Fine Arts

What are the best indicators of the distribution of attitudes towards value, and how can art practice be instrumental in finding entry points to identify these, make connections and create space for transformation?

How can art practice be used to elucidate what constitutes the construction and deconstruction of the idea of value as a marker of social agreements?

How can art practice point at the concentrations, expansions, demarcations of value, how are these ‘maps’ put together, by whom, and what purpose do they serve?

The problem with zooming in to see the detail is that one forgets the sense of boundaries. Perhaps this is exactly what is intended in the work of Kai Lossgott: the shock of thought of the small and the scattered, the necessity to see the macrocosmos reflected in the microcosmos and the questioning of our own limitations in perceiving things.

Lossgott's work is a study about what we are tuned to see and what is disregarded; it is a process that highlights how our perception changes from day to day, from culture to culture, from one stage of development to the next. Lossgott turns the idea of sensory detection and perception into a meticulous study of how to perceive the overlooked in the world. By doing so he displaces the displaced once again, into a space where new sets of values and new conversations are initiated.

The world of the Anthropocene is an urban world increasingly dominated by globalisation of markets and homogeneous views. As population in rural spaces dwindle in favour of mega cities, natural areas become available for grabs by multinational corporations, bringing about a mono-philia approach to nature and society.

We are faced with the challenges of the Anthropocene and the question of whether we will find a way to prevent humanitarian and ecological crises. Mass migrations of peoples and climate related catastrophes must be addressed. Critically, we ought to take the opportunity to question how we do this if we are to preserve the diversity and plurality of both human and non-human ecosystems.

'hunter-gatherer’, an exhibition by Kai Lossgott, catalogue
Texts:  Paul Bayliss, Kai Lossgott, Puleng Segalo, Marina Velez, Virginia MacKenny
Design:  Black Africa
Produced by Absa Bank Ltd, Johannesburg, South Africa

20 x 20 cm, 4 concertina fold booklets, 42 x 42 cm wrap-around folded cover, Off set, red cotton thread wrap-around binding. 

Printed on 120gsm 'Rock paper', manufactured from a combination of mineral powder (limestone and Calcium Carbonate) and non-toxic resin, without the use of water, using up to 50% less energy.

Un-numbered collector’s edition of 200.

'hunter-gatherer’, an exhibition by Kai Lossgott, catalogue
Texts:  Paul Bayliss, Kai Lossgott, Puleng Segalo, Marina Velez, Virginia MacKenny
Design:  Black Africa
Produced by Absa Bank Ltd, Johannesburg, South Africa

20 x 20 cm, 4 concertina fold booklets, 42 x 42 cm wrap-around folded cover, Off set, red cotton thread wrap-around binding. 

Printed on 120gsm 'Rock paper', manufactured from a combination of mineral powder (limestone and Calcium Carbonate) and non-toxic resin, without the use of water, using up to 50% less energy.

Un-numbered collector’s edition of 200.

Learning and testing in higher education have traditionally been regarded as two separate issues. This division reflects mainly ideas behind the understanding of the structure and the essence of teaching and learning. Challenging this viewpoint that has largely predominated in teaching at academic level will partly depend on whether assessment is regarded as a means to measure learning or rather as a means to promote learning. In this essay traditional and innovative means of assessment will be contrasted, explored and analysed in the context of higher education, specifically in fine arts.

Rivers, lakes, oceans, these are the words we give to water, these words have meaning that help us think through water and think with water. We do not live in water, but human activity is having an impact on rivers and oceans as much as on the land. This impact sometimes remains invisible to us as we tend to think of water as the matter in between territorial agencies. But what if it was the other way around? What if it was land that connected the rivers and the oceans? What if we could see that land, water and atmosphere are connected in profound and complex ways, and that these connections and interactions create a dynamic disequilibrium, sustained by life forms, and that it is this that makes life on Earth possible? Water is a contested zone, on the one hand, oil companies, fisheries and mining industries and military enterprises affect the legal status of water. On the other hand, the Whanganui River in New Zealand became the first river in the world to be recognised as a legal person in 2017, when it was given environmental personhood status. And it matters what stories tell stories, says Donna Haraway in her story-changing book Staying with the Trouble, because, when it comes to water, it matters which stories push us to extract and deplete and which ones help us to connect and heal. In this webinar we will ask a panel of artists to share their work with us and to help us to create new stories. Through their practices, these artists will help us to map and scan rivers and oceans in our imagination, to dream up visions of interconnectedness, to explore new entanglements and to remind us that the contract between humans and nature is not only about human rights alone but also about human obligations. No single entity exists in itself, because life is made possible by symbiotic connections. We urgently need new stories that can remind us of our responsibilities and that can help us to create practices of care and custodianship of water and its life. These artists put forward stories that speak of integration and cooperation, stories that help us to understand life as interdependencies and entanglement, as consortia rather than individuals. Marina Velez Curator

Being a practicing artist and conducting practice-based research today may involve re-framing and rethinking beyond discipline boundaries. It can be said that art prospers from such spillage, which can create opportunities for collaborations where knowledges and meanings can be articulated in new and innovative ways.

Los aspirantes a cineastas son bastante afortunados en comparación con hace años. Hoy en día, puedes hacer una película en casi cualquier formato y aún así tomarla en serio, suponiendo que tienes una gran historia y valores de producción razonablemente buenos. Como se mencionó anteriormente, The Blair Witch Project es una de las características independientes más exitosas que se haya hecho hasta ahora, pero se rodó con una cámara de video de consumo (no digital).

Recientemente, el desarrollo de la tecnología TIC y la difusión de dispositivos inteligentes se han aplicado a diversas industrias que utilizan tecnologías del mundo real y de realidad aumentada. Actualmente, los programas de fotografía de teléfonos inteligentes siempre utilizan contenido fijo. Se utilizó tecnología de realidad aumentada para capturar el nuevo concepto y la imagen de la situación en tiempo real de la generación joven. La fotografía de tecnología que utiliza tal realidad aumentada puede hacer frente a varios conceptos y la posición y pose del usuario. Este artículo tiene como objetivo desarrollar contenidos fotográficos utilizando realidad aumentada. En este artículo, se revisa el uso de realidad aumentada, la combinación de fotografías pasadas con el mundo real y el desarrollo de contenido que se puede fotografiar.

El trasplante de órganos y tejidos para dar solución a lesiones y defectos es un problema que con urgencia se debe tratar, pues aún existen dificultades en el proceso, como la escasez de donantes y el riesgo que ocasiona el rechazo inmunológico. La implantación de órganos y tejidos artificiales sugiere una mejor calidad de vida en los pacientes, sin embargo, se requiere de una técnica de manufactura que permita el desarrollo de estructuras complejas. La téc-nica de impresión 3D ofrece resolver las limitaciones actuales en el desarrollo de órganos y tejidos, ya que permite incorporar células en los biomateriales para la regeneración de diversas estructuras biológicas. Esta revisión resume los estudios más relevantes y el progreso en el desarrollo de implantes, prótesis e ingeniería de tejidos mediante impresión 3D, se introduce a los distintos biomateriales empleados en la manufactura aditiva, así como las diversas técnicas de impresión utilizadas en aplicaciones biomédicas.