Arkeologia, historialliset kartat ja paikkatieto

This licentiate thesis is composed of three parts, of which the parts 2 and 3 have been published elsewhere. Part 1 deals with the research history of large-scaled historical maps in Finland. The research done in four disciplines ��� archaeology, history, art history and geography ��� is summarized. Compared to the other disciplines, archaeology is characterized by its deep engagement with the location. Because archaeology studies different aspects of the past through material culture, it is the only discipline in which the concrete remains portrayed on the maps are ���dug up���. For the archaeologist, historical maps are not merely historical documents with written information and drawings in scale, but actual maps which can be connected with the physical features they were made to illustrate in the first place. This aspect of historical maps is discussed in the work by looking at the early (17th and 18th century) urban cartographic material of two Finnish towns, Savonlinna and Vehkalahti-Hamina. In both cases, the GIS-based relocating of the historical maps highlights new aspects in the early development of the towns. Part 1 ends with a section in which the contents of the entire licentiate thesis are summarized. Part 2 is a peer reviewed article published in English. This article deals with the role of historical maps converted into GIS in archaeological surveys made in Finnish post-medieval towns (16th and 17th centuries). It is based on the surveys made by the author between 2000 and 2003 and introduces a new method for the archaeological surveying of post-medieval towns with wooden houses. The role of archaeology in the sphere of urban research is discussed. The article emphasizes that the methods used in studying the development of southern European towns with stone houses cannot be adequately applied to the wooden towns of the north. Part 3 is a monograph written in Finnish. It discusses large-scaled historical maps and the methods for producing digital spatial information based on historical maps. Since the late 1990���s, archaeological research in Finland has been increasingly directed towards the historical period. As a result, historical cartography has emerged as one of the central sources of information for the archaeologist, too. The main theme of this work is the need for using historical maps as real maps which, surprisingly, has been uncommon in the historical sciences. Projecting historical maps to the very place they were made to illustrate is essential to understanding the maps. This is self-evident for the archaeologist, who is accustomed to studying the material past, but less so to researchers in other historical disciplines that concentrate on written and visual sources of information. With the help of GIS, the historical maps can be concretely linked to the places they were originally made to illustrate. In doing so, and equipped with a cartographic comprehension, new observations can be made and questions asked, which supplement and occasionally challenge the prevailing views.

Towards (dis)Satisfaction

Hosted at Blindside Artist-Run Initiative (Melbourne) the exhibition Towards (dis)Satisfaction (2015) was a re-staging of earlier sculptural works from the exhibitions Means are the Ends: The Command Issue and Crude Tools (2014), Feeble Actions (2013). The forms humorously interrogated representations of gender and sexuality via strategies of sculptural intervention. A stripper���s pole oozes grease from its stainless surface, fluted with holes. A dildo vibrates on a glass tabletop; propped up by simulated testicles, the intensity of the dildo���s vibrations makes the form spin. With its continual circling, the phallus drags Vaseline over the table, performing a drawing and redrawing of a smeared circle. In Towards (dis)Satisfaction fetish is used as an instrumental strategy, employed as a mode to work across different theoretical and material discourses. In the works the play between explicit and implicit depiction creates an ambiguity that has suggestive potency, where fragmentation and dysfunction initiate diverse readings. These material dialogues make apparent the anxiety and desire inherent in the viewer and question how the visual conventions of erotica and art history are mutually informative.

I build my dwelling

'I build my dwelling' was an exhibition of works including ���Muscle flex���, ���Language is, Language is not���, ���S.O.S��� and the ���Studio Remix���, held at Metro Arts Galleries, Brisbane in 2012. This body of work pursues a feminist engagement with art history and philosophy, engaging with pictorial, literary and vernacular quotations in order to replay and reveal the complexities of gender politics, representation and language.

Many Faces of Mao Zedong

The main aim of this work was to explore the use of Mao Zedong s (���������, 1893���1976) visual image in contemporary Chinese art during the years 1976���2006. Chairman Mao is the most visually reproduced person in the People's Republic of China (PRC), and the presence of his image is still unquestionable at many levels. Although several scholars have provided insightful observations on this topic, research focusing on Mao's visual image has been neglected. Employing the interdisciplinary approach of visual studies and using image as the main concept, this research combines different theoretical frameworks, deriving from art history, image studies and social sciences, for each chapter in order to explain the origins, intentions and major strategies of the contemporary Chinese artists. The focus of this research was to elucidate how Mao's visual image, deriving from the Maoist era, is re-created and negotiated in contemporary Chinese art works. The material reproductions - the visual images in contemporary art - are created to be juxtaposed with the immaterial mental images of Mao that were created during the Maoist era through the original visual images of Mao. This complex interaction between visual and mental images is further exemplified by art works that do not include Mao's visual image, but still imply his mental image. The methods used derive from both sinology and art history. The research is based on extensive fieldwork in China, which was crucial for gathering new information and materials from this vigorous art scene. The topic is approached through a Chinese cultural, political and historical perspective that is necessary for a further understanding of how the original visual images of Mao obtained their omnipotent status and what kind of iconography was created. Close structural analysis, taking into account the format, style, techniques, composition, colors, materials and space used in the art works, is employed to demonstrate the great variety of visual images created. The analysis is further placed in a continuous dialogue both with the contemporary art works of Mao and with the original visual images of Mao from the past. In this study it is shown that contemporary Chinese art relating to Chairman Mao is a more versatile and multilayered phenomenon than is generally assumed. Although some of the art works seem to fit into the definition of superficial art, the study demonstrates that this reading of the art works is not adequate. The author argues that employing Mao's visual images in contemporary Chinese art is based on three main strategies used by artists: to create a visual dialogue with a traumatizing past, to employ transcontextual parody, and to explore the importance of Tian'anmen through site-dependent art. These strategies are not exclusionary, but instead interdependent and many art works employ more than one of them. In addition, these three main strategies include versatile methods used by artists that make the use of Mao's visual images even more multifaceted.

Tiedostumaton nykytaiteessa : Katse, ����ni ja aika vuosituhannen taitteen suomalaisessa nykytaiteessa

Leevi Haapala explores moving image works, sculptures and installations from a psychoanalytic perspective in his study The Unconscious in Contemporary Art. The Gaze, Voice and Time in Finnish Contemporary Art at the Turn of the Millennium . The artists included in the study are Eija-Liisa Ahtila, Hans-Christian Berg, Markus Copper, Liisa Lounila and Salla Tykk��. The theoretical framework includes different psychoanalytic readings of the concepts of the gaze, voice and temporality. The installations are based on spatiality and temporality, and their detailed reading emphasizes the medium-specific features of the works as well as their fragmentary nature, heterogeneity and affectivity. The study is cross-disciplinary in that it connects perspectives from the visual culture, new art history and theory to the interpretation of contemporary art. The most important concepts from psychoanalysis, affect theory and trauma discourse used in the study include affect, object a (objet petit a) as articulated by Jacques Lacan, Sigmund Freud s uncanny (das Unheimliche) and trauma. Das Unheimliche has been translated as uncanny in art history under the influence of Rosalind Krauss. The object of the study, the unconscious in contemporary art, is approached through these concepts. The study focuses on Lacan s additions to the list of partial drives: the gaze and voice as scopic and invocative drives and their interpretations in the studies of the moving image. The texts by the American film theorist and art historian Kaja Silverman are in crucial role. The study locates contemporary art as part of trauma culture, which has a tendency to define individual and historical experiences through trauma. Some of the art works point towards trauma, which may appear as a theoretic or fictitious construction. The study presents a comprehensive collection of different kinds of trauma discourse in the field of art research through the texts of Hal Foster, Cathy Caruth, Ruth Leys and Shoshana Felman. The study connects trauma theory with the theoretical analysis of the interference and discontinuity of the moving image in the readings by Susan Buck-Morss, Mary Ann Doane and Peter Osborn among others. The analysis emphasizes different ways of seeing and multisensoriality in the reception of contemporary art. With their reflections and inverse projections, the surprising mechanisms of Hans-Christian Berg s sculptures are connected with Lacan s views on the early mirroring and imitation attempts of the individual s body image. Salla Tykk�� s film trilogy Cave invites one to contemplate the Lacanian theory of the gaze in relation to the experiences of being seen. The three oceanic sculpture installations by Markus Copper are studied through the vocality they create, often through an aggressive way of acting, as well as from the point of view of the functioning of an invocative drive. The study compares the work of fiction and Freud s texts on paranoia and psychosis to Eija-Liisa Ahtila s manuscripts and moving image installations about the same topic. The cinematic time in Liisa Lounila s time-slice video installations is approached through the theoretical study of the unconscious temporal structure. The viewer of the moving image is inside the work in an in-between state: in a space produced by the contents of the work and its technology. The installations of the moving image enable us to inhabit different kinds of virtual bodies or spaces, which do not correspond with our everyday experiences. Nevertheless, the works of art often try to deconstruct the identification to what has been shown on screen. This way, the viewer s attention can be fixed on his own unconscious experiences in parallel with the work s deconstructed nature as representation. The study shows that contemporary art is a central cultural practice, which allows us to discuss the unconscious in a meaningful way. The study suggests that the agency that is discursively diffuse and consists of several different praxes should be called the unconscious. The emergence of the unconscious can happen in two areas: in contemporary art through different senses and discursive elements, and in the study of contemporary art, which, being a linguistic activity is sensitive to the movements of the unconscious. One of the missions of art research is to build different kinds of articulated constructs and to open an interpretative space for the nature of art as an event.

O osso e o sopro: uma introdu����o �� teoria da pintura chinesa do per��odo das Seis Dinastias

A presente pesquisa trata da forma����o da teoria da pintura durante o per��odo das Seis Dinastias, que ocupa o per��odo que vai do ano 229 ao ano 589 da era presente. S��o discutidos quatro te��ricos principais: Gu Kaizhi, Zong Bing, Wang Wei e Xie He. Al��m disto, apresentamos uma tradu����o diretamente do chin��s para os textos de cada um dos autores analisados. No decorrer de nossa an��lise tentaremos demonstrar os elos de continuidade existentes entre os diversos te��ricos, baseando-nos nas evid��ncias textuais. Al��m disto, enfatizaremos o fato de ser este o per��odo em que se forma a teoria da pintura chinesa. O per��odo inicial da hist��ria dessa teoria �� o tema desta pesquisa

Andarilho impulso e trivialidade

A disserta����o �� o resultado do entrecruzamento de tr��s categorias art��sticas: dan��a, artes pl��sticas e literatura. Ela tem in��cio atrav��s do embate com a performance Outdoor Piece, do artista pl��stico Tehching Hsieh, feita idealiz��vel quando comparada �� quest��o do movimento bem como a outros artistas e obras liter��rias. Sempre a partir da proposta feita ao movimento impulso a pesquisa prop��e a aceita����o do ceticismo em rela����o �� abrang��ncia da linguagem art��stica, declinando o decl��nio do conceito Dan��a. O impulso �� pensado como palavra de movimento, transit��ria e trivial, que recepciona as imagens do mundo. Enquanto a����o andarilha, prop��e o estado de tr��nsito como argumento para a arte e sua hist��ria. Atrav��s da viv��ncia de seu experimento a arte encontra a condi����o anacr��nica, revelando a toler��ncia da artisticidade para com as imagens do mundo e com a pr��pria hist��ria da arte; o impulso apresenta o ordin��rio como condi����o art��stica.

A contemporaneidade das contribui����es cr��ticas de M��rio Pedrosa

Este trabalho visa examinar, a partir dos artigos, textos e correspond��ncias de M��rio Pedrosa, os conceitos de arte, hist��ria e cr��tica. �� objetivo dessa disserta����o discutir o interesse de Pedrosa pelas experi��ncias do Centro Psiqui��trico do Engenho de Dentro, pela Arte Ind��gena e a rela����o dial��tica existente entre Arte e Pol��tica em sua trajet��ria cr��tica como estrat��gia para definir seu interesse interdisciplinar e contemporaneidade

Significados corporificados: uma an��lise da defini����o de arte de Arthur C. Danto

O objetivo do presente trabalho �� analisar a resposta de Danto ao problema da natureza da arte. Para isso, investigaremos o modo como ele utiliza os experimentos dos indiscern��veis, tanto para objetar as teorias tradicionais da arte como para erigir sua defini����o; e filosofia da arte, o que pode ser chamado, respectivamente, de tarefa negativa e tarefa positiva do uso do m��todo dos indiscern��veis. A primeira parte desse trabalho se ocupa da tarefa de investigar justamente como os experimentos dos indiscern��veis s��o usados para objetar as teorias mim��tica, formalista, expressivista, institucionais, da atitude est��tica, e, por fim, a teoria da indefinibilidade da arte. A segunda parte trata de demonstrar como Danto, atrav��s dos experimentos dos indiscern��veis, extrai as condi����es necess��rias e suficientes de sua defini����o de arte. A terceira e ��ltima parte deste trabalho analisa a rela����o existente entre a defini����o da arte e a filosofia da hist��ria da arte de Danto, principalmente a tese acerca do fim da arte.

A linha que contorna a cr��nica: a obra de Tarsila do Amaral

A proposta desta disserta����o �� investigar o trabalho art��stico de Tarsila do Amaral, sua obra pl��stica como tamb��m sua obra escrita. Esta pesquisa se prop��e a compreender de que maneira sua pintura, elaborada como um desenho, com cores delimitadas por fios e imagens geometrizadas adquire uma depend��ncia a uma narrativa de cunho liter��rio. Tarsila do Amaral, pintora modernista, parece organizar os espa��os em suas pinturas ao construir linhas, elaboradas cuidadosamente, imprimindo um aspecto aparentemente cerebral ao seu trabalho. Assim, partindo dessas duas formas de arte, imagem e texto, que dialogam entre si na obra da pintora, surgiu a necessidade de escrever a disserta����o em forma de cr��nica. Ao longo da pesquisa este g��nero liter��rio demonstrou ser a forma mais adequada para lidar com o objeto de estudo, pois, escrever cr��nicas tendo como ponto de partida os quadros e textos de Tarsila do Amaral permitiu um olhar mais detalhado e demorado sobre sua obra, possibilitando tamb��m lidar com todos os aspectos de sua vida que tangenciaram sua arte. Parece importante perceber as influ��ncias estrangeiras em sua forma����o como pintora e sua busca por uma identidade como artista. Ressaltando o aspecto l��dico de sua obra, as cr��nicas a seguir buscam compreender como uma pintura racional pode gerar um resultado pr��ximo a uma imagem infantil, especialmente no per��odo Pau-Brasil. J�� na fase Antropof��gica, o foco de estudo se concentrou na tela Abaporu, em sua elabora����o, inspira����o e desdobramentos como movimento liter��rio e art��stico. Assim, vinte e uma cr��nicas proporcionam um panorama de aspectos relevantes na obra de Tarsila do Amaral desde o in��cio de seus estudos de desenho at�� o per��odo em que j�� recebia o devido reconhecimento por sua obra art��stica

A impossibilidade do esvaziamento pleno: uma an��lise do vazio na arte

Tendo como objetivo principal destrinchar o conceito do vazio e a forma como este permeou a produ����o art��stica e o pensamento humano ao longo dos tempos, esta pesquisa faz uma incurs��o por teorias filos��ficas desde a Antiguidade Cl��ssica ocidental at�� conceitos filos��ficos e religiosos do Oriente, a fim de compreender como o interesse pela ideia de vazio migrou para a produ����o art��stica e, mais do que isso, consolidou-se como um importante fundamento para a Arte Moderna e para a produ����o contempor��nea. Partindo de exemplos e momentos da Hist��ria da Arte que permitam a compreens��o das v��rias formas como o pensamento art��stico incorporou o conceito nas obras de arte, a partir desta primeira busca hist��rica e conceitual, ser�� feita uma investiga����o pela produ����o de artistas visuais cujas trajet��rias foram marcadas por ideias de esvaziamento. Num segundo momento, uma an��lise da 28 Bienal de S��o Paulo cujo eixo curatorial manteve todo um pavimento vazio durante o per��odo expositivo buscar�� compreender a forma como a presen��a do vazio pode se ampliar para al��m do objeto art��stico e se incorporar ao pr��prio espa��o institucional

Cama de gato: um ensaio a partir de Malhas da liberdade, de Cildo Meireles

A partir da an��lise das diversas vers��es de Malhas da Liberdade (1976-2008), obra de Cildo Meireles, o ensaio Cama de gato tra��a um percurso rizom��tico por entre as transforma����es e inflex��es das estrat��gias pol��ticas e de alteridade da produ����o do artista e, de modo mais amplo, de parte da recente arte brasileira. Atravessando aspectos como a hist��ria da arte, a subjetividade, a economia e a hist��ria, o ensaio faz uma leitura sobre as metaformoses dos modos de participa����o ativados e propostos pela pr��tica art��stica, atentando para suas implica����es pol��ticas e ideol��gicas. Por entre a cama de gato de ideias e interpreta����es do ensaio est��o, ainda, reflex��es sobre a historiografia da arte brasileira e seu processo de internacionaliza����o, al��m de uma preocupa����o com a rela����o entre arte, participa����o, alteridade, topologia, espa��o social e democracia

Hugh Blaker: Doing his Bit for the Moderns

Meyrick, Robert, 'Hugh Blaker: Doing his Bit for the Moderns', Journal of the History of Collections (2004) 16(2):173-189 RAE2008

Od wielkich do ma��ych narracji. Definiowanie sztuki w kulturze p��ynno��ci

Wydzia�� Nauk Spo��ecznych: Instytut Kulturoznawstwa