or of a given task. They are modeled on the artist’s avowed desire: “ to find the most efficient way to get what I want”.
Modern Art Effects
MONOCULTURE – A recent history
M HKA, MUSEUM OF CONTEMPORARY ART ANTWERP – Until April 24, 2021 Antwerp (Belgium)
The MONOCULTURE – A Recent History exhibition assumes that any understanding of the concept of “multiculture” would require research into that of “monoculture”. Social understanding of “monoculture” can be defined as the homogeneous expression of the culture of a specific social or ethnic group. The project aims to approach the notion of monoculture with an open mind. It will therefore aim to conduct an analysis rather than develop an antithesis to monoculture. Not only from historical, social perspectives. Cultural and ideological. But also philosophical. Linguistic and agricultural. MONOCULTURE will provide an experimental mapping. Allowing a comparative analysis of the different manifestations of monoculture. As well as their reflection on art and propaganda. With a view to drawing conclusions which may be relevant for society and culture in general.
Hannah Höch. Lovis Corinth. Karl Hofer. George Grosz. Carol Rama. Werner Peiner. Joseph Beuys. Felix Gonzalez-Torres. Åsa Sonjasdotter. Andy Warhol. Nicole. Hüseyin Bahri Alptekin. Haseeb Ahmed. Sven Augustijnen. Candida Höfer. Papa Ibra Tall. Maryam Najd. David Blandy. Oxana Shachko. Matti Braun. Jos de Gruyter & Harald Thys. Luc Deleu. Jimmie Durham. Catherine Opie. Charlotte Posenenske. Public Movement. Philip Guston. Mladen Stilinović. N. S. Harsha. Lynette Yiadom-Boakye. Rasheed Araeen. Ibrahim Mahama. Kerry James Marshall. Vincent Meessen. Renzo Martens / CATPC. Danny Matthys. Jonas Staal. Sille Storihle. Makhmut Usmanovich Us Venov. Nicoline Dimit van Harskamp.
Modern Art Effects
NOT REAL ART Creators Conference 2020
Highland Park Ebell Club – March 21, 2020 Los Angeles (US)
CALL FOR ARTISTS: Elevate Your Career
If you’re an artist who wants to grow your business, don’t miss the 2nd Annual NOT REAL ART Creators Conference in Los Angeles on March 21, 2020. Early bird tickets are $75. Learn from Top Artists + Expert. Improve Your Business Knowledge. Grow Your Professional Network. Learn. Share. Grow.
NOT REAL ART Creators Conference empowers artists to learn, share and grow professionally. During this intimate one day course, world-class artists and experts will share their invaluable knowledge and experience on many vital topics essential to an artist’s success today:
Self-care + Wellness. Productivity. Marketing. Negotiating. Storytelling. Branding. Communication. Networking. Sales.
NOT REAL ART Creators Conference contains dynamic presentations and conversations. This year’s exciting speakers include: Collette Miller, Visual Artist. Man One, Visual Artist. Jeff Soto, Visual Artist. Camilla Rose Garcia, Artist. Channing Dungey, Netflix VP, Original Series. Jorge Gutierrez, Animator. Professor Aaron Kay, PhD, Duke University. Frances Anderton, Art Journalist, KCRW 89.9. Bret Hofstein, Psychotherapist. Sourdough Power, Moderator.
This exciting conference is being held from 9:30am-5pm on March 21, 2020 at the historic Highland Park Ebell Club located at 131 S Ave 57, Los Angeles, 90042. And, be sure to join us the night before on Friday, March 20 from 7pm-11pm at the Mayfair Hotel for our opening festivities:
7pm — POWHER Art Exhibition @ Regime Contemporary Gallery
9pm — Parlor Social Musical Performance
Highland Park Ebell Club→ 131 S Ave 57 Los Angeles, CA 90042
Modern Art Effects
Filmed on site at Art Basel in Basel (Germany)
Conceived by Hans Ulrich Obrist. This series brings together artists with the individuals. Who have significantly influenced the development of their artistic practice. For this edition. Katharina Grosse and Sarah Sze speak on their own and each other’s work. And how Grosse’s work inspired and informed Sze. Grosse is a major figure who creates immersive site-specific installations. Using architecture and landscape with paint and stencils cut. From cardboard and thick foam rubber. The influence of this expanded/abstracted painting practice. Will be in dialogue with Sze whose installations are made of everyday objects to challenge systems of order. This conversation will investigate the use. Of gesture and celestial scale to push towards potentially new ways of thinking.
Modern Art Effects
A “Performative Conference” Reimagines the Social World
Performance Space – Sunday, Oct 7, 2018 New york (US)
This Sunday, Performance Space New York presents. The Permeable Stage — Reimagining the Social. A performative conference hosted by choreographer and dancer Mette Ingvartsen. Ingvartsen makes performances that “stimulate the intellect. And organizes conferences that appeal to the senses.” The Permeable Stage will feature artists. Theorists. Filmmakers, and activists in dialogue about relationships between humans. Technologies, animals, plants, etc.
Technology and algorithms.
The conference begins at 1 pm with an introduction by Ingvartsen and a short film. Donkey With Snow, by Romuald Karmakar. At 1:15. Annie Dorsen will perform from her 2010 work “Hello Hi There”. And an interview with Dorsen on technology and algorithms. In performance will follow. At 2:15. Patricia T. Clough will give a lecture on. “Post-Phenomenological Subjectivity and Datafication,” and at 3:15. Isabel Lewis will host a celebratory gathering. “Using choreography. Music. Spoken address. Storytelling in ways that allow for conversation. Contemplation. Dancing. Listening, or just simply being.” At 5:15 Ingvartsen and Carolee Schneemann will come together for a conversation. and following. Che Gossett will take the floor for a lecture titled. “Abolitionist Entanglement: Blackness, Palestinian Struggle and the Limits of ‘Solidarity’”. Finally, the conference will close with a DJ set by Isabel Lewis.
Performance Space New York→ 6 5782, 150 1st Avenue, 4th Floor, East Village, Manhattan
Modern Art Effects
5 th edition of the Rencontres Research and Creation
Organized by the French National Research Agency and the Avignon Festival , organized with the professional performing arts House and the Ministry of Culture 10/11 July 2018
Conversation. Learning. Irony, Power. Identities. Fiction … No companies without rules of the game!
By bringing together authors, actors, directors, choreographers and researchers from different disciplines. These International Encounters. Help to move the boundaries of knowledge and open new perspectives.
Anthropologists. Historians. Sociologists. Philosophers, Linguists. Musicologists. Specialists in theatrical and literary studies. Psychology and cognitive neuroscience. Will exchange with the artists and the public of the Festival.
After “Corps en scène”. “Mise en intrigues”. “Violence et passion”. “The disorder of the world! This edition will bring together. The thought of works and the latest scientific works around the theme. “The game and the rule! “.
An area of excellence for research in the humanities. Social sciences in its disciplinary diversity. The theme of creation is also emerging for cognitive sciences. Also, neuroscience through the analysis of perceptual. Emotional or motor processes and fundamental learning. The origin of language and languages. The functioning of the mind and the complexity of human communication. The texts and stories of past civilizations. Or of today’s society are all fundamental questions for research. That are explored during the meetings. These questions are also at the heart of projects funded. By the National Research Agency and Investments for the Future.
In a context of globalization. Which is accompanied by new forms of exchange between cultures. This event is part of a perspective of better knowledge of creation. Both from the point of view of its social and economic function. Fally, its role in human development and the cohesion of societies.
In creation as in innovation, our society is reinventing itself!
Meetings Research and Creation: 10th and 11th of July 2018 – 9h30 / 17h
Seminar Research and Creation: 12th of July 2018 – 10h / 17h
Place: Cloitre Saint Louis, Avignon
Modern Art Effects
Beyond Speculation: Art and Aesthetics without Myths
In his well-known work of art criticism. Art of the Modern Age. Jean-Marie Schaeffer offered a lucid and powerful critique. Of what he identified as the historically dominant thinking about art. And aesthetics from the Jena Romantics, to Nietzsche. Heidegger. Adorno and beyond. Also, which he termed “the speculative theory of art”.
Here, in Beyond Speculation, Schaeffer builds from this significant work. Rejecting not only the identification of the aesthetic with the work of art. But also the Kantian association of the aesthetic with subjectively universal judgment. In his analysis of aesthetic relations. He opens up a space. For a theory of art that is free of historicism. Capable of engaging with noncanonical and non-Western arts.
By engaging with the ideas of Arthur Danto. Gérard Genette. Nelson Goodman. George Dickie and Rainer Rochlitz. Hence, and evoking a range of aesthetic experience. From Proust to King Kong to Japanese temple design. Beyond Speculation makes an original and engaging contribution to the development. Of the philosophy of culture.
Editor: Seagull Books
Modern Art Effects
Georges Didi-Huberman (French Edition)
Questions posées aux fins d’une histoire de l’art.
Ce livre développe une critique posée et reposée à nos certitudes devant l’image. Comment regardons-nous ? Pas seulement avec les yeux. Pas seulement avec notre regard. Voir rime avec savoir. Ce qui nous suggère que l’œil sauvage n’existe pas. Nous embrassons aussi les images avec des mots. Avec des procédures de connaissance. Avec des catégories de pensée.
D’où viennent-elles, ces catégories ? C’est la question posée ici. La discipline de l’histoire de l’art. Le développement actuel. La finesse de ses outils. Son impressionnante capacité d’érudition. Sa prétention scientifique. Son rôle dans le marché de l’art – semble autoriser le ton de certitude si souvent adopté par les professionnels de l’art. Les savants de l’image. Or, qu’est-ce qu’un savoir lorsque le savoir porte sur ce Protée que l’on nomme une image ? La question exige de mettre à jour la “ philosophie spontanée ”. Les modèles discursifs mis en jeu lorsque nous cherchons. Devant un tableau ou une sculpture, à en tirer, voire à en soutirer une connaissance.
Entre voir et savoir se glissent souvent des mots magiques. Les philtres d’une connaissance illusoire. Ils résolvent les problèmes. Donnent l’impression de comprendre. Ces mots magiques, Vasari, le premier historien de l’art. Au XVIe siècle, en a inventé de fameux, qui traînent encore dans notre vocabulaire. Panofsky, le “ réformateur ” de l’histoire de l’art. Au XXe siècle, les a critiqués dans un sens à l’aide d’un outil philosophique considérable. La critique kantienne de la connaissance. Il les a restaurés dans un autre sens. Au nom de l’humanisme et d’un concept encore classique de la représentation.
C’est du côté de Freud que l’on a cherché ici. Les moyens d’une critique renouvelée de la connaissance propre aux images. L’acte de voir s’y est littéralement ouvert. C’est-à-dire déchiré puis déployé. Entre représentation et présentation. Entre symbole et symptôme. Et, pour finir, entre la notion habituelle du visible et une notion renouvelée du visuel. L’équation tranquille. Métaphysique ou positiviste. Du voir et du savoir laisse place dès lors à quelque chose comme un principe d’incertitude. Quelque chose comme une contrainte du regard au non-savoir. Quelque chose qui nous met devant l’image comme face à ce qui se dérobe. Position instable s’il en est. Mais position qu’il fallait penser comme telle pour la situer malgré tout dans un projet de connaissance. Un projet d’histoire de l’art.
Editor: Collection Critique
Modern Art Effects
Anne Creissels (French)
Anne Creissels est maître de conférences en arts plastiques
Agrégée d’arts plastiques. Docteure de l’EHESS (École des Hautes Études en Sciences Sociales.) en histoire et théorie des arts. Anne Creissels est maître de conférences HDR en arts plastiques à l’université de Lille 3. Ses recherches, à la fois théoriques et artistiques. Portent sur la survivance de mythes dans l’art contemporain. La mémoire inconsciente des images. Les représentations et constructions identitaires en jeu dans l’art. Le geste dansé dans sa dimension performative et son lien aux arts visuels.