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zbiorowa Praca
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2010 - 2019
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Poland
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Temat: Contemporary art ; 艁贸d藕 ; Love ; Theater ; Music ; Paintings ; Globalization ; Databases ; Set design ; Hybridity ; Exclusion ; 鈥淎frican Art鈥 ; Exhibition ; Modernism ; Myth ; Visual anthropology ; Intercultural symbolism ; Craft ; Drugs ; Shoah ; Eternity ; Margins ; Postmodernity ; Discourse ; Decline of metaphysics ; Alienation ; Disillusion ; Enstrangement ; 袨褋褌褉邪薪械薪懈械 ; Verfremdung ; D茅paysement ; Perimeter-peryferium ; Das Unheimliche/the uncanny ; Center ; Periphery ; Contemporary artist ; Miros艂aw Ba艂ka ; Zbigniew Libera ; Transcendence ; Secularization ; Modern iconoclasm ; The role of the margins in the study of art ; Surrealism ; Occultism ; Fascism ; Imagination ; Altered states of consciousness ; Visionary art ; Extrasensory images in art ; Transposing works of art ; Scenography ; History of theater ; Digital cinema ; Interactive film ; Computer game ; Participatory culture ; Mail art ; Net ; Network ; Archive ; Art documentation ; Post-conceptual understanding of art ; Alternative scene ; Computer culture ; Narratives ; Cultural metissage ; Andean Baroque ; Mestizo style ; Hybridity of culture ; Feather art ; African-American ; 鈥淣ew Negro鈥 ; 鈥淗arlem Renaissance鈥 ; Photography ; Modern art ; Murals ; 20th century ; as though ; Marginalization ; Blasphemy ; Irreligion ; Religion without religion ; Offending religious feelings ; Unbelief ; Contemporary aesthetics ; Philosophy of life ; Herstory ; Depth psychology ; Symbols of death ; Art ; Chlanda ; Tango of Death ; Sketch/triptych ; Death camp ; Margin of Life ; William Blake ; Feminism ; Postfeminism ; Judy Chicago ; Feminine aesthetic ; Women鈥檚 art ; Vanessa Beecroft ; Toxic Tittes ; Iber ; Post-socialist city ; Gentrification ; Redevelopment ; Revelation ; Mountain climbing expedition ; Man
Margins and Marginalization The concepts spelled out in the title Margins and Marginalization usually carry negative connotations. They are associated with having to live outside the main current of events, or with the peripheral and thus inessential aspects of an artwork. Such an understanding assumes a sharp division into major, central, important elements, and minor or marginal ones. However, the validity of such division has been questioned by some contemporary theoreticians and artists. Its arbitrariness and relativist character had been also pointed out in the past. The aim of the 2014 volume is to investigate the occurrence of the titular concepts in the theory and practice of both old and contemporary art. We wish to examine different conceptualizations of margins and marginalization and we are open to a broad range of approaches to his topic.
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