lunes, febrero 21, 2005
Lygia Clark and Hélio Oiticica:
Lygia Clark and Hélio Oiticica:
A Legacy of Interactivity and Participation for a Telematic Future
"...This essay discusses the artistic legacies of Brazilian artists Lygia Clark (1920-1988) and Hélio Oiticica (1937-1980), focusing on the interactive vocabularies developed from their participatory creations of the 1960s and 1970s and pointing to the practical and conceptual relevance of these vocabularies for artists working with digital communications technology. The article also explores the critical and original way Clark and Oiticica, working at the margins of capitalism, reframed modernist aesthetic issues by translating them directly into life and the body. The author concludes with an examination of the artists' interactive non-electronic works, which share common conceptual ground with the works of Australian artist Stelarc, the New York-based X-Art Foundation and British artist Roy Ascott. .."
http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/osthoff/osthoff.html
LEONARDO SPECIAL PROJECT
A RADICAL INTERVENTION: BRAZILIAN ELECTRONIC ART
Documents, Essays and Manifestoes
Guest Edited by Eduardo Kac
http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/brazil.html
A Legacy of Interactivity and Participation for a Telematic Future
"...This essay discusses the artistic legacies of Brazilian artists Lygia Clark (1920-1988) and Hélio Oiticica (1937-1980), focusing on the interactive vocabularies developed from their participatory creations of the 1960s and 1970s and pointing to the practical and conceptual relevance of these vocabularies for artists working with digital communications technology. The article also explores the critical and original way Clark and Oiticica, working at the margins of capitalism, reframed modernist aesthetic issues by translating them directly into life and the body. The author concludes with an examination of the artists' interactive non-electronic works, which share common conceptual ground with the works of Australian artist Stelarc, the New York-based X-Art Foundation and British artist Roy Ascott. .."
http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/osthoff/osthoff.html
LEONARDO SPECIAL PROJECT
A RADICAL INTERVENTION: BRAZILIAN ELECTRONIC ART
Documents, Essays and Manifestoes
Guest Edited by Eduardo Kac
http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/brazil.html
Hélio Oiticica's 1960s Aesthetic of Subversion and Cultural Contamination
Hélio Oiticica's 1960s Aesthetic of Subversion and Cultural Contamination
"...In the late 1950s, in a process both analogous and complementary to Clark's, Oiticica moved away from optical/pictorial investigations by incorporating time and movement as an active element of his work. His participatory strategies, however, contrast with Clark's in their engagement of the viewer's cultural, social, architectural and environmental space. Color had, in Oiticica's early development, the same importance that edges had for Clark in her transit from pictorial to three-dimensional space. As he explored the relations between color, time, structure and space, Oiticica stated that color frees itself from the rectangle and from representation and "it tends to 'in-corporate' itself; it becomes temporal, creates its own structure, so the work then becomes the 'body of color..."
http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/osthoff/osthoffpt2.html
"...In the late 1950s, in a process both analogous and complementary to Clark's, Oiticica moved away from optical/pictorial investigations by incorporating time and movement as an active element of his work. His participatory strategies, however, contrast with Clark's in their engagement of the viewer's cultural, social, architectural and environmental space. Color had, in Oiticica's early development, the same importance that edges had for Clark in her transit from pictorial to three-dimensional space. As he explored the relations between color, time, structure and space, Oiticica stated that color frees itself from the rectangle and from representation and "it tends to 'in-corporate' itself; it becomes temporal, creates its own structure, so the work then becomes the 'body of color..."
http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/osthoff/osthoffpt2.html
Estudios de Performancia
Como acercamiento al fundamento general de nuestra materia, los invito a revisar un texto de Barbara Kirshenblatt-Gimblett, profesora del Departamento de Estudios de Performance de la Univesidad de Nueva York y una de las investigadoras en el tema con mayor reconocimiento mundial. A continuacion incluyo unos renglones introductorios con los links al texto completo en NYU (el primer link va al texto arriba mencionado y el segundo, al final de esta entrada los lleva ala pagina de inicio de la profesora donde hay otros materiales en linea para los que quieran profundizar en el trabajo neoyorkino y otros temas de performance)
Performance Studies
Barbara Kirshenblatt-Gimblett
The field of Performance Studies takes performance as an organizing concept for the study of a wide range of behavior. A postdiscipline of inclusions, Performance Studies sets no limit on what can be studied in terms of medium and culture. Nor does it limit the range of approaches that can be taken. A provisional coalescence on the move, Performance Studies is more than the sum of its inclusions. While it might be argued that "as an artform, performance lacks a distinctive medium" (Carroll 1986:78), embodied practice and event is a recurring point of reference within Performance Studies.
Performance Studies starts from the premise that its objects of study are not to be divided up and parceled out, medium by medium, to various other disciplines--music, dance, dramatic literature, art history. The prevailing division of the arts by medium is arbitrary, as is the creation of fields and departments devoted to each. Most of the world's artistic expression has always synthesized or otherwise integrated movement, sound, speech, narrative, and objects. Moveover, the historical avant-garde and contemporary art have long questioned these boundaries and gone about blurring them. Such confounding of categories has not only widened the range of what can count as an artmaking practice, but also given rise to performance art that is expressly not theatre and art performance that dematerializes the art object and approaches the condition of performance. (Carroll 1986; see also Sayre 1989; Schimmel 1998) Performance Studies takes its lead from such developments. This field is not only intercultural in scope and spirit, but also challenges aesthetic hierarchies and analyzes how they are formed. Performance Studies encompasses not only the most valorized, but also least valued, cultural forms within these hierarchies.
http://www.nyu.edu/classes/bkg/issues/rock2.htm
b a r b a r a k i r s h e n b l a t t - g i m b l e t t
http://www.nyu.edu/classes/bkg/web/
Performance Studies
Barbara Kirshenblatt-Gimblett
The field of Performance Studies takes performance as an organizing concept for the study of a wide range of behavior. A postdiscipline of inclusions, Performance Studies sets no limit on what can be studied in terms of medium and culture. Nor does it limit the range of approaches that can be taken. A provisional coalescence on the move, Performance Studies is more than the sum of its inclusions. While it might be argued that "as an artform, performance lacks a distinctive medium" (Carroll 1986:78), embodied practice and event is a recurring point of reference within Performance Studies.
Performance Studies starts from the premise that its objects of study are not to be divided up and parceled out, medium by medium, to various other disciplines--music, dance, dramatic literature, art history. The prevailing division of the arts by medium is arbitrary, as is the creation of fields and departments devoted to each. Most of the world's artistic expression has always synthesized or otherwise integrated movement, sound, speech, narrative, and objects. Moveover, the historical avant-garde and contemporary art have long questioned these boundaries and gone about blurring them. Such confounding of categories has not only widened the range of what can count as an artmaking practice, but also given rise to performance art that is expressly not theatre and art performance that dematerializes the art object and approaches the condition of performance. (Carroll 1986; see also Sayre 1989; Schimmel 1998) Performance Studies takes its lead from such developments. This field is not only intercultural in scope and spirit, but also challenges aesthetic hierarchies and analyzes how they are formed. Performance Studies encompasses not only the most valorized, but also least valued, cultural forms within these hierarchies.
http://www.nyu.edu/classes/bkg/issues/rock2.htm
b a r b a r a k i r s h e n b l a t t - g i m b l e t t
http://www.nyu.edu/classes/bkg/web/
Vanguardia Tropical
Nuestro tema actual comprende la reflexion critica acerca del aporte de las vanguardias (europeas y latinoamericanas) a las practicas contemporaneas del arte en nuestro medio.
Concretamente estamos analizando el surgimiento del modernismo brasilero, especificamente el concepto de "Antropofagia Cultural" propuesto por Oswaldo de Andrade en la decada de 1920 y retomado en los 1960s bajo la nocion de TROPICALISMO o Tropicalia por creadores tan diversos como Helio Oiticica y Caetano Veloso. Les pido afrontar estos asuntos con rigor investigativo y apertura mental, sin dejar su propia posibilidad de critica. Recibiran algunos LINKS claves, asi como lectura pertinente. Necesito que se preparen para abordar el tema en teoria y practica. Nos vemos el martes, gracias.
Concretamente estamos analizando el surgimiento del modernismo brasilero, especificamente el concepto de "Antropofagia Cultural" propuesto por Oswaldo de Andrade en la decada de 1920 y retomado en los 1960s bajo la nocion de TROPICALISMO o Tropicalia por creadores tan diversos como Helio Oiticica y Caetano Veloso. Les pido afrontar estos asuntos con rigor investigativo y apertura mental, sin dejar su propia posibilidad de critica. Recibiran algunos LINKS claves, asi como lectura pertinente. Necesito que se preparen para abordar el tema en teoria y practica. Nos vemos el martes, gracias.
