Dos readymade ao design contemporâneo

From Marcel Duchamp’s readymade, tried to establish a historical overview with emphasis on the possible affinities between art and design from modernity, seeking to end weave such a reflection on the contemporary condition.

The Telescope Stand Inspiration for Marcel Duchamp’s Bicycle Wheel Readymade

This article is the result of research following on from the author’s previous article on the same subject, ›The Inspiration for Marcel Duchamp’s Bicycle Wheel Readymade‹ written in 2007. In that article the author argued by process of deduction that Duchamp’s Bicycle Wheel was inspired by an improvised telescope stand and was not the product of the artist’s imagination as the artist claimed. This article presents new supporting evidence of a Great War period photograph of an improvised telescope stand made with a bicycle wheel and forks. This article also examines the dating of the first version and construction of the authorised versions of Bicycle Wheel and presents new evidence for the source of the forks component of the 1916 version.

Grant Stevens : Are You Upset with Me?

Grant Stevens is ambivalent. The young Brisbane artist made his name with a series of computer-generated animated-text videos that explore clichés but seem undecided as to whether they are trivial and vacuous, profound and authentic or somehow both at once. Stevens plunders mass-media sources (the familiar image repertoire dished up by Hollywood, television, pop music and the Internet) as readymade content. He explores this everyday language, sometimes for its ambiguity, but more often for its almost uncanny lucidity. Resembling meditation and relaxation guides, his recent videos beg the question: what made us so anxious? This book examines Stevens' artistic output over the first ten years of his practice. It includes essays by Mark Pennings and Chris Kraus.

Decorative news feeds; beacon

'Decorative Newsfeeds' use a live feed from the web to present up to the minute headline news from around the world as a series of pleasant animations, allowing viewers to keep informed while contemplating a kind of readymade sculpture or perhaps an automatic drawing.

Thomson-Craighead at Studion

Moderna Museet invited Mejan Labs to curate two installations by the British artists Thomson & Craighead. This solo exhibition was in Studion at Moderna Museet, Stockholm. Works included: BEACON when it is shown as a data projection in a gallery. As with the online version and railway flap sign, live web searches are continuously relayed as they are being made around the world -in this case onto a gallery wall in series and at regular intervals as an endless concrete poetry. Decorative Newsfeeds use a live feed from the web to present up to the minute headline news from around the world as a series of pleasant animations, allowing viewers to keep informed while contemplating a kind of readymade sculpture or perhaps an automatic drawing.

Éclatement des repères artistiques : la philosophie face à la crise de l'art contemporain

L’effondrement des repères artistiques (que plusieurs associent aux premiers ready-made de Marcel Duchamp) dévoile les symptômes d’une crise de l’art. Comme l’histoire de l’art est en quelque sorte la représentation de ce que nous sommes, on peut raisonnablement penser que la crise s’étend bien au-delà de l’art. Toutefois, l’art possède un éclairage puissant, car il illustre, littéralement, plusieurs problèmes notamment au niveau du jugement et de la raison. Faute de repères, le monde contemporain manquerait-il de discernement ? Cette question est tout à fait légitime dans le contexte actuel où tout et n’importe quoi semblent pouvoir être élevés au rang de l’Art. Le culte que l’on voue à l’individu paraît être l’une des causes du problème. On observe qu’en régime de singularité (pour reprendre l’expression de la sociologue de l’art, Nathalie Heinich) les relations du monde de l’art sont de plus en plus conflictuelles : lorsqu’on demande à un artiste de justifier son propre travail, la rationalité devient nécessairement instrumentale ; on rend également caduc le rôle du critique et des institutions. Ce mémoire s’intéresse à analyser, dans une perspective philosophique, les différentes manifestations de la crise de l’art et ses enjeux dans le monde actuel.

Towards a model of corporate social responsibility (CSR) in the ready made garments (RMG) industry in Bangladesh

As the primary earner of foreign exchange in Bangladesh, the readymade garments (RMG) industry has been under constant criticism for the absence of corporate social responsibility (CSR) practices in the industry. Based on previous research, and drawing on the model of CSR in food industry developed by Maloni and Brown (2006), this paper aims to develop a model of CSR for the RMG industry in Bangladesh and discusses its various aspects to assist our understanding of the CSR issues in this industry. As the absence of a functional practice of CSR in the industry is considered as a threat to its sustainability, this paper provides important implications for the sustainability of RMG industry in Bangladesh.

Kristeva reframed : interpreting key thinkers for the arts

For Kristeva, in a world immersed in readymade images, art or aesthetic experience is a practice that constitutes both a subject (a sense of self) and an object that is able to transform meaning and consciousness.Kristeva Reframed examines key ideas in Kristeva's work to show how they are most relevant to artists, and how they can be applied in interpreting artworks. With examples from the paintings of Van Gogh and Picasso, the work of contemporary feminist painters, the photography of Bill Henson and the film and animation work of Van Sowerine, Estelle Barrett demonstrates how Kristeva can illuminate the relationships between artist and art object, between artists, artworks and audiences, and between art and knowledge. Through these relationships she explores what Kristeva's work reveals about the role and function of art in society and offers a smooth passage through Kristeva's ideas and her relevance to visual culture.

Apropriação e inserção na contra-arte da geração AI-5

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Pintura e objeto

Pós-graduação em Artes - IA

Objetos tenaces : adaptive reuse en Meatpacking, 1970–1985

OBJETOS TENACES versa sobre la práctica del adaptive reuse (la “reutilización adaptativa”, la reconversión) explicado a través del fenómeno de ruptura, suspensión y reconfiguración de vínculos que el objeto arquitectónico tiene con respecto a su medio económico, sociocultural, normativo y de utilitas. Se trata de un fenómeno en tres fases, muy próximo al mecanismo empleado por el readymade y por el display, que en arquitectura parte de la crisis que supone un cambio de circunstancias, un desarraigo del objeto respecto de su ámbito anterior. El mecanismo tiene vocación de intervención mínima, desde un posicionamiento actual que comprende el mundo construido como una realidad “ya hecha”, y donde las operaciones de proyecto son acciones de transformación que llevan de una situación de obsolescencia a otra de vigencia renovada, es decir, de una realidad completa a otra igualmente completa. Para ello, la investigación se sirve de tres ejemplos de un mismo entorno geográfico (el área en torno a Meatpacking, en el lado oeste del bajo Manhattan, Nueva York) y temporal (las últimas décadas del siglo XX, en las que los casos se solapan a pesar de tener desarrollos cronológicos diversos). Bell Telephone Laboratories, The West Side Improvement y The National Biscuit Company, reconvertidos a Westbeth, a The High Line y a Chelsea Market, construyen juntos el argumento por suma de conceptos, por adición de fenómenos, estudiando las cualidades y las circunstancias que hacen posible la continuidad de las estructuras, es decir, su supervivencia. El texto forma un corpus que proporciona algunas de las claves del objeto denominado como tenaz a través del análisis sincrónico del antes y el después de su puesta en crisis. A tal efecto, se exponen una serie de figuras razonadas entre las cuales figuran el lijado del barniz, los hilos compartidos, la máscara, la momificación y la vitrina, el puente sobre le desfiladero, el enfriamiento, o las reliquias, incrustaciones y adherencias, todas ellas encaminadas a explicar el proceso de renovación del artefacto como un cambio en el sentido, en el significado, y no tanto en lo material. Entre las consideraciones de la tesis está, por un lado, el carácter relativo del término tenacidad, concepto que define a los objetos que se encuentran y se reconocen en su idoneidad, que tienen capacidad de adaptación, y que precisan finalmente de grandes dosis de pragmatismo para su reconfiguración, siendo todas éstas condiciones necesarias pero sólo suficientes a posteriori. Por otro lado, el texto reflexiona acerca del intangible que comparten todos los objetos así llamados y que consiste en la condición, quizá formidable, de ser reconocibles por parte de los sucesivos intervinientes de su historia, convencidos de que su renovación supone una oportunidad; su desaparición, una pérdida. Finalmente, la investigación apunta hacia el concepto de anacronismo como justificación para los objetos que se demuestran adaptables a épocas sucesivas, y que encajan en el tiempo de forma compleja. ABSTRACT TENACIOUS OBJECTS deals with the practice of the adaptive reuse explained by means of the phenomenon of rupture, suspension and reconfiguration of links that the architectural object has vis-à-vis its economic, socio-cultural and regulatory environment, and its utilitas. It is a phenomenon structured in three stages, very close to the mechanism used by the readymade and by the display, which in architecture arise from the crisis that leads to a change in circumstances, an alienation of the object regarding its previous environment. The mechanism aims to the minimum intervention, from a current positioning which understands the world built as a reality “already made”, and where the operations of the project are transformative actions that take us from a situation of obsolescence to a situation of renewed validity, that is, from a complete reality to one just as complete. For this purpose, the research makes use of three examples in the same geographical area (the Meatpacking Discrict, in the Lower West Side of Manhattan, New York) and the same period (the last decades of the 20th century, in which the cases overlap in spite of their diverse chronological developments). Bell Telephone Laboratories, The West Side Improvement and The National Biscuit Company, reconverted into Westbeth, The High Line and Chelsea Market, make up, together, the argument as a sum of concepts, and addition of phenomena, studying the qualities and circumstances which make the continuity of the structures possible, that is, their survival. The text forms a corpus that provides some of the keys of the so-called tenacious object by means of the synchronic analysis of before and after its crisis. To this end, a series of reasoned figures is presented, including the sanding of varnish, the shared threads, the mask, the mummification and the display cabinet, the bridge over the gorge, cooling, or the relics, incrustations and adherences, all of them aimed at explaining the renovation process of the artifact as a change in the sense and the meaning, rather than the material. The considerations of this dissertation include, on the one hand, the relative nature of the term tenacity, a concept which defines the objects found and recognized in their suitability, that are capable of adapting and which finally require large doses of pragmatism for their reconfiguration, all these conditions being necessary but only sufficient a posteriori. On the other hand, the text reflects on the intangible shared among all the so-called objects, and which consists of the condition, perhaps extraordinary, of being recognized by the subsequent interveners of their history, convinced that their renovation represents an opportunity; their disappearance, a loss. Finally, the dissertation studies the concept of anachronism as a justification for the objects that prove to adapt to subsequent periods, and which fit in time in a complex manner.

Physical status, nutrient intake and dietary pattern of adolescent female factory workers in urban Bangladesh

This cross-sectional study examined the physical status, nutrient intake and dietary pattern of adolescent female factory workers in urban Bangladesh. A total of 1211 postmenarchial girls aged 14-19y from seventeen readymade garment industries spread over the Dhaka City participated in the study. Body weight, height and skin fold thickness were measured for all subjects. The nutrient intake was assessed by 24-h recall method and 7-day food frequency questionnaire was used to investigate their dietary pattern on a sub-sample of 509 girls. Sixty five percent of the girls were short (height-for-age,

Self-refraction, ready-made glasses and quality of life among rural myopic Chinese children: a non-inferiority randomized trial.

PURPOSE: To study, for the first time, the effect of wearing ready-made glasses and glasses with power determined by self-refraction on children's quality of life. METHODS: This is a randomized, double-masked non-inferiority trial. Children in grades 7 and 8 (age 12-15 years) in nine Chinese secondary schools, with presenting visual acuity (VA) ≤6/12 improved with refraction to ≥6/7.5 bilaterally, refractive error ≤-1.0 D and <2.0 D of anisometropia and astigmatism bilaterally, were randomized to receive ready-made spectacles (RM) or identical-appearing spectacles with power determined by: subjective cycloplegic retinoscopy by a university optometrist (U), a rural refractionist (R) or non-cycloplegic self-refraction (SR). Main study outcome was global score on the National Eye Institute Refractive Error Quality of Life-42 (NEI-RQL-42) after 2 months of wearing study glasses, comparing other groups with the U group, adjusting for baseline score. RESULTS: Only one child (0.18%) was excluded for anisometropia or astigmatism. A total of 426 eligible subjects (mean age 14.2 years, 84.5% without glasses at baseline) were allocated to U [103 (24.2%)], RM [113 (26.5%)], R [108 (25.4%)] and SR [102 (23.9%)] groups, respectively. Baseline and endline score data were available for 398 (93.4%) of subjects. In multiple regression models adjusting for baseline score, older age (p = 0.003) and baseline spectacle wear (p = 0.016), but not study group assignment, were significantly associated with lower final score. CONCLUSION: Quality of life wearing ready-mades or glasses based on self-refraction did not differ from that with cycloplegic refraction by an experienced optometrist in this non-inferiority trial.

Documentary Intersect

I started by collecting things in order to inform my work. What seems to have happened slowly is that the collections eventually became my work. – Patrick Pound The New Zealand-born, Melbourne-based artist Patrick Pound has had a long-term engagement with the work of Walker Evans, both as a writer and as a practicing artist. For his solo exhibition at the Adam Art Gallery, Pound developed an installation comprised of found images, taking his cue from Walker Evans’s practice of working with readymade printed matter which he published in magazines such as Fortune and Architectural Forum. While Pound’s collecting habits are voracious, he is also a great organiser. He is interested in typologies and arranges items according to shared content: ‘tears’, ‘floral clocks’, ‘crime scenes’, ‘sleepers’, and so on. Laying these out in linear sequences Pound discovers points of intersection to create complex grids of structured yet chaotic imagery. A Hollywood film still of a crime scene will sit eerily alongside an image of a real deceased subject sourced from an archive; or a set of postcards will show the same subject, shot by different photographers and describing both changing viewpoints and the passage of time. Pound has stated: ‘People make sense of the world through assembling, listing and categorising…meaning is to be found in the accumulation of [these] details.’