2012/2 – #Tangibility

Browsing 2012/2 – #Tangibility by Subject "art"

Now showing 1 - 4 of 4
  • Review
    Exhibition Reviews
    Biserna, Elena (2012) , S. 338-346
    The observer must become a participant, because that is the only way he can have the double experience of being the observer, and being the observed. – Marina Abramović
  • Review
    The good, the beautiful and the sublime
    Behpoor, Bavand (2012) , S. 317-322
    No…don’t come to me! There is more allure / In waiting with sweet apprehension, fear. / Just while seeking out everything is pure; / It’s nicer when just foreboding is near. – Desanka Maksimovic
  • Article
    Investigatory art – Real-time systems and network culture
    Shanken, Edward A. (2012) , S. 77-89
    [A]rtists are ‘deviation amplifying’ systems, or individuals who, because of psychological makeup, are compelled to reveal psychic truths at the expense of the existing societal homeostasis. With increasing aggressiveness, one of the artist’s functions […] is to specify how technology uses us. – Jack Burnham
  • Review
    ‘Non Non Non’ – Visiting the exhibition with Yervant Gianikian and Angela Ricci Lucchi
    De Rosa, Miriam (2012) , S. 346-357
    Non-political, non-aesthetic, non-educational, non-progressive, non-cooperative, non-ethical, non-coherent: contemporary. It is after this list of negations that Hangar Bicocca in Milan decided to name Non Non Non, the first Italian retrospective dedicated to Yervant Gianikian and Angela Ricci Lucchi’s installations. Taken from a watercolour by the artists and placed at the entrance of the exhibition space, this formula apparently collides with the engaged, historical themes featuring the works selected by curator Andrea Lissoni with Chiara Bertola, but it perfectly synthesises the authors’ philosophy. This is what immediately emerges upon meeting them: ‘[w]e are interested in the present’, Yervant Gianikian says. ‘Our films and installations deal with those stories that defined our present as it is.’ Therefore, hard work on ancient archival reels transforms these materials into images, which acquire a new contemporary substance.