Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This anthology elucidates the historical, global, and regional connections, as well as current manifestations, of socially engaged public art (SEPA) in East Asia. It covers case studies and theoretical inquiries on artistic practices from Hong Kong, Japan, mainland China, South Korea, and Taiwan with a focus on the period since the 2000s. It examines how public art has been employed by artists, curators, ordinary citizens, and grassroots organizations in the region to raise awareness of prevailing social problems, foster collaborations among people of varying backgrounds, establish alternative value systems and social relations, and stimulate action to advance changes in real life situations. It argues that through the endeavors of critically-minded art professionals, public art has become artivism as it ventures into an expanded field of transdisciplinary practices, a site of new possibilities where disparate domains such as aesthetics, sustainability, placemaking, social justice, and politics interact and where people work together to activate space, place, and community in a way that impacts the everyday lives of ordinary people. As the first book-length anthology on the thriving yet disparate scenes of SEPA in East Asia, it consists of eight chapters by eight authors who have knowledge of a specific locality or localities in East Asia. In their analyses of ideas and actions, emerging from varying geographical, sociopolitical, and cultural circumstances in the region, most authors also engage with concepts and key publications from scholars which examine artistic practices striving for social intervention and public participation in different parts of the world. Although grounded in the realities of SEPA from East Asia, this book contributes to global conversations and debates concerning the evolving relationship between public art, civic politics, and society at large.

Social practice (Art) --- Public art --- Political art --- East Asia.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

How can art change society? What aesthetic quality does dialog bring to art? What is the role of autonomy in dialogical art? 

'Dialogical Interventions' investigates how dialogical art moves between the poles of social engagement, aesthetic autonomy and social change. Essays by international authors and interviews with socially and politically engaged artists and collectives focus on the relevance of dialogical and interventionist practices and their role in mediating new forms of knowledge and experience through art, thus opening up new prospects for this exciting arena of activity. Between the individual texts, artist insertions document social artistic practices on a visual level.

Art and society --- Art and social action --- Social practice (Art) --- Sociology of culture --- Art --- dialogues --- maatschappij

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In 2016 the artist Kristof Van Gestel (1976) started work as artist in residence at S.M.A.K. in Ghent for a year. This publication provides a photographic record of the last part of his residency: organising and displaying an experiential and experimental participative work of art in the museum named 'Idiosyncratic Machine'. In addition to the photographic report by Kurt Stockman and Dirk Pauwels of 'Idiosyncratic Machine', Philippe Van Cauteren, Jeroen Peeters, Tijl Bossuyt, Isabelle De Baets, Hidde Van Schie and Kristof Van Gestel explain and demonstrate the meaning of both the process of the IM as a participatory method and artwork as well as of its development and establishment in the museum. The image section in the book can serve as a guide for the reader to activate the 'Idiosyncratic Machine' himself.

Van Gestel, Kristof --- graphic arts --- Gestel, Van, Kristof --- Interactive art --- Gestel, Kristof van, --- Van Gestel, Kristof, --- Criticism and interpretation. --- Participatory art --- Performance art --- Social practice (Art)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Taking an interdisciplinary approach, this volume brings together contributions by distinguished experts from different disciplinary fields for a multidimensional view on immersion in the visual arts and media. In the current media debate, immersion has frequently been linked to the advent of digital technology and its capacity to provide vivid sensations of being placed in or surrounded by an artificial space. The idea of ‘liquidity’ contained in this promise to plunge into another world informs wide areas of contemporary cultural imagination, referring to a myriad of phenomena that relate to experiences of uncertainty and instability, of complexity and change. Considering the fact, however, that the idea of ‘liquid’ spaces appeared long before the digital creation of augmented or virtual environments, the contributors to this volume trace its reemerging throughout the history of the visual arts and media. By focusing on selected works of painting and architecture, photography and cinema, video installation and media art, they explore the variability of immersive experiences according to the different media environments and interfaces that constitute the actual sites of historically shifting relations between media and users. Contributors are: Matthias Bauer, Jörg von Brincken, Robin Curtis, Burcu Dogramaci, Thomas Elsaesser, Ole W. Fischer, Gundolf S. Freyermuth, Ursula Frohne, Henry Keazor, Matthias Krüger, Katja Kwastek, Fabienne Liptay, Karl Prümm, Martin Warnke.

Art and technology. --- Interactive art. --- Participatory art --- Performance art --- Social practice (Art) --- Technology and art --- Technology --- Art and technology --- Interactive art

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork with discussions of processual strategies of twentieth-century art and theories of aesthetic experience, process aesthetics, play, and performance. She then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance - with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory."--Pub. desc.

Interactive art. --- New media art. --- Aesthetics, Modern --- Aesthetics --- Participatory art --- History --- Arts, Modern --- Performance art --- Social practice (Art) --- DIGITAL HUMANITIES & NEW MEDIA/New Media Art --- ARTS/Art History/Contemporary Art --- SOCIAL SCIENCES/Media Studies