內容簡介
Art Criticism in the age of Virtuality and Democracy
The Congress Theme addresses some key issues concerning the role of art criticism related to the new tendencies.
Firstly, the virtual is not the opposite of reality but rather an increasing part of our reality. Presently, communities, social relations, everyday life, the body, and even biological life are in the processes of mass virtualization. Life itself has been supposed as an algorithm, AI as a brain without body, while space-time’s relationship is virtualized in VR technology. A virtual enterprise need no longer convene its employees onsite, but rather can delegate work to be done remotely, thus re-articulating the time-space relationship of its workers.
Secondly, if we make an observation of a longer duration, there seems to be an unquestionable expansion of democracy which can be confirmed by the democratic transitions beginning in the mid-1970s, which span from Latin America to Taiwan and South Korea, through the end of the cold war, and to following transitions in Eastern Europe, the Color Revolution and the Umbrella Movement in Hong-Kong in the fall of 2014. Nevertheless in more recent years, the phenomenon of the retreat of democracy can also be observed in the uprising of the populism worldwide.
Two sub-themes:
1.Art criticism in the age of virtuality
2.Art discourse facing challenged democracy
1.Art criticism in the age of virtuality: How does the situation in which the rapid pace of development in computer and media technologies affect the description, interpretation and evaluation of contemporary art? More precisely, does art criticism develop new methodology and new languages concerning its analysis and new problematics in its debates?
2.Art discourse facing challenged democracy: How is art discourse constitutive of the collective representations and imaginary of democracy? In the situation of democracy under challenge, how are these social-political phenomena reflected in new developments of censorship and self-censorship, or post-truth? For new problems brought out by transitional justice, what kind of function can art discourse play?
作者簡介
作者簡介
AICA中華民國藝評人協會
The International Association of Art Critics (AICA) was founded in 1950 and was admitted in 1951 to the rank of NGO. AICA comprises various experts anxious to develop international cooperation in the fields of artistic creation, dissemination and cultural development.
AICA brings together around 5,000 art professionals from 95 countries all over the world, organised into 63 National Sections and an Open Section. The most recent Annual International Congresses to be organised by AICA have held in Poland (2013), Seoul, South Korea (2014), London, England (2015), Havana, Cuba (2016), and Paris, France (2017).
The members of AICA includes art critics, art historians and art educators, as well as curators from museums of modern art. Their aim is to compare their point of views concerning the vocation of art criticism, to analyse their responsibility in regard to artists and public, and to outline the particular nature of their contributions in relation to developments in the fields of art history.
章節
- Preface Chi-Ming Lin and the Scientific Committee of AICA Taiwan
- Contributors
- ● Forking Democracy Audrey Tang
- ● The Matrix of Visibility and Legitimacy: Art and Democracy in the Age of Digital Participation Nikos Papastergiadis
- ● Seventy Years of AICA, Reflected Through the PRISME Research Project: Some Preliminary Findings from the Archives in Rennes Henry Meyric Hughes
- ● The Poetics and Politics of Shane Cullen’s ‘The Agreement’ Liam Kelly
- ● Trajective Art Criticism: Boats (Trains, Planes) and Home in the Era of Retreat from Democracy Richard Read
- ● The Illusion of Art Without Mediation: Challenging the Challenged Democracy Rui Gonçalves Cepeda
- ● On “Art Criticism in the Age of Virtuality” Lisbeth Bonde
- ● Turbulence: How Can Creativity and Art Criticism Respond to Unsettling Times in the Age of Virtuality? Natalie King
- ● The Post-Internet Way of Art Criticism Ewa Wójtowicz
- ● Aesthetic of Protest: The Colorful Revolution Jovanka Popova and Mira Gacina
- ● A Field of Non-Field Chieh-Jen Chen
- ● Notes on the Causes Chieh-Jen Chen and Chien-Hung Huang
- ● Truth or Post-Truth? Rahma Khazam
- ● A Brave New Virtual World? Elisa Rusca
- ● The Image War of Chiang Kai-shek’s Statues: The State of Exception in the Process of Promoting Transitional Justice in Taiwan Kang-Jung Chan
- ● No More Professional Writers in the Future? Agnieszka Sural
- ● Unlimited Uncertainty: A Critical Narrative of Art Self-Powered by the Virtual Lisa Paul Streitfeld
- ● Politics of Performance Art Before and After 1989 Małgorzata Kaźmierczak
- ● Art as Events with the Virtual: Rethinking about the Democracy and Bureaucracy Raylin Tsai
- ● The Post-Enlightenment Fallacy: Political Art and the Fate of Aesthetics Joe Nolan
- ● Within Digital Culture: The Hyperimage Perspective on Art and Criticism Alfredo Cramerotti
- ● Total Control and Censorship: Towards a New Humanity? Bernhard Serexhe
- ● Eco-Democracy and the Romanian Contemporary Public Art Marilena Preda Sanc
- ● To the Moon Laurie Anderson and Hsin-Chien Huang
- ● On “Art Discourse Facing Challenged Democracy” Bélgica Rodríguez
- ● Exploring Robots robotlab
- ● AICA-USA Online: Being Effective, Virtual, and Real in the Twenty-First Century Judith E. Stein and Jamie Keesling
- ● Hyperallergic: A Model for Art Criticism and Cultural in the Digital Age Holly Crawford
- ● An Eco-System of Criticism-Activism to Empower “Overcoming the Past”-Film Discourse and
Community Project of Taiwan’s White Terror Memory Yu-Juin Wang - ● Xiao Lu’s Dialogue Damian Smith
- ● Arctic Environmental Challenges through Virtuality Jean Bundy
- ● Contemporary Art, Democratization and Social Change: Politics of Art in Postcolonial Buddhist Sri Lanka Sabine Grosser
- ● A Theater - in Absence Felix Ho Yuen Chan
- ● In Search of a Critical Conscience Ernesto Muñoz
