Статья посвящена осмыслению продолжительного эпизода из 1917-1918 гг., когда в Лиссабоне шли спектакли «Русских сезонов», хореографической антрепризы Сергея Дягилева. Выступления были встречены с восторгом только балетными критиками и художниками-модернистами, авторами «Орфея» и «Футуристской Португалии», публика же принимала их холодно. Авторы объясняют этот парадокс следующим образом: 1) вовлеченностью публики в стремительно меняющийся политический (революционный) контекст, 2) «элитарностью» художественной концепции дягилевских эстетических экспериментов. Всё это укладывается в парадигму «нового искусства» - в данном случае новизны художественных концепций дягилевской антрепризы в контексте португальского модернизма.
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This paper addresses the processes by which the international community intervened and participated in the defining of Bosnian identity and the corresponding constitutional framework, as well as the continuous paradoxical tension between the ethnic local and claims to universalism of supranational legal norms. In particular, the 1995 Constitution and the architecture of its sovereignty have been contested through provisions of the European Convention of Human Rights. The analysis is further supported by the discussion of the architectonic structure of the Town Hall/National Library in Sarajevo that has had an important constitutional role since the collapse of the Ottoman period. The paper thus focuses on two sites for construction/deconstruction of Bosnian sovereignty: the constitutional framework and the more concretely visible architectural symbol of the Town Hall/National Library. This importance of a visual and spatial approach to Bosnian realities is carried further by the 1993 ‘Eulogy’ that Jean-Luc Nancy wrote for Sarajevo, as a site of the Mêlée.
This article explores the practices of recently formed and mainly UK-based art workers’ collectives against unpaid internships and abusive work. The modes through which these collectives perform resistance involve activist tactics of boycotting, site-specific protests, counter-guides, and whistleblowing and name and shame approaches mixed with performance art and playful interventions. Grappling with the predicaments of work in contemporary art, a labouring practice that does not follow typical processes of valorization and has a contingent object and an extremely loose territorial unity, this article argues that while the identity of the contemporary artist is systemically and conceptually moving towards fluidity and open-endedness, these groups work to reaffirm a collective in whose name it is possible to advance certain claims, assumptions, and demands. The contradictions and dynamics of art workers organizing against internships and voluntary work within a highly individualized, self-exploitative, and often privileged field are useful for informing labour organizing in the framework of ongoing capitalist restructuring.
This article uses case studies of visual art installations to elaborate an alternative view of the way art is experienced by museum and gallery visitors. In particular, it is argued that the orthodox and influential decoding perspective in the sociology of art overlooks the situated and experiential nature of art, especially when art takes the form of installations. In order to study experiences of art installations, this article draws on recent developments in cultural sociology and the sociology of music to reintroduce the idea of mediation into thinking about and with art. A focus on processes of mediation allows me to address the communications and interactions which emerged at the particular art installation under consideration here, a piece called PharmaConcert by Evgeniy Chertoplyasov that was displayed at the Winzavod Art Centre in Moscow in 2011. Detailed analysis of the forms of interactions at this exhibition shows that as audience members perceive artworks, they transform abstract expectations of artworks into a series of specific and situated actions. Simultaneously, other mediation processes reassemble the audiences through shared experience of contested meanings of an artwork. The paper challenges the orthodox sociological notion of what an ‘audience’ is and instead sees audiences as an emerging form of communication and interaction specific to a particular artwork / installation.
This essay thinks through encounters with "alien sounds", sounds that enable unfamiliar territories while bound with some distant prior knowledge or speculation that excites our curiosity. Exploring a sound art piece that employs sounds of whales, it looks how aesthetic responses towards art are bound with knowledge, concepts and representations as well as the larger social contexts in which they are played out. Following from that, it argues that conceptual art pieces that mobilize the alien can avoid exoticizing tendencies by reflecting on the conditions through which the alien has been constituted as such.