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"Hope Exhibitions."
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Hope : an anthology of critical texts on hope and futures in post-pandemic times = eine Anthologie kritischer Texte über Hoffnung und Zukünfte in Zeiten nach der Pandemie = un'antologia di testi critici su speranza e futuri in tempi post-pandemici
\"What is there to hope for today? How does hope manifest itself at a time when a linear understanding of the future, of growing prosperity, security, and progress is canceled? How can hope be thought beyond market-driven forms of worldbuilding? Is there a third approach in which hope as a critical practice opens a path to alternative futures?After Techno Globalization Pandemic and Kingdom of the Ill, HOPE is the third chapter of the long-term project TECHNO HUMANITIES, exploring the urgent questions of what it means to be a global citizen in the present-day dependency between ecology, technology, and economy. HOPE brings together a wide range of artistic positions from different generations that see the end of future as the start of new beginnings and an incentive to validate more circular and re-generative practices as a source of wonder and collective movement.\"--Distributor's website.
BOOK
Calendar of Ecology
Canadian artist Julie Oakes' Awestruck Calendar of Ecology exhibit looks to a future Earth wounded by both natural and human-created devastation. The Blue Tornado is the heart of the exhibit, with 120 glass birds suspended to form a tornado. The piece represents the permanently altered world that has been created out of humanity's apocalyptic impact on the planet.
Journal Article
Portraits of care: medical research through portraiture
The Portraits of Care study used portraiture to investigate ideas about care and care giving at the intersection of art and medicine. The study employed mixed methods involving both qualitative and quantitative research techniques. All aspects of the study were approved by the Institutional Review Board. The study included 26 patient and 20 caregiver subjects. Patient subjects were drawn from across the lifespan and included healthy and ill patients. Caregiver subjects included professional and familial caregivers. All subjects gave their informed consent for the study and the subsequent exhibition of artwork. The artist drew or painted 100 portraits during the 2-year study. A multi-disciplinary analysis team carried out the initial analysis of portraits and subject data. Findings from their qualitative analysis were used to develop a quantitative survey and qualitative journal tool that the public used to give feedback at the subsequent exhibition. Exhibition data confirmed the initial findings. Study results showed the introspection of subjects that revealed their sense of identity and psychological status. Patients appear as ‘whole people’, not fragmented by diagnosis. Caregivers' portraits reveal their commitment to care. There is also a sense of mutuality and fluidity in the background stories of subjects. Many patient subjects have been caregivers and, at times, caregivers are also patients. Public data emphasised the identity transformation of subjects, the centrality of the idea of mortality, the presence of hope despite adversity, and the importance of empathy and compassion in care.
Journal Article
SEEING IS BELIEVING: Visualizing and Performing Testimonio in Chicana/o and Latina/o Art
This analysis of the Chicana/o-Latina/o aesthetic considers several works of art as forms of testimonio. Drawing on important literary frameworks for testimonio in Latin American Studies and in Chicana/Latina Studies, the essay proposes that artists like Regina José Galindo and Claudia Bernardi visualize and actualize testimonios in response to genocide and crimes against humanity. Galindo's and Bernardi's artistic achievements are not exclusive innovations in the field, however. The essay also addresses testimonial-like traditions inherent to 1960s and 1970s Chicana/o visual art, as well 1980s and 1990s performance art by Native Americans and U.S. Latinas/os. The visual artworks of José Montoya, Juana Alicia, James Luna, Coco Fusco, and Guillermo Gómez-Peña are antecedents to twenty-first century visual and performance testimonios. Each of these artists integrates elements of the literary testimonio into their visual and performance art works. Since Chicana/a-Latina/o art originates in, and continues to evolve through, transnational mixtures, internal migrations, and cultural convergences, it is important to connect advancements in Latina/o visual and performance art to a relevant art history.
Journal Article
The Tomb of the \True German\: Kuno Francke and the American Rejection of a German Ideal
From the time of Goethe and Schiller, much has been written on the question of \"What is Germany?\" and \"Who are the Germans?\" Kuno Francke was a Germanborn professor of Germanic languages and literatures at Harvard, who because of the fact that he lived outside Germany was able—or so he thought—to detect the essence of the \"true German.\" The present article explores Francke's concept of the \"true German\" and claims that America ultimately rejected what Francke believed to be the contribution of the \"true German\" to civilization.
Journal Article
Still Books to Write
[...] I never thought about what my life would be like in terms of the future. An artist like Vincent Van Gogh or a serial killer like Jeffrey Dahmer are the two popular images of people with mental illness as presented in the media. [...] many people have had trepidations about their own sanity at some period in their lives, often in adolescence. Perhaps in Eastern European shtetls in the 19th century, Jewish women may not have been doctors, lawyers, rabbis, and melameds, but they did participate outside the house in the life of the community.
Journal Article
Recent Art of Sakarin Krue-On: An Interview
The art of Sakarin Krue-On involves a variety of approaches, from highly planned terraces based on traditional farming techniques to digital media installations. A key figure in establishing the media department at Silpakorn University, Thailand's premier training ground for artists and art historians, Krue-On was one of the seven representatives selected for the first-ever Thai Pavilion at the 50th Venice Biennale (2003), and he was the first Thai artist to participate in Documenta (2007). His Terraced Rice Field and Nang Fa (Angel), both site-specific installations at the 2007 Kassel exhibition, exemplify his interests in process art as well as traditional Thai painting. Similarly, Circle of Hope (2003), a single-screen video projection that depicts multiple images of a traditional Thai goddess in a rotating, pulsating circle of blue, pink, green, and purple concentric circles against a black background, is a compelling mix of technological imagery, somatic effect, and traditional Thai motifs.
Journal Article
An Interview with Artist Fred Wilson
The medium of artist Fred Wilson is the museum. He delves deep into museum collections to expose unexamined assumptions about power, place, privilege, and history. His installations include wall labels, educational materials, lighting, and non-traditional pairings of objects. His work is not only about the objects on display, but about how the whole museum environment can generate meaningful questions about art, history, and the role of the museum in its community. In this interview, Fred Wilson discusses how he works with the objects, places, and people that are part of the museum environment
Journal Article
