History and Theory of Art

El artículo estudia la difusión de una anécdota sobre el arte en la Grecia antigua, no narrada por Plinio, que trata de la rivalidad entre Fidias y Alcámenes, compitiendo por el encargo de una estatua de la diosa Atenea que debía colocarse sobre una alta columna.
La anécdota se transmitió a occidente a través del erudito bizantino Joannes Tzetzes, y se difundió mediante la edición italiana de 1546 de sus escritos. Es recogida por Berdinando Baldi, y a través de éste llega a los escritos de Franciscus Junius, Henry Wotton y Juan Caramuel. La anécdota constituye un buen ejemplo para mostrar la migración de las ideas de un contexto artístico a otro muy distinto, y su transformación o adaptación a nuevos problemas o intereses

This is an edited version of the Introduction to my book  Digital Art, Aesthetic Creation: The Birth of a Medium, published by Routledge in their Advances in Art and Visual Studies series, 2019.  In the book, the chapter is entitled ‘Introduction: The Possibility of Art’. If you wish to cite this discussion please refer to the version as presented in the book .
    The discussion here justifies why digital art can be regarded as an authentically artistic mode of creation, and considers aspects of its creativity.

A chiedere agli artefici dotati d’ingegno e temprati «dallo esercizio dell’arte» di dare corpo per iscritto al loro sapere fu Benedetto Varchi che, nella primavera del 1547, in concomitanza con i suoi interventi accademici dedicati alle arti figurative, aveva promosso fra un gruppo di amici artisti l’inchiesta «del principato e della nobilità [...] della scultura e della pittura». Le loro risposte, e fra queste le lettere dei pittori Pontormo e Bronzino e altri, così come quelle ben note di Giorgio Vasari, in apertura, e di Michelangelo a coronamento conclusivo della «disputa», fecero da corredo all’edizione delle celebri “Due lezzioni” varchiane, edite nel 1550, appena un mese prima delle “Vite de’ più eccellenti architetti, pittori, et scultori italiani” dallo stesso «impressor ducale» Lorenzo Torrentino. Varchi fin dalla premessa generale pose la figura dell’artista al centro della complessa teorizzazione sulle “arti poietiche” (cioè «fattive») di Aristotele. Illustrando l’esser produttivo e, nel contempo, accompagnato dalla «certa e vera ragione» dell’”ars poietica”, il letterato mise in evidenza il fatto che questa si distinguesse dalla semplice tecnica, perché la sua capacità produttiva era possibile quando si verificava il possesso di una “techne”, ottenuta grazie all’esercizio, unitamente ai principi che regolavano una situazione in particolare (come, per esempio, fare la statua unica e originale). Il «proemio generale» e «l’introduzzione» alle tre arti poste da Giorgio Vasari in apertura delle “Vite” traevano l’ispirazione da questa solida esposizione varchiana. L’artista aretino coglieva bene il significato di riconoscimento riservato dal «philosopho» Varchi alle arti «fattive», mostrando per l’appunto nella sua opera il valore produttivo (ossia «fattivo») dell’operato degli artisti.

Abstract
Has art theory any function and any importance? A function and importance for who? For the practising artist, theorists, writers on art?
Art speak and its place in art theory, art criticism and artists’ statement. - Many tools  to create an intersubjective and universal frame of reference to make sense of any art exist., for example art history, labels such as expressionism, impressionism, modern art, contemporary art, Fine art, Visual Arts, Northern Baroque Art, minimalist, post-minimalist, anti-art, anti-anti-art, New Aesthetics, new media,  slow art movement, etc and ‘art speak” .

An artist cannot work without material. Everything, including
immaterial resources such as time, can be material I use to
form things.—Franz Erhard Walther, “Material." This chapter thinks about a selection of Walther's works from his intricate series Werksatz. Walther conceived of fabric objects—Werkstücke —as a starting point for actions performed by a viewer-participant. Often in a limited color palette, Walther’s Werkstücke are designed to develop a volume, that is, three-dimensional forms. But the definition of what his works are remains fluid, posing intriguing dilemmas for museums and conservators. Not exclusively objects and not entirely performances (a notion Walther has dismissed by saying “I never did performances”), his works elude any stable definition. Over the years, Walther has referred to these artworks as “instruments” (implements) or “sculptures,” implying not only distinct
formal concepts but also ontologies. As instruments, his fabric objects appear to act as means to an end rather than ends in themselves. As autonomous sculptures, they are never inactive. Crucially, Walther conceives of his works as being completed in the mind of a viewer—a trope that connects
them to the preconceptual legacy of Fluxus artists. This essay slowly considers and dissects the vital materiality, lively power, and efficacy of Walther’s Werkstücke. I want to expose the challenges
involved in thinking about complex, heterogeneous works existing as assemblages of activated performances and active physical artifacts— starting points and remnants of performance. The short durational character of aspects of Walther’s works troubles the established museological discourse that relies on the enduring physicality of art; their objectual element upsets the notion that this art can and should be used, thereby generating copies that confound the idea of an authentic original by shifting between ontological categories and material formations.

Per il ciclo Canova a Bologna. Personaggi, luoghi, contesti, prima conferenza dal titolo: Un amico di Antonio Canova: Pietro Giordani. La figura di Antonio Canova viene letta alla luce di un testimone d'eccezione: il letterato, amico e ammiratore dello scultore, Pietro Giordani. Giordani segue da una posizione privilegiata, quella di prosegretario dell'Accademia di Belle Arti di Bologna, la vicenda umana e professionale dell'artista, cui dedica anche un famoso panegirico, a cura di Maria Luigia Pagliani.

This essay discusses the use of the word ‘anarchy’ by the German art historian and philosopher Edgar Wind (1900-1971) in his Art and Anarchy (1963). The book — which resulted from Wind’s homonymous 1960 BBC Reith Lecture — advanced a controversial thesis: contemporary artistic experience had lost its ‘sting,’ that is, its capacity to stir spiritual turmoil and, in this manner, provoke societal transformations. To that end, Wind understood ‘anarchy’ as applied to the arts, in a positive framework. However, despite the titular prominence of the word, Wind rarely uses it in the text or overtly defines it. Except for a few brief mentions in his Nachlass, there is little understanding regarding why Wind chose such a contentious term for the title of his critique on modern art. This paper aims to outline the publishing history of Art and Anarchy, assess the socio-cultural background of Wind’s Reith Lectures, and evaluate the semantic range of ‘anarchy’ vis-à-vis Wind’s theory of art.

The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) where the first official art academie in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious. guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on "social practices" entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understandin of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence.

Maria Bergamo
Between Apophatic and Epiphanic: Reflections on the Iconographer and the Artist, from Cretan madonneri to Russian Mystics

The reflections presented here refer to the painting Martyrium of Saint Paraskevi by Michaìl Damaskinòs, dated 1605 and kept at the Kanellopuolos Museum in Athens. In the midst of a vibrant crowd created in a clear mannerist matrix, the figure of the saint stands out as a perfect icon. Her hieratic face against the two-dimensional halo creates an interruption, and opens a metahistorical and metaphysical gash: she is a “dissimilar figure” which, as Dionysius the Areopagite says “much more than those for homogeneity of nature, lifts our minds up”, and raises questions. In the first part of the text, an attempt is made to contextualize the painting by placing it in relation to the production of the madonneri workshops on Crete, and producing the relative artistic historiography. As a subject of a great critical debate on stylistic “hybridism”, on the division between ‘Greek’ and ‘Latin’ manner, this work needs to be looked at in a different way, shifting the judgment from the merely ‘artistic’ level towards a more complex hermeneutics, which takes into account the ontological status of the image itself. In fact, the form does not disregard the content, and this dialectic, entirely internal to the icon, is all the more interesting as it is consubstantial with the radically antinomian character of the Christian faith in the Incarnation. In the central part, the text focuses on the different dimensions in which the Christian sacred image is projected from its origins: iconoclasm, the search for orthodoxy and the continuous reflections of the fathers and theologians are born from the intrinsic theophanic and
transfiguring power of art. This is the link that leads to the questioning of the apophatic act, of retraction, of the author and of his own personality. The reference to the theoretical writings of important modern artists, and the comparison with mystical literature, enable us to understand how obedience to the traditional corpus becomes for the author a real investiture, the responsibility of guaranteeing the epiphanic value of art: it makes itself invisible so that the Invisible becomes visible. This ambiguous role, between norm and freedom, creation and subtraction, also challenge the contemporaneity which generates the last part of this essay.

It has become a commonplace that Georges Braque, Pablo Picasso, Juan Gris and Fernand Léger are the great representatives of cubism. However, even if all of them would end up signing a contract with the same dealer, their (artistic) journeys/paths are fairly uneven/dif- ferent. Particularly, Gris had worked side by side with a group of artists considered by the “great public” –who did not know Braque’s and Picasso’s work– as the representatives of the genuine/ real cubism. Jean Metzinger, who was part of such/that group, not only becomes one of the most important representatives of the movement, but also encarnates –conciously or unconciously– a theoretical role which aims at approaching to the influences among all those artists, thus trying to understand which features would constitute the real/genuine cubism in its own genesis.

W przewodniku znalazły się kompleksowe informacje dotyczące tego, jak analizować i interpretować dzieła sztuki za pomocą urządzeń do śledzenia i rejestrowania ruchów gałek ocznych. Publikacja kierowana jest do artystów, teoretyków i entuzjastów sztuki, którzy chcieliby projektować miarodajne eksperymenty okulograficzne związane z percepcją wszelkiego rodzaju przejawów działalności artystycznej. Choć tradycja prowadzenia tego typu badań sięga niemal stu lat, do tej pory nie powstało spójne opracowanie obejmujące zagadnienia technologii, metodyki oraz analizy wyników eksperymentów eye-trackingowych dotyczących sztuki.

Pintescritura , neologismo cunhado para lidar com as complexidades epistemológicas advindas de uma investigação em nível de Mestrado, batiza o texto que aqui se propõe. Investigava-se então a picturalidade no cinema de Peter Greenaway e na literatura de Virginia Woolf. Ali onde a analogia autoriza que a escrita e o pictórico se reúnam na lógica do traço,opera o conceito que lança luz sobre a circularidade significante – uma troca de olhares entre Lacan e Saussure- em que se propõe uma abordagem poético- sincrônica em detrimento de uma perspectiva linear da narratividade.

Pintescritura é agora invocado para o Doutoramento em Teoria e História da Arte em torno das apropriações sígnicas do histórico na obra da artista visual Adriana Varejão em que os limites entre Verdade e Ficção se questionam e problematizam a partir das elaborações propostas por Jacques Lacan em que sujeito e linguagem copulam, com reverberações que , sustenta-se aqui, não se confinam aos desdobramentos pós-lacanianos presentes em Damisch e Georges Didi-Huberman, historiadores da arte, mas poderiam igualmente servir a uma reflexão em torno das implicações para a Teoria da História como campo expandido, constituído por espelhamentos e(m) analogias.

O entendimento do passado como uma “estrutura em progresso” presente na obra do historiador francês Marc Bloch e dos representantes dos Annales impõe-se aqui. Só uma indagação nascida de uma demanda investigativa presente pode autorizar que o passado se atualize como um campo de desafios interpretativos a serem enfrentados pelo historiador. Eis o que constitui o histórico como um problema digno de um olhar que o disseque à luz do contemporâneo e o possa constituir como um terreno marcado por significações nunca inteiramente dadas mas resultantes de tensões significantes. “Os fenômenos não falam por si sós e pela evidência. É preciso provoca-los . O que equivale a dizer que é preciso construí-los como objetos teóricos” , como nos lembra Calabrese em A Idade Neobarroca.

O impacto para a constituição do conhecimento histórico é,acredita-se,indiscutível. Defende-se aqui a legitimação de uma transposição ou um empréstimo, por assim dizer, das elaborações de Bloch para este outro lugar – topos -em que o artista usa os motivos da história como rasura, a seguir-se a lição de Derrida,uma escrita em que a lógica de significação advém de uma operação no significante – aqui tomado para além de sua constituição linguístico-verbal – pois que uma das premissas de nossa visada é a de que a imagem se constitui como um discurso que, invariavelmente, depende de uma elaboração veiculada pela palavra, viabilizada pelas estruturas logofonocêntricas. A História "na" Arte é repensada a partir de uma apropriação em que Varejão se torna alegoria.

Este libro ha sido reseñado por Fernando Galván Freile y Emilio Morais Vallejo en De Arte. Revista de Historia del Arte, nº 5, Ed. Universidad de León, León, 2006, pp. 245-247. ISSN: 1696-0319 (http://revpubli.unileon.es/index.php/dearte/article/view/1559/1269)

The problem of separating art objects from the total mass of material objects has always been relevant in the analysis of material culture. This problem is relevant both in dealing with archaeological finds and with other ancient objects. Here we can distinguish two aspects: separating art objectsfrom the general mass of objects, and defining “the measure of artistry” of other things. This definition is possible when distinguishing variousfeatures of an object that may or may not have artistic properties. Depending on the proportion of these
signs, it can be defined as more or less artistic. Naturally, the “weight” of the signs also matters for placing the subject in the artistic field, or the degree of its “artistry” greatly increases. It should be taken into consideration that in different epochs and in different cultures the same attributes may or may not reveal “artistry”.
Regardless of the situation, there is one clear feature that allows one or another attribute to be interpreted as “artistic”. This is when a given property of the object, presented to us as attribute, can be interpreted as non-standard, unusual, as compared to other available objects. For example, the ceremonial “art” ceramics, as a rule, has an unusual coating or pattern, which is unusual in itself. Thus, in the first approximation, the more unusual the object is, the more artistic it
would be. Works of art, roughly speaking, are the most unusual objects in culture, which usually makes them easy to distinguish even in a fragmentary state.
Not only any attribute property of the object, but also the place where it is located, or the non-standard design for this type of objects can be unusual. Unfortunately, these details can be often lost in the process of moving or archeologizing an object. It seems possible to use this method to define artistic objects not only in ancient cultures, but also in the modern times. Despite the fact that art has lost many of the features that were considered characteristic of it in previous eras, it’s its ability to be unusual, compared with with the mass or environment, remains
unchanged. In fact, contemporary art, even in its most extreme manifestations, is something unusual, and in cases where its singularity is lost, it can not be determined and identified. Thus, the highlighted attribute and method of art definition remains unchanged for objects of material culture of all times and as we suppose might be used for other genres of art.

4nd Triennale of Thessaloniki, Greece - International Art Exhibition - 2022 - "Our Brain Cells" - Organized by "Colours Gallery", 02/05/2022 - 12/05/2022, Gallery "Out of Focus".
Honoured Country: Japan
There is also an Art Book/Catalogue edited by Aphrodite Karamanli & Chara Bouka, published by GRAFICA (Thessaloniki, 2022).

(with Maria Drakaki & Elli Kokkini)

Άπό τις διαφάνειες μου του 2004 για το Μάθημα "Πολιτισμός και Θεωρίες της Τέχνης" που μετονομάστηκε σε "Ιστορία και Θεωρία της Τέχνης" το 2012. Διατηρώ εδώ τον τίτλο του αρχικού μαθήματος και την πρώτη μορφή των διαφανειών. Το συγκεκριμένο σύνολο διαφανειών προσαρμόστηκε σε πολλές μορφές σε μαθήματά μου τα επόμενα χρόνια. Τώρα εντάσσεται στο υλικό του γενικού μαθήματος "Ιστορία της Τέχνης" και είναι στο eclass του μαθήματος στο Τμήμα Πολιτισμικής Τεχνολογίας και Επικοινωνίας στο Πανεπιστήμιο Αιγαίου. Υπήρξε και χρήση του με άλλους τίτλους, όπως "Θεωρίες για την Τέχνη" ή "Θεωρία της Τέχνης" και δεν έγραφα πάντα το όνομά μου στην πρώτη σελίδα. Το ανεβάζω εδώ διότι με έκπληξη είδα να κυκλοφορεί στο περιβάλλον της παρούσης πλατφόρμας (Academia), ανώνυμο αλλά μεταξύ των uploaded papers ατόμου που έχει αναρτημένα κείμενα που δεν έγραψε (ένα μεγάλο αριθμό) και έχει προφιλ στο Academia. Αυτό αποτελεί αποτυχία της πλατφόρμας. Θεωρώ θετικό τουλάχιστον οτι ενημερώθηκα για την ύπαρξη των σημειώσεών μου στη σελίδα του συγκεκριμένου ατόμου από τις ενημερώσεις της πλατφόρμας για κείμενα "σχετικά με τα ενδιαφέροντά μου"...
This is part of my 2004 teaching notes that are still online on my eclass. I was suprised to see them uploaded by an unidentified "author" who keeps them among his/her own (?) uploaded papers in Academia...

From about the mid-second century BC through the second century AD there raged in China an almost continuous controversy over the proper distribution of social and economic resources. Sometimes opinions were expressed in public debate, sometimes in memorials or essays, and sometimes in open battle. Conspicuous products of material wealth such as architecture, sculpture, mural painting and objets d'art figured prominently in these exchanges. At first they were merely cited in debates. Later, art monuments became as much a medium of debate as an object of it. In either role artistic monuments were difficult to ignore. This paper examines and theorizes the use of visual art as an agent in debates over economic policy in Western Han China.

Questo articolo è un riassunto dei punti principali della conferenza pubblica del 26 Febbraio 2019 tenuta all’Archontikò Lassani di Kozani, Grecia.
This paper is an abstract of the main points of the public conference of February 26, 2019 held at the Archontikò Lassani in Kozani, Greece.

RESUMO: O corpo é o significante privilegiado em torno do qual gravita a monumentalidade operística do ciclo Cremaster (1994-2002) de Matthew Barney. Propõe-se aqui um esboço investigativo de contornos lacanianos, em que Freud e o signo saussuriano trocam olhares no esforço de compreender como linguagem e subjetividade costuram-se no tecido desta narrativa poética e pictórica, repleta de subversões sígnicas que tecem um corpo marcado por hermetismos e morbidez que o reconfiguram no limite da distorção. A escrita constitui-se aqui como resistência ao silêncio imposto pela densidade autorreferente desta obra e aponta brevemente para a problematização do discurso verbal diante dos desafios imagéticos. ABSTRACT: The body is the signifier around which the operistic monumentality of the Cremaster Cycle (1994-2002) gravitates. An investigative sketch of Lacanian contours is proposed herein, in which Freud and the Saussurean sign exchange glances in an effort to understand how language and subjectivity are woven together into this poetic and pictorial narrative, marked by subersions of the sign which plot a body tinged with hermetisms and morbidity which reconfigure it to the point of distortion. The writing is deemed herein as rtesistance to the silence imposed by the density of this oeuvre and hints at the problematisation of the verbal discourse before imagetic challenges. É como se estivéssemos diante de imagens de um sonho. Há aí a ambiguidade própria do obscuro do desejo por aquilo que se oculta detrás do que sustenta a imagem onírica: mistério, enigma, segredo, repulsa e sedução do que escapa à compreensão primeira. Existe, nisto que se constitui por vezes como imagem da Arte, sobretudo na contemporaneidade, algo da atmosfera da cena de um crime e de como o olhar ali se instala, infiltra e se impõe para decifrar o que se encontra sob a forma de indícios, restos, traços e rastros. Um crime, é preciso que se o diga, sem solução aparente ou óbvia. Um crime perpetrado para a perplexidade interpretativa. Um crime com requintes estéticos, ainda que tinto de morbidez banhada em hermetismos. Um crime da ordem de um sonho. É este o efeito que têm sobre a escrita desse artigo as imagens do ciclo Cremaster(1994-2002) de Matthew Barney.

This article researches on two important squares in Florence, Italy, Piazza della Signoria and Piazza della SS. Annunziata. In the perspective of space construction and relationship, find out the meaning and metaphor of the main statues and fountains in the two squares: Fountain of Neptune and Fountain of the Sea Monsters, Equestrian Monument of Cosimo I and Equestrian Monument of Ferdinando I. In the perspectives of city space development and communication, heritage of Medici House, Father-Son relation, etc., to rethink and understand the two squares and the two fountains and two statues, find out their meaning and metaphors. They are monuments of the rulers of Florence, more importantly they express the heritage between father and son in Medici House, and the continuation and expectation of their family house, meanwhile the ambition towards the ocean and territory expansion.

Alisa Baremboym's eclectic and hermetic work is receiving a great deal of attention, judging by the number of exhibitions in which her objects have been featured and by the critical literature they have generated. Her sculpture juxtaposes materials and processes, opacity and transparency, lightness and weight, abstraction and figuration, the past and the future, the illusion of perfection versus the reality of its opposite. There are also elements of social engagement and playfulness. Baremboym's work is not easily pinned down, a characteristic that seems particularly pertinent to our current social and cultural condition.

The fight of Aeneas and his family from Troy does not seem to have attracted
the attention of African mosaicists nor that of their colleges from the entire
Roman Empire. Today we only recognize a single artwork, more specifcally, an
emblema from Karthago. Except a brief description made by the inventor, J. W.
Salomonson in 1965, the scene seems to have escaped the attention of researchers
and archeologists.

Keywords: Karthago, mosaic, Aeneas iconography, scenic composition, semantic reading.

The purpose of this contribution is to evaluate the jurisprudence of the European Court of Human Rights (ECtHR) in freedom of artistic expression cases dealing with visual and performance arts. The reasons for this particular evaluation are salient to the fact that the ECtHR has consistently provided a lesser level of protection to artistic expression than to political expression. The aim of this article is to challenge the approach of the Court to the freedom of artistic expression in relation to visual and performance arts. The critical evaluation is based on two different but complementary grounds: contemporary theory of art critique of the ECtHR’s understanding of art and critique based on the ECtHR’s own political freedom of expression cases. The argument of the authors is that the ECtHR approach to visual and performance arts as an exercise in ethics and aesthetics is contradicted by contemporary art theory and practice which invariably assumes the societal role of art, its po...

L’ouvrage est une première synthèse des théories du nu dans les traités d’art de la Renaissance en langues latine et italienne. Il soutient aussi une thèse : les humanistes, qui furent les premiers à employer le mot nudus comme un adjectif substantivé au singulier, ont inventé le nu en art à partir de trois sciences anciennes (les mathématiques, la médecine et la philosophie morale) et, plus précisément, en renouvelant trois doctrines qui constituent à la Renaissance les parties de l’art du nu, la symétrie, l’anatomie et la physiognomonie. Se plaçant sous le triple patronage de Vitruve, de Galien et d’Aristote, les théoriciens de l’art humanistes concevaient à la fois le nu comme un corps géométrisé, comme une « belle machine » et comme un miroir de l’âme. Ainsi existe-t-il au moins trois critères à l’aune desquels, à la Renaissance, les spécialistes de l’art reconnaissent et jugent un nu : le premier est le rapport de proportion qui règle ses parties entre elles et chacune d’elle avec la totalité du corps ; le second est la conformité de l’organisation anatomique et le troisième l’efficacité affective de l’image. Les artistes et théoriciens de l’art de la Renaissance fournissent eux-mêmes une définition du nu assez solide pour combler le vide laissé par la critique de celle de Kenneth Clark (The Nude, Washington, 1956).

Στη δημόσια τέχνη, ένα διευρυμένο πεδίο «σχεσιακών πρακτικών», βασισμένων στη συνεργασία και την κοινωνική συμμετοχή, αποτελεί το σημείο εκκίνησης για την ευαισθητοποίηση γύρω από τα σύγχρονα προβλήματα και τις αλλαγές του δημόσιου χώρου ως προς την εικόνα και την κοινωνική λειτουργία του. Τέτοιου είδους δράσεις, συνήθως εφήμερες, ασύμβατες με τους όρους αγοράς τέχνης και συχνά πολιτικά φορτισμένες, προσπαθούν να συνενώσουν τέχνη και καθημερινή ζωή.
Εστιάζοντας στον ελληνικό χώρο, η εισήγηση παρουσιάζει παραδείγματα εφήμερων δράσεων στην πόλη από τις ομάδες Αστικό Κενό, Δίκτυο Νομαδική Αρχιτεκτονική και Ομάδα Φιλοπάππου, διερευνώντας τη μεθοδολογία των πρακτικών τους, το ιδεολογικό τους υπόβαθρο, και τον κοινωνικό αντίκτυπό τους. η εισήγηση επιθυμεί να τονίσει την απαραίτητη παρουσία τους στη σύγχρονη συνθήκη, καθώς τα προβλήματα του αστικού χώρου πληθαίνουν. Με την ενεργοποίηση ανθρώπων από διαφορετικά επιστημονικά πεδία, οι οποίοι μεταφέρουν στη σκέψη τους τη «ρίζα» μίας νέας θεώρησης της πόλης, ενός αστικού σχεδιασμού επικεντρωμένου σε ξεχασμένες μνήμες και πρακτικές του δημόσιου χώρου και στην ανθρώπινη ανάγκη για ουσιαστική συνύπαρξη στη δημόσια σφαίρα, τέτοιου είδους πρακτικές - μικρές ετεροτοπίες στη σύγχρονη αστική ζωή - μπορούν να χτίσουν προοδευτικά ένα σώμα ουσιαστικών προτάσεων και πράξεων για τον δημόσιο χώρο, ικανών να οδηγήσουν στη βελτίωση της μελλοντικής εικόνας της πόλης.      |||||||||||||||||||||||||||||||||||   

This essay presents examples of ephemeral artistic interventions in public spaces in Greece, based on collaboration and social participation, which aim to highlight the contemporary problems and alternations of public space regarding its image and social function.
By stressing out the methodology of collective action, their ideological background and social impact, this essay expresses the necessity of their existence in public spaces, as they bring forward a different view of the city and an urban design which is focused on forgotten memories and activities that rely on the human need for an essential social co-existence in the public sphere. Such actions - eterotopias in the contemporary urban life - might gradually build a corpus of important suggestions for the public space, able to lead to the improvement of the future image of the city.

Presentation of my PhD research on "Arab futurisms" as part of the symposium entitled “Autour du musée des futurs de Gaza. Futurismes et muséologies alternatives," organized by Marion Slitine and Aude Fanlo.

Mucem Museum in Marseilles, Fort Saint-Jean- MucemLab, 1 June 2022.

More information here: https://www.mucem.org/programme/autour-du-musee-des-futurs-de-gaza

La morale intrinsèquement liée à la mode renouvelle l'allure des corps devenant ainsi une autre phase de marqueur social. La virtualité de la réalité souligne la mise en scène de soi par différentes thématiques. L'amour, dit “véritable” et la “sacralité” de la famille, toutes deux des notions séculaires de stabilité, permettent-elles un changement de paradigme et une forme nouvelle de conservatisme ?

In this article, I put forward a theoretical way to conceive of the problem of the origin of art. Did art arise in the time of the prehistoric caves or rather in the concept of representation originated in Ancient Greece or is it just an eighteenth-century idea through which a great deal of previous artifacts have been retrospectively appropriated? To answer these questions, I consider the tradition of the histories of art as a literary genre; the tradition of analytic aesthetics (Levinson; Dickie; Stecker; Carney; etc.), and the tradition of the history of ideas.

Jacopo da Voragine in his latin collection "Legenda Aurae" (at the end of XIII. century) published one of St. Jerome's most famous legends. As a part of the zodiac tale theory developed in Hungary at the end of the last century Pap Gábor art historian (partly and earlier by Jankovics Marcell) discovered that in the folk tales based on the 12 zodiac signs or the 36 decans those cast often personalize the astrological planets /Sun, Moon, Mercury, Venus, Mars, Jupiter, Saturn/ [1,2]. Whilst the tale follows the sequence of the signs or the decans, the actors can deploy their basic planetary features depending on planetary dignity in the sign. In domicile dignity the actor can "achieve" him-or herself entirely (Gábor Pap prefers the exaltation), but in the worst-exileposition he or she is totally powerless. This principle we can follow in St. Jerome's legend too.

The purpose of this contribution is to evaluate the jurisprudence of the European Court of Human Rights (ECtHR) in freedom of artistic expression cases dealing with visual and performance arts. The reasons for this particular evaluation are salient to the fact that the ECtHR has consistently provided a lesser level of protection to artistic expression than to political expression. The aim of this article is to challenge the approach of the Court to the freedom of artistic expression in relation to visual and performance arts. The critical evaluation is based on two different but complementary grounds: contemporary theory of art critique of the ECtHR's understanding of art and critique based on the ECtHR's own political freedom of expression cases. The argument of the authors is that the ECtHR approach to visual and performance arts as an exercise in ethics and aesthetics is contradicted by contemporary art theory and practice which invariably assumes the societal role of art, its potential subversive and transformative function within a society at large, and, ultimately, its lato sensu political value. In addition, visual and performance arts are powerful yet fragile instruments for delivering the debate to society at large. Viewed from this perspective, artistic expression has the same beneficial effect on a democratic society as political expression stricto sensu. Therefore, the rationales underpinning protection of political expression are essentially the same as those of artistic expression, therefore the ECtHR should extend the same level of legal protection to arts and artists to keep valuable social dialogue alive.

Resumo: O corpo é aqui meta-alegoria. Medida da vida, estrutura-se temporal, tropológico, narrativo. Em sua posição alegórica, é o locus privilegiado da visão que aqui se privilegia da História como fabulação (poiesis, fictio). A verdade, para Lacan, possui a estrutura de ficção. Corpo e História avizinham-se em nossa leitura. Corpo do acontecimento: espasmos, oscilações, irrupções e fraturas sintomais que apontam para uma versão não-teleológica da História. Corpo da História da Arte que nasce ecfrasal no texto de Winckelmann. Corpo em que se instalam os tupos: rastros, vestígios mnemônicos deixados à maneira do sinete de cera de que nos fala o Teeteto de Platão e resgatado por Ricoeur.

Presenta il volume, insieme all’autore,
il Prof. Giovanni C. F. Villa.
Ne discutono docenti e dottorandi,
MERCOLEDÌ 11 NOVEMBRE 2015,
ORE 11:00,
Dottorato di Ricerca in Studi Umanistici Interculturali, Sala riunioni, via Donizetti, 3
(Casa dell’Arciprete),
UNIVERSITÀ DEGLI STUDI DI BERGAMO