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IV. General Conclusions
Given the multi-layered cultural heritage of the Balkans, where a yet vibrant level of archaicfolkloric artefacts runs side by side with a still productive mediaeval-religious craftsmanβs trade and both are paralleled by a dynamic modern-postmodern art field, the cultural framing and "scanning" of a whole region through an art biennial is inevitably a problematic and risky operation, necessitating as it does putting into abeyance different cultural ages and aesthetic polarities in order to pick up the creative germs of renewal and to direct them towards the future.
Staging a new "cultural metaphor" of a whole area should also overcome and transcend the many clichΞΉs about the Balkans still potent in the international imagination
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Not to know how to see this ... but as an Art movement in the 1919 ... I just love the movement, which was a revolt of art (anti art) and absurdism. I think dada was the base of a lot of art movements like surealims, the Stijl ( a more typical Dutch movement) with Mondriaan and Van Doesburg, Rietveld. (I think these names probably says nothing to you - but I think you must have seen their art somehow).
But on the other way ... Dada .. is the first child words for daddy. (which brings a lot of good & happy memoris to me about him & me in my yought. - most of them by old photographs).
I like the shot.
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Conceptual Art
Conceptual Art or "information art", became a symbol for artistic freedom, especially in the 1960's and 1970's. The movement represented a collection of free thinking artists with ideas that extended into the written and participation forms of modern and contemporary art. Many particular artists deserve recognition for their work, and some of these artists involved in the movement include Robert Barry, Vito Acconci, Joseph Kosuth, Mel Bochner, Chris Burden, and Jan Dibbets. The Conceptual artists looked anywhere for ideas and information, to them, every idea was a good one.
History
The story of Conceptual Art most definitely begins with the influential power of Marcel Duchamp. Duchamp was a French artist who believed that every artwork's idea was more important than its product. His artwork paved the way for Conceptual Art in the 1970's. The Conceptual artists appreciated Duchamp's artwork for its conceptual characteristics. He was one of the first artists, through use of his ready-mades, to become a prototype for Conceptual Art.
Conceptual Art was one of the largest and quickly undertaken movements in the twentieth century. The artwork that they portrayed is great in numbers. Several times throughout their reign, the Conceptual artists gathered to show their work. An exhibition in 1960 had introduced Conceptual Art to the world, and soon after, their work would flourish as they started to exhibit their work in new places.
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Futurism
Futurism was an art movement that loudly and boldly proclaimed their discontentment with society. Unlike the other early modern art movements, Futurism came out of the heart of Italy. Some of the major artists involved included Filippo Marinetti, Umberto Boccioni, and Giacomo Balla. These artists participated in one of the loudest art movements ever to take place in modern art. They outwardly objected to traditional conventionalism and all but waged war on the art of the19th century.
The birth of Futurism did not begin in France or even the United States, but in Italy. The movement was born out of the corrupt and confused Italian government. To say that the Futurist wanted reform in the early twentieth century does not do them justice. The Futurists demanded change and pointed at any and all faults they could find that would destroy the continuation of a corrupt government. In the mind of the average Futurist, the Italian government had become misguided in their goals and values.
The Futurist movement began with a poet named Filippo Tommaso Marinetti. In 1909, Marinetti wrote the Futurist manifesto. The manifesto was a downright rejection of modern arts effort to portray artwork. The manifesto of 1909 served Futurism in its goal to tame conventional mannerism.
Futurism, and its manifesto embodied a genuine concern for reason and justice. When Futurism first found its way into the art world, the creator of the movement, Marinetti, struggled with the idea of what to call his new movement. Some of the names the considered were Dynamism, Electricity, and Futurism. This powerful movement might have been called anything except "Pacifism" for radical changes were taking place.
In 1911, the Futurists gathered at their first major showing in Milan, Italy. The artists involved in this exhibition included Boccioni, Russolo, and Carra. Together, these three exhibited over 50 works. When the exhibition was over, the Futurist painters came together as artists with a common interest.
For about 10 years, the Futurist movement deeply practiced the principles they believed in. But by 1918, the war had taken a huge toll on the Futurists. Many artists began to practice less rebellious styles, and Futurism itself was becoming an obsolete movement. In some regards however, a couple of artists led Futurism into the 1940's and 50's. Although at some point, the movement seemed to regain its ground, the period between 1909 and 1918 seemed to mark the most productive and worthwhile years in Futurism.
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.thanks for your command..Its exterimentals work.And I konw Dada and deStijl Group in 1919-25I sawDada-Surrealist Artists when I was Student.I use to Sibernetics thema and visualarts of my works.And my phelesophy "Micro-cosmos"...Accepted as the subtitle of the first edition of Cosmopolis, this apparently enigmatic formula derives from an old European esoteric tradition, affirming the profound coincidence of Human
person with the Universe. But, under different names and symbols, the analogy between the human nature and the functioning of the cosmos is common to many cultures and traditions, allowing a deep and subtle intercultural understanding. Through this strange equation, multiple
human levels of determination and understanding (biological, psychic, social, cultural, spiritual) mirror the complex levels of being and perception of the whole Creation. Human evolution
parallels the cosmic unfolding as we find ourselves midway between the infinitesimal and immense, we are the X between "underworlds" and "upper worlds".
Arcane as it may seem, maybe poetic or even mystical, this formula has been revived by scientists recently in discussing holistic cosmological theories that have uncovered unexpected
symmetries and remarkable similarities between subatomic physics and astronomic processes. In the present-day Herculean efforts towards the unification of the sciences, psyche and consciousness, this apparently outdated byword might yet open a way toward a welcome transdisciplinary approach, as well as a trans-cultural synthesis.
But it also denominates the irresolvable tension between the uniqueness of each human individual and the universal concept of the world. In its actual version, the conflict between an
innumerable number of individual micro-centres, determined by multiple and contradictory identities, and the over-arching macro-structure of a globalizing world. Confronted with the
dialectics of new localisms and fragmentation, the duo microcosmos-macrocosmos need a Cosmopolitan overview and even a Cosmopolitics, "a politics of the cosmos" (Isabelle Stengers) in order to imagine a possible future, or the only way "to build the common Domus" of a unified humanity (Bruno Latour). It is obvious that the microcosmos-macrocosmos formula can be understood at different levels, from the most trivial and banal to the most abstract and metaphysical. It is also obvious that the 10 national curators, and the 100 artists, who were invited to Cosmopolis had the freedom to choose from among these possible levels of understanding and expression: it was their role as risktaking individuals who presume to express and transcend all sorts of historical residues, political tensions, social injustice, spiritual dichotomies, economic misery and cultural incongruities
defining the present-day life of the Balkans within the life of the whole world.
Whether they tried to invent new artistic devices to plumb this barely fathomable topic or they used already existing works, inasmuch these already contained contact with the possible meanings of this famous dichotomy is a question of freedom of choice, determined sometimes by circumstantial constraints. Or it is an illustration of how our dramatically disintegrated self and
our artificially reinvented artistic sensitivity of today can approach this old metaphor for antinomical wholeness and coincidence of opposites, via a politicised, sociologised, pragmatic and relativised, gaze.
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i think you somehow put sublimanel messages in this somehow....when i saw on the browes page all i heard in my head was dada
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I love tha DUCHAMP and other unnames artists...
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Dadaism was an art movement that followed Cubism, Expressionism, and Fauvism. The Dadaists were mainly a group of ill-organized artists experimenting with bizarre art and literature. The most notable Dada artists include Hugo Ball, Jean Arp, and Marcel Duchamp. The artists wanted to take modern art into a direction that would broaden the meaning of "what art was and could be".
Dada began in 1916 when Hugo Ball, a German poet and exile, founded a local cafe in Zurich, called the Cabaret Voltaire. The club was a haven for young Bohemian artists, and its members boasted an atmosphere that emphasized artistic freedom and creation. The club quickly became a free platform for self-promotion used mainly by artists, musicians, and writers. For the most part, the club was an institution of learning and a Mecca for artistic individuality. The club had become so well known in the first month of its opening that people throughout Europe came to see the club.
In fact, as the clubs popularity soared, and its memberships as well, the need for changes became apparent. The members realized that the beginning of a common interest was starting to occur, and that a new art movement was beginning. Ball soon realized that he needed to find a name to call this new movement. Unlike other movements in Modern Art, where names were often generated from critics, the Dadaists themselves originated their name.
Allegedly, Ball discovered the word Dada while thumbing through a German dictionary. Although the word Dada does not signify any logical meaning that describes the movement, Ball stated that the word expressed the primitive and unruly theme associated with the club, and that Dadaism was the perfect name for their group.
The Dadaists had one main frustration to compel them against modern art-corruption. The young Dadaists felt that the creators of modern art had become snared by self-indulging greed, and had lost their sense of "true" direction. Many artists felt particularly bitter towards the Impressionists and Cubists, whom they felt had wrapped themselves in materialism. The Dadaists felt that art and literature had been exploited purely for money; and that artists had somehow lost the true identity of art. These social and personal concerns troubled the Dadaists, and these sentiments were the founding principles behind the Dada movement.
In one way or another, many artists have always had these same concerns. And indeed, around the same time that the Cabaret Voltaire was becoming popular, another independent branch of Dada in New York was taking place. In one sense the whole idea of Dada was similar. Dada seemed to be a way of thinking that has existed in every movement. Marcel Duchamp once stated, "Dada is the nonconformist spirit that has existed in every century, every period since man is man."
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