The exhibition On the Spot: Panoramic Gaze on Istanbul, a History takes the allure and amazement of the 360-degree urban image as its starting point and moves on to historicize the power of this... Show moreThe exhibition On the Spot: Panoramic Gaze on Istanbul, a History takes the allure and amazement of the 360-degree urban image as its starting point and moves on to historicize the power of this panoramic effect. It thinks through different media and materialities, following the variations of Istanbul’s representations in massive displays in purpose-built London halls as well as in the dining halls of Bosporus mansions. It explores the divergent paths that panoramic images of Istanbul have taken since the early modern period and reconsiders the connections and contestations between different styles, techniques, media, viewpoints, audiences, and circulation strategies.The accompanying catalog follows the exhibition’s suite in its historical outlook on the panoramic medium and Istanbul’s place within it. After the introduction by the curators that lays out their perspective on the history of panoramas, seven articles by Erkki Huhtamo, Çiğdem Kafescioğlu, Hilal Uğurlu, M. Baha Tanman, Ahmet A. Ersoy, K. Mehmet Kentel, Namık Günay Erkal and Tarkan Okçuoğlu explore different facets of this history. Show less
Through photography, people share what landscapes mean to them. In her dissertation, which is interdisciplinary between art history, cultural geography and landscape architecture, Van den... Show moreThrough photography, people share what landscapes mean to them. In her dissertation, which is interdisciplinary between art history, cultural geography and landscape architecture, Van den Heuvel introduces a new methodology that consists of three steps: ‘georeferencing’, ‘geospecific comparison’ and ‘geogeneric comparison’. The method helps to analyse how landscape pictures create meaning of a location or – to speak with Yi-Fu Tuan – ‘make place’. Van den Heuvel first applies her method to three case studies in the Dutch landscape: the Haarlemmermeer area around Schiphol Airport near Amsterdam as photographed by Theo Baart and published in the photobook Werklust. Biography of a Landscape in Transition (2015); a tree nursery in the banks of the Lower Rhine as photographed by Gerco de Ruijter for the photograph Baumschule #2 (2009) and the nature reserve of a heath area near Laren in the Gooi-area in the Central Netherlands as photographed by Kim Boske for the photograph Mapping 5 (2008-2009). Conclusively is stated, that photographers do not only work with the physical elements that appeared before their cameras. Also, the photographer workds rhetorically with compositions and motives that persist from famous landscape painting to create meaning of a place. Show less
The Third Avant-garde investigates radical art manifestations in Southeast Asia, which took place around the mid-1980s, when postmodernism started to gain force in the region. It proposes that... Show moreThe Third Avant-garde investigates radical art manifestations in Southeast Asia, which took place around the mid-1980s, when postmodernism started to gain force in the region. It proposes that the advent of postmodernism in Southeast Asia is anchored in the materiality of traditional arts, an aspect that renders it different from its Western equivalent. The dissertation distinguishes two sets of postmodern manifestations: first, practices that use traditions in a celebratory way, and second, a set of works which use traditional arts radically. This study proposes that the second possibility manifests a double dismantle—first, against local patronizing forces that were enforcing artists to practice academic art and Western media (such as painting and sculpture), and second, a distancing attitude from Western art intelligentsia, who acted as ‘owners of the discourse’, and regarded ‘non-Western’ practitioners as followers rather than as trendsetters. For this investigation, the discipline of anthropology was called in, as was the art historical category of the avant-garde. The two approaches combined reveal how contemporary art from Southeast Asia that reprocesses traditional arts can be regarded as avant-garde. These gestures are novel, and result from practicing art in a certain location, and which is bound to a specific socio-political context. Show less
Throughout history, and all over the world,viewers have treated works of art as if they were living beings: speaking to them, falling in love with them, kissing or beating them. Although over the... Show moreThroughout history, and all over the world,viewers have treated works of art as if they were living beings: speaking to them, falling in love with them, kissing or beating them. Although over the past twenty years the catalogue of individual cases of such behaviour towards art has increased immensely, there are few attempts at formulating a theoretical account of them, or writing the history of how such responses were considered, defined or understood. That is what this book sets out to do: to reconstruct some crucial chapters in the history of accounting for such behaviour in Western Europe. Drawing on classical rhetoric and the work of Aby Warburg and Alfred Gell and little known early modern sources it develops an historically grounded theory of the human tendency to endow images, in particular statues, with life. Show less
Petra de Bruijn, Marjan Groot, Sjef Houppermans, Jef Jacobs, Madeleine Kasten, Theo J.H. Krispijn, Remke Kruk, Anne van Oostrum, Wim Peeters, Paul J. Smith, Wim Tigges, Bart Veldhoen, Peter Verstraten, Helen Westgeest, Edwin Wieringa 2011
Repetition has a major role in human culture. In lullabies and prayers, in protests and war cries: from the cradle to the grave, repetition is the companion to life’s essentials. In a constantly... Show moreRepetition has a major role in human culture. In lullabies and prayers, in protests and war cries: from the cradle to the grave, repetition is the companion to life’s essentials. In a constantly revolving world there is no pure repetition. Events never repeat themselves precisely. This is equally true of repetition in Literature and Art, where the use of repetition is varied and frequent. How does repetition work? And how can it be of use? Déjà Vu unravels these questions in fifteen chapters ranging from film remakes and Baudelaire to the offer of Abraham and David Lodge, Small World. Déjà Vu shows that repetition has been used worldwide through all times and cultures in visual arts, poetry, music, literature and motion pictures. Abstract (other language) Herhaling speelt een centrale rol in menselijke cultuuruitingen. Slaap - liedjes en smeekbeden, protesten en strijdkreten: van de wieg tot het graf begeleidt de herhaling de essentiële gebeurtenissen in het leven. Maar in een wereld die zelf voortdurend in beweging is, kan van zuivere herhaling geen sprake zijn. Je kunt onmogelijk tweemaal in dezelfde rivier stappen. Dat geldt ook in literatuur en kunst, waar herhaling veelvuldig wordt ingezet als artistiek middel. Daarbij is juist het verschil van essentieel belang. Maar wat is precies de aard van dat verschil? Wat ‘doet’ herhaling als kunstgreep met het werk? En hoe kan herhaling worden ingezet om gevestigde belangen en opvattingen te consolideren of juist te onder mijnen? Déjà Vu behandelt deze vragen vanuit een interdisciplinair en mondiaal perspectief en laat daarbij zien hoe het middel van de herhaling door alle tijden en alle culturen wordt toegepast in beeldende kunst, muziek, literatuur en film. More Show less
