Atlantis, an Autoanthropology

Over the course of his long career, Nathaniel Tarn has been a poet, anthropologist, and book editor, while his travels have taken him into every continent. Born in France, raised in England, and earning a Ph.D. from the University of Chicago, he knew André Breton, Salvador Dalí, Marcel Duchamp, Margot Fonteyn, Charles Olson, Claude Lévi-Strauss, and many more of the twentieth century’s major artists and intellectuals. In Atlantis, an Autoanthropology he writes that he has "never (yet) been able to experience the sensation of being only one person.” Throughout this literary memoir and autoethnography, Tarn captures this multiplicity and reaches for the uncertainties of a life lived in a dizzying array of times, cultures, and environments. Drawing on his practice as an anthropologist, he takes himself as a subject of study, examining the shape of a life devoted to the study of the whole of human culture. Atlantis, an Autoanthropology prompts us to consider our own multiple selves and the mysteries contained within.

Atlantis, an Autoanthropology

Over the course of his long career, Nathaniel Tarn has been a poet, anthropologist, and book editor, while his travels have taken him into every continent. Born in France, raised in England, and earning a Ph.D. from the University of Chicago, he knew André Breton, Salvador Dalí, Marcel Duchamp, Margot Fonteyn, Charles Olson, Claude Lévi-Strauss, and many more of the twentieth century’s major artists and intellectuals. In Atlantis, an Autoanthropology he writes that he has "never (yet) been able to experience the sensation of being only one person.” Throughout this literary memoir and autoethnography, Tarn captures this multiplicity and reaches for the uncertainties of a life lived in a dizzying array of times, cultures, and environments. Drawing on his practice as an anthropologist, he takes himself as a subject of study, examining the shape of a life devoted to the study of the whole of human culture. Atlantis, an Autoanthropology prompts us to consider our own multiple selves and the mysteries contained within.

Karya Instalasi dari Masa ke Masa

Karya Instalasi yang dimulai ketika pada tahun 1917 Marcel Duchamp meletakkan Urinoir pada sebuah pameran di New York, terus menjadi trend sampai saat ini. Karya Duchamp yang diberi judul “Fountain” itu menjadi cikal bakal pengembangan instalasi yang menjadi besar pada tahun 60an. Adanya kesalahpahaman bahwa seni instalasi yang umurnya sudah seabad itu sebagai suatu penemuan baru dalam senirupa, membuat segelintir komunitas seni di Indonesia belum merasa kontemporer kalau tidak membuat atau mengoleksi karya instalasi. Muncul pertanyaan, mengapa karya instalasi tidak pernah menjadi hit dalam art market.

Futuro pasado. la evolución del concepto Poesía en Octavio Paz

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

Judson Memorial Church and the intersections between happening and dancing

The article examines a short excerpt from the New York scene, namely the period around 1959–1963 in the context of the environment, happening, dance pieces and draws attention to the leading influences of Marcel Duchamp, John Cage, and Merce Cunningham. We are focusing on the gravitating artists’ circles around the Judson Memorial Church and some of their distinct practices and centers. Among the many, we consider the Reuben Gallery, Judson Gallery, Judson Dance Theater, and artists such as Allan Kaprow, Claes Oldenburg, Robert Morris, Simon Forti, Carolee Schneemann, Robert Rauschenberg. The text does not aim to provide a complete overview of Judson Dance Theater or the artists` practices, but rather to consider some of their common influences in their period of formation. We will bring the environment and the happening under their contradictions and variability and will consider the first generation of dance reformers at Judson Dance Theater as an influential force for involving visual artists in intermediate zones.

Enter the Matrix: An Examination of Patrick Pound's The Great Exhibition

<p>This thesis considers the practice of New Zealand-born artist, Patrick Pound (b. 1962) through an analysis of his survey show, Patrick Pound: The Great Exhibition, which was staged at the National Gallery of Victoria in Melbourne between 31 March and 30 July 2017. The Great Exhibition demonstrates the complexity and multiplicity of Pound’s practice, exemplifying the interconnectedness of his thinking and his use of an algorithmic approach to collecting, curating and categorisation. His depth of art-historical knowledge plays out as an intricate puzzle. The scope of The Great Exhibition is vast and, while it might appear to mostly involve the arrangement of more than 4,000 vernacular photographs and found objects, alongside 300 items from the NGV’s collection, the methodologies of collecting and curation employed by Pound are multifaceted. I consider the constancy of Pound’s interrogation of authorship and meaning throughout his practice, which is integrally related to his use of vernacular photographs and found objects within The Great Exhibition. I examine our relationship with vernacular photography and how this is exposed in The Great Exhibition. The practices of artists such as Erik Kessels, Joachim Schmid and Marcel Duchamp provide context here. Chapter Three asks how The Great Exhibition fits within a wider context of exhibitions by artist-as-curators such as Fred Wilson’s Mining the Museum and Edward Steichen’s The Family of Man. This chapter also examines how computer algorithms can be applied as a framework for understanding The Great Exhibition’s curatorial logic. Pound’s complex system of sorting and categorising into matrices and intersections is considered in relation to writer Georges Perec and his understanding of Alan Turing’s conceptualisation of the ‘Automatic’ and ‘Oracle’ machines. My conclusion reflects on what can and cannot be learned from Patrick Pound’s The Great Exhibition.</p>

Enter the Matrix: An Examination of Patrick Pound's The Great Exhibition

<p>This thesis considers the practice of New Zealand-born artist, Patrick Pound (b. 1962) through an analysis of his survey show, Patrick Pound: The Great Exhibition, which was staged at the National Gallery of Victoria in Melbourne between 31 March and 30 July 2017. The Great Exhibition demonstrates the complexity and multiplicity of Pound’s practice, exemplifying the interconnectedness of his thinking and his use of an algorithmic approach to collecting, curating and categorisation. His depth of art-historical knowledge plays out as an intricate puzzle. The scope of The Great Exhibition is vast and, while it might appear to mostly involve the arrangement of more than 4,000 vernacular photographs and found objects, alongside 300 items from the NGV’s collection, the methodologies of collecting and curation employed by Pound are multifaceted. I consider the constancy of Pound’s interrogation of authorship and meaning throughout his practice, which is integrally related to his use of vernacular photographs and found objects within The Great Exhibition. I examine our relationship with vernacular photography and how this is exposed in The Great Exhibition. The practices of artists such as Erik Kessels, Joachim Schmid and Marcel Duchamp provide context here. Chapter Three asks how The Great Exhibition fits within a wider context of exhibitions by artist-as-curators such as Fred Wilson’s Mining the Museum and Edward Steichen’s The Family of Man. This chapter also examines how computer algorithms can be applied as a framework for understanding The Great Exhibition’s curatorial logic. Pound’s complex system of sorting and categorising into matrices and intersections is considered in relation to writer Georges Perec and his understanding of Alan Turing’s conceptualisation of the ‘Automatic’ and ‘Oracle’ machines. My conclusion reflects on what can and cannot be learned from Patrick Pound’s The Great Exhibition.</p>

Towards A Dadaist interior

<p>Modern interior design has reached a plateau. Due to the anaesthesia brought about by mass information sharing and the dominance of the image, very little innovation has occurred, stylistically as many designers simply seek to regurgitate each other’s designs instead of treading new ground. Nowhere is this more apparent than in the modern day office; as a program that is deliberately aimed towards productivity and profit, office design has been streamlined to achieve these ends often leading to unpleasant working environments. The study of the Dada movement and one of its key practitioners, Marcel Duchamp, led to a question regarding the possible architectural implications that his work and his subversive manner of working has to offer and if it have any relevance in contemporary practice. This thesis proposes an alternative to the modern office interior through a detailed investigation into the theory and practices of Marcel Duchamp. It aims to further examine the architectural implications of his work through in depth analysis of his methods using assemblage, as well as his theoretical investigations in perspective and representation. Through these investigations I hope to develop a new design language that simultaneously critiques the modern office interior as well as furthering the research already done into the Dada movement and Architecture.</p>