Bøger i Image serien

In the face of climate change, the destruction of biodiversity or genetic experimentation, Bio Art appears as a form that is most directly grappling with the problems of the »Anthropocene«. It develops many different approaches and explores a variety of mediums, often related to scientific research, creating art that uses plants, insects, mammals, bacteria, bird songs, forest sounds, or genetic modification. Bio Art's uniqueness comes from incorporating, rather than just representing the living in a diverse range of artworks. In discussing such works from various world regions and time periods, the contributors address the divide between human and non-human animals, between »culture« and »nature«.

The collaboration between scientists and artists in the form of Artist-in-Lab residencies may not only cause a productive disturbance for a day's work in the laboratory, but also reveal new ways of understanding. Research and science communication company Biofaction has brought together artists and synthetic biologists throughout Europe in a residence program that spans four truly cross-disciplinary collaborations. The contributors to this volume share their reflections of the dynamic frictions that occurred when their artistic and scientific worlds met.These stories, where chemistry labs, tobacco plants, genetically edited bacteria, and new-to-nature enzymes collide with music, photography, film, and visual arts, infuse the ongoing dialogue between art and sciences with grain, noise, and synergies.

The imaginaries of northern landscape have not remained static in the era of ecological crisis but play a pivotal function within the geopolitics of visual representation. Such imaginaries can sanction those dominant discourses that frame environmental catastrophe as the consequence of undifferentiated human activity, but, it is argued, they also have the capacity to represent a complexity and heterogeneity frequently absent from this broad discursive field. The contributors to this volume engage with the practice, curation and utilization of photography and other lens-based media, to examine the critical role of visual culture in shaping and interrogating conceptions of environmental catastrophe.

What does it mean to be called an >Outsider Marion Scherr investigates structural inequalities and the myth of the Other in Western art history, examining the role of >Outsider Art< in contemporary art worlds in the UK. By shifting the focus from art world professionals to those labelled >Outsider Artists

Technologies and techniques have informed artistic practices and discourses since the avantgardes' heyday, and their proliferation, now in an increasingly digital culture, has continually transformed the very idea of the medium in global contemporary art. The contributions from internationally renowned scholars, curators, and artists gathered in the present volume map and interrogate this intimate nexus by forging diverse pathways through the political force fields, technological milieus, and ecological environments in which both art and media are situated and interwoven in the twentieth and twenty-first centuries. As a festschrift, the book also pays tribute to the impact and influence of the art historian Eric C. H. de Bruyn's work.

According to Walter Benjamin, the past that is not recognized by the present threatens to disappear irretrievably. As a consequence, photographs cannot save the moment from oblivion by pure depiction alone, but only by keeping the depicted moment actual at every present moment.Instead of counting on the documentary quality of photography that speaks in the past tense of "e;what has been"e;, Silke Helmerdig suggests a different approach to photography: an extension of a future subjunctive (photographic) tense speaking of "e;what could be, if"e;, allowing one to think possible futures instead of harking back to the past.

Michael Lent asks what role art has in colonisation and subsequent dissolution. He proposes a practice informed by the fatal strategies and 'raw' phenomenology of Jean Baudrillard as a challenge to a system of disappearance. Focusing on the otherness of space to prevent its ultimate dissolution, Lent promotes a spatial practice of radical alterity. Examining ideas of disappearance put forth by Baudrillard and Paul Virilio, he utilises art as a means for investigating loss of potentiality and experience through the representation of space, shifting their ideas - originally ascribed to objects - into a new emphasis.This book ultimately attempts to break a cyclical system that causes everything to disappear into representation and equivalency.

Roman Charity investigates the iconography of the breastfeeding daughter from the perspective of queer sexuality and erotic maternity. The volume explores the popularity of a topic that appealed to early modern observers for its eroticizing shock value, its ironic take on the concept of Catholic charity, and its implied critique of patriarchal power structures. It analyses why early modern viewers found an incestuous, adult breastfeeding scene good to think with and aims at expanding and queering our notions of early modern sexuality. Jutta Gisela Sperling discusses the different visual contexts in which Roman Charity flourished and reconstructs contemporary horizons of expectation by reference to literary sources, medical practice, and legal culture.

Since well before the debates about global warming and climate change, images have played an important part in bringing changes in nature and the environment to the attention of the general public. Moreover, most of these images have historic precursors. Gisela Parak illuminates how the synergy of photography and science gave rise to a class of photographs of environmental phenomena in the history of the United States of America, and how these images supported and instructed the scientific pursuit of knowledge, and were furthermore used as a persuasive means for directing public opinion.

How to account for the peculiar attraction of certain photos? How to deal with the specific use of images in particular contexts? Monika Schwarzler presents a variety of photographic case studies exploring visual phenomena from the point of view of media analysis as well as from sociological, aesthetic, and psychoanalytic perspectives. The topics range from a new reading of Thomas Struth's street photographs to CERN photos with their charged rhetoric, from the assault of photographic close-ups to speculations on an anonymous slide collection featuring a woman with an ever-present white handbag. The book is intended for an audience receptive to the analytical appeal of images, prepared to go beyond what can be taken at face value.

Since the introduction of photography by commercial studio photographers and the colonial state in Kenya, this global medium has been intensely debated and contested among Muslims on the cosmopolitan East African coast. This book does not only explore the making, circulation, and consumption of popular photographs, but also the other side, their rejection and obliteration, an essential aspect of a medium's history that should not be neglected. It deals with various social spaces of refusal in the local Muslim milieu and in that of traditional spirit mediums in which (gendered) visibility was (and is) contested in various and creative ways. It focuses on the aesthetics of withdrawal: the various ways and techniques that process the photographic act as well as the photographic image to theatricalize the surface of the image in new ways by veiling, masking, and concealing. In a fragmented historical perspective, Heike Behrend seeks to complement, decenter, and counter the history of photography as it has been told by the West and to narrate another history beginning with preceding local media such as textiles and spirit possession.

Why do Japanese artists team up with engineers in order to create so-called Device Art What is a nanoscientist's motivation in approaching the artworld? In the past few years, there has been a remarkable increase in attempts to foster the exchange between art, technology, and science - an exchange taking place in academies, museums, or even in research laboratories. Media art has proven especially important in the dialogue between these cultural fields. This book is a contribution to the current debate on art & science interdisciplinarity, and the discourse of innovation. It critically assesses artistic positions that appear as the ongoing attempt to localize art's position within technological and societal change - between now and the future.

Hysteria, a mysterious disease known since antiquity, is said to have ceased to exist. Challenging this commonly held view, this is the first cross-disciplinary study to examine the current functional neuroimaging research into hysteria and compare it to the nineteenth-century image-based research into the same disorder. Paula Muhr's central argument is that, both in the nineteenth-century and the current neurobiological research on hysteria, images have enabled researchers to generate new medical insights. Through detailed case studies, Muhr traces how different images, from photography to functional brain scans, have reshaped the historically situated medical understanding of this disorder that defies the mind-body dualism.

Dualistic thinking has been questioned by some writers associated with the material, ontological, and affective turns. Yet, these and other writers linked to the >turns< have themselves reproduced dualistic theorizing. Caroline Braunmühl also shows that there are dualistic patterns in significant contributions to queer theory as well as Foucauldian diagnoses of the present. From a perspective sympathetic to the critical efforts made by poststructuralist and related theorists, she analyzes works by Sara Ahmed, Karen Barad, Michael Hardt, Antonio Negri, Michel Foucault, and others. The book suggests specific alternatives to dualistic as well as identitarian ways of framing conceptual pairs such as matter/mind, affect/discourse and negativity/affirmation.

Ayse Güngör investigates art practices between art and anthropology in Turkey, as well as the implications of contemporary art for those disciplines. She discusses various approaches based on anthropological theories on the forms of relation and theories of artistic practices on socio-political issues. Based on long-term research with contemporary artists such as Nil Yalter, Gülsün Karamustafa, Esra Ersen, Kutlug Ataman, Tayfun Serttas, Köken Ergun, Dilek Winchester and Artikisler Collective, this book analyzes the objectives of art and anthropology in order to determine new possibilities and divergences arising from this interdisciplinary confluence.

What is the subject of video?Charlotte Klink traces the development of electromagnetism in the pursuit of »Electric Seeing« that emerged in the 19th century as well as its curious relation to psychoanalysis and the contemporary discovery of the structure of the human psyche. In doing so, she exposes how this development laid the foundation of what we know today as »video«. This comprehensive theory of video entails a discussion of the technological, historical, and etymological roots, the media-theoretical concepts of medium and index, the philosophical and art-theoretical environment in which video emerged in the 1960s, the psychoanalytic concept of the phantasm, and artworks by artists such as Yael Bartana, Hito Steyerl, and Bjørn Melhus.

Western humanism has established a reifying and predatory relation to the world. While its collateral visual regime, the perspectival image, is still saturating our screens, this relation has reached a dead end. Rather than desperately turning towards transhumanism and geoengineering, we need to readjust our position within community Earth. Facing this predicament, Ingrid Hoelzl and Rémi Marie develop the notion of the common image - understood as a multisensory perception across species; and common ethics - a comportment that transcends species-bound ways of living. Highlighting the notion of the common as opposed to the immune, the authors ultimately advocate otherness as a common ground for a larger than human communism.

In 2001, Freestyle, a survey exhibition curated by Thelma Golden at the Studio Museum in Harlem, introduced both a young generation of artists of African descent and the ambitious yet knowingly opaque term post-black to a pre 9-11 and pre-Obama world. In Taking Stakes in the Unknown, Nana Adusei-Poku contextualizes the term post-black in its socio-historical and cultural context. Whilst exploring its present legacy and past potential, she examines works by artists who were defined as part of the post-black generation: Mark Bradford, Leslie Hewitt, Mickalene Thomas and Hank Willis Thomas - and, by expanding the scope of the definition, the Black German artist Philip Metz.

Painting, according to recent findings, dates back more than seventy thousand years, and, across the millenia, it proved to be an extremely robust and versatile medium of human self-reflection. Today, painting is a medium almost exclusively confined to the artistic production of pictures. It has lost its dominant position in contemporary art and has finally become one artistic medium amongst others. Given the incredible number of pictures produced today, it seems to be reasonable and relevant to discuss whether and how painting is still pertinent to contemporary image production. This book will offer a variety of perspectives on the role of painting in the 21st century to address these questions.

30 years after the fall of the Berlin Wall, we live in a time of globalization and free trade. Nevertheless, 70 new border walls have been built in this period - put together, they would cover the total circumference of the Earth. While governments offer manifold justifications for building these separation barriers, they invariably attract the attention of artists. Is it merely the lure of transgression, however, that attracts them - or is there a deeper significance in the artistic encounter with border walls? And which artistic strategies do these artists employ to approach them?In order to address these questions, Élisa Ganivet revisits the history of border wall aesthetics and compares more recent border-related works by 100 artists, including Joseph Beuys (Berlin), Banksy (Israel-Palestine), and Frida Kahlo (Mexico-US). Through art and thus beyond art, we understand the flaws and shortcomings of supposedly well-oiled systems.With a preface by Élisabeth Vallet.