Can objects perform?: agency and thingliness in contemporary sculpture and installation

In his 1967 essay, “Art and Objecthood”, Michael Fried bemoaned the theatricality of minimalist sculpture, which replaced the presentness of compositional sculpture with the staging of an experience for the viewer as performer. His argument has since been inverted by artists and art writers invested in the idea of sculptures as props forming part of an artistic experience economy. This discourse has accompanied the rise of relational aesthetics as a dominant paradigm for contemporary art. More recently, however, there has been a turn away from relationality to ‘object-oriented’ art, where objects are seen to stage their own theatrical experiences, performing themselves without requiring the activation of a viewer’s body. We trace parallels between the philosophy of Bruno Latour and the “Speculative Materialism” group and this emerging trend in sculpture. In ascribing agency to objects, Latour proposes a radical shift from philosophy’s traditional investigation of the relationship between the mind and the world. Drawn to the idea that matter can be creative, artists have embraced his thinking. However, we argue that this has lead to a generalized, universalizing humanism that disables political action. Moreover, it undermines the potential for anti-humanist critique latent in object-oriented philosophy.

O conceito contemporâneo e as reflexões sobre arte e estética de Rui Chafes

A recusa da estratificação do tempo, que surge na segunda metade do século XX, resulta da perda de fé numa grande narrativa e modifica a percepção do tempo cronológico: os acontecimentos já não se sucedem ordeiramente, manifestam-se em simultâneo no presente ou são criteriosamente convocados a partir do presente. Esta reformulação do tempo implica a reformulação do conceito de contemporâneo, permitindo questionarmo-nos, tal como Giorgio Agamben: “De quem e do que somos contemporâneos? E, antes de tudo, o que significa ser contemporâneo?” Com esta dissertação pretende-se analisar algumas formulações do conceito de contemporâneo, especialmente a partir de Giorgio Agamben, Walter Benjamin, Hannah Arendt e Georges Didi-Huberman, com a intenção de compreender as implicações da temporalidade na experiência estética e as possibilidades que as conceptualizações elaboradas oferecem à constituição de uma comunidade humana. Na segunda parte do trabalho, relaciona-se a problemática da contemporaneidade com as reflexões sobre arte e estética do escultor Rui Chafes através do seu texto “A História da Minha Vida”, um relato das principais influências da formação artística do narrador. Este relato ultrapassa os limites cronológicos, onde o artista olha para trás definindo o seu próprio tempo presente e o seu passado. O presente surge como a inteireza que resume a atenção do artista e nos descreve a sua caminhada através do tempo artístico. O narrador revive na primeira pessoa o percurso dos artistas que desde a Idade Média ao Barroco – trabalharam anonimamente a pedra e a madeira em nome dos mestres e ao fazê-lo assume-se como o escultor-aprendiz que recusa a promoção a mestre, e revela em si, através dos valores supremos do trabalho, da sabedoria e da experiência, toda a arte que o precedeu.

Contemporary American painting and sculpture.

Mode of access: Internet.

The Pittsburgh international exhibition of contemporary painting and sculpture.

Other slight variations in title.

Anatomy improv'd and illustrated with regard to the uses thereof in designing : not only laid down from an examen of the bones and muscles of the human body, but also demonstrated and exemplified from the most celebrated antique statues in Rome : exhibited in a great number of copper plates, with all the figures in various views : intended originally for ye use of the Royal French Academy of Painting and Sculpture /

Re-engraved by Michael van der Gucht and others after the original edition published at Rome in 1691.

Mapping the Contemporary Studies on Alliances and Strategic Networks

The competition among the companies depends on the velocity and efficience they can create and commercialize knowledge in a timely and cost-efficient manner. In this context, collaboration emerges as a reaction to the environmental changes. Although strategic alliances and networks have been exploited in the strategic literature for decades, the complexity and continuous usage of these cooperation structures, in a world of growing competition, justify the continuous interest in both themes. This article presents a scanning of the contemporary academic production in strategic alliances and networks, covering the period from January 1997 to august 2007, based on the top five journals accordingly to the journal of Citation Report 2006 in the business and management categories simultaneously. The results point to a retraction in publications about strategic alliances and a significant growth in the area of strategic. networks. The joint view of strategic alliances and networks, cited by some authors a the evolutionary path of study, still did not appear salient. The most cited topics found in the alliance literature are the governance structure, cooperation, knowledge transfer, culture, control, trust, alliance formation,,previous experience, resources, competition and partner selection. The theme network focuses mainly on structure, knowledge transfer and social network, while the joint vision is highly concentrated in: the subjects of alliance formation and the governance choice.

Sculpture alcove, Kangaroo Point House, Kangaroo Point, Brisbane

Alcove to deck, as seen from garden.

Sculpture alcove, Kangaroo Point House, Kangaroo Point, Brisbane

Alcove to deck, with timber handrail in foreground.

Sculpture alcove, Kangaroo Point House, Kangaroo Point, Brisbane

Alcove to deck, as seen from garden.