domingo, 14 de julio de 2019

ART HISTORY’S ICONIC DEPICTIONS OF DREAMS, FROM THE RENAISSANCE TO SURREALISM


Julia Wolkoff



Jean Lecomte du Nouÿ, A Eunuch’s Dream, 1874. Courtesy of the Cleveland Museum of Art.

“When we fall asleep, where do we go?” This was the question looming over the long line of teenage girls who recently waited impatiently outside the Billie Eilish merch pop-up in Chinatown. The pop star didn’t invent this question. Philosophers, poets, and psychoanalysts have rhapsodized about the answer for centuries. It’s visual artists, though, who have, again and again, sought to show the impossible—to imagine, in pictures of sleeping subjects, the unseen places we go when we dream. From Godly visions to fantasies to nightmares, the representations of dreams in art have drastically changed since the Middle Ages.
In the Renaissance, as artists and Humanists turned to the writings and art of antiquity, they discovered the ancient philosophers like Hippocrates and Aristotle had been tantalized by the subject of dreams. The 15th-century Florentine philosopher Marsilio Ficino, in particular, took up the task of interpreting the meaning of dreams. His concept of vacatio animae posits that while sleeping, the soul can be freed from the corporeal restraints of the body and achieve a higher, spiritual state.
In art, this spiritual state often took the form of a dozing soul caught in a religious moral dilemma. But dreams also allowed Renaissance artists to heroize the creative imagination and play with sensual, pagan scenes. The Venetian painter Lorenzo Lotto’s Sleeping Apollo and the Muses with Fame (ca. 1549) shows the naked deity napping in an idyllic glade. An angel flying overhead surveys the heaps of discarded clothes and musical instruments, while in the distance, the Muses—reveric stand-ins for the creative imagination—perform an uninhibited dance.


Ary de Vois, Jacob’s Dream, 1660–80. Courtesy of the Rijksmuseum.

Yet it was the Biblical dream—a communication from God—that artists were most often called upon to represent. The Old Testament stories of Jacob’s ladder and Joseph’s interpretation of Pharaoh’s dream were popular subjects. In both narratives, their dreams become important catalysts for change.
The dream of Jacob (ca. 1500), an oil-on-panel work by Nicolas Dipre, foregrounds Jacob, dressed ethereally in white, reclining outdoors with his head resting on a rock. His prophetic dream, in which angels mount a ladder to heaven, appears tangibly in the landscape behind his enclave. Jacob’s eyes may be closed, but his sight, the painting suggests, is clear.
Divine visions remained a popular challenge for centuries of Western artists, who imbued the well-worn stories with ulterior meanings. Ary de Vois’s version of Jacob’s dream (1660–80) is pointedly sensual. Jacob, nude save for a strategically placed bit of cloth, languorously stretches out on a patch of grass, his idealized body on full display. The ladder and angels appear far in the background, a decidedly less prominent focus of the picture compared with Dipre’s work. Here, Jacob’s vision from God is nearly ecstatic, offering pleasure to the sleeping figure much like Bernini’s famously erotic St. Teresa in Ecstasy (1647–52)………………..
https://www.artsy.net/article/artsy-editorial-art-historys-iconic-depictions-dreams-renaissance-surrealism?utm_medium=email&utm_source=17441175-newsletter-editorial-daily-07-09-19&utm_campaign=editorial-rail&utm_content=st-V

MIREILLE MATHIEU SINGING LA MARSEILLAISE (WITH LYRICS)

sábado, 13 de julio de 2019

JOURNALIST NELLIE BLY WILL RECEIVE A MONUMENT ON THE GROUNDS OF THE ASYLUM SHE HELPED CLOSE


Almost 132 years later, the intrepid reporter will return to the scene of the story that made her a hailed heroine of journalism as a permanent monument.
Zachary Small


A portrait of Nellie Bly (circa 1890) (via Wikimedia Commons)

In 1887, a nearly penniless Nellie Bly took an undercover assignment to investigate reports of brutality and abuse at the asylum on Blackwell’s Island, known today as Roosevelt Island. The journalist’s subsequent exposé on the punishing conditions she experienced within the institution shocked New Yorkers, triggered a grand jury investigation, and ultimately brought an end to the asylum.

Almost 132 years later, the intrepid reporter will return to the scene of the story that made her a hailed heroine of journalism as a permanent monument.

As the city advances its efforts to address the gender gap in its public art program with new historical monuments of women, civic leaders on Roosevelt Island are planning their own dedication to the Ten Days in a Mad-House writer.

“She’s one of our local heroes,” Susan Rosenthal, president of the Roosevelt Island Operating Corporation, told the online publication The City. “The combination of who she was, the importance of investigative journalism and the fact that it happened here just made it perfect for the island.”

The organization responsible for the new monument quietly released a call for artists last month, which had an unusually short application period of just 18 days. The deadline for proposals is tomorrow, July 12. The project budget ranges upwards of $500,000 and included allotments for an artist fee, design service, community engagement, engineering, insurance, and other expenses. Notably, the design guidelines say that the proposed memorial can be in any form, including something digital, sculptural, or interactive.

A location has not been definitively set for the Nellie Bly tribute, but the group is considering four prospective areas around the Octagon (a residential building constructed near the landmarked portion of the old asylum) and Lighthouse Park (located at the northernmost tip of the island).


View of the lunatic asylum and madhouse on Blackwell’s Island, New York (1853) (via Wikimedia Commons)

Born Elizabeth Cochrane before taking her famous pseudonym, Nellie Bly was only 23 years old when she posed as a mentally ill inpatient for Joseph Pulitzer’s publication, New York World. Exposure to the dangerous and inhumane conditions in the asylum shook the journalist to her core; she requested leave of the asylum after only 10 days in the facilities and was only released on the behest of World.

“She started the ball rolling on social justice and insane asylums, even if she didn’t have a thousand percent success,” Judith Berdy, president of the Roosevelt Island Historical Society, told The City. “She got it publicized and that’s what counts.”

The Roosevelt Island Operating Corporation plans to vet design ideas this summer with a winner announced in the fall and construction beginning in March 2020. Unveiling for the Nellie Bly monument is scheduled for May 27, 2020.

Normally, permanent public monuments in New York City must receive approval from the municipal Public Design Commission, which usually consults further with the Department of Transportation and the Department of Parks & Recreation before construction begins. Because the Roosevelt Island organization is as state public benefit corporation, however, it is exempt from the city’s public art process.

A spokesperson for the group did emphasize that the memorial’s project manager connected with fellow planners, members of the design commission, and the city’s Department of Culture Affairs ahead of the project.

https://hyperallergic.com/508985/journalist-nellie-bly-will-receive-a-monument-on-the-grounds-of-the-asylum-she-helped-close/?utm_medium=email&utm_campaign=Daily%20071219%20-%20How%20Social&utm_content=Daily%20071219%20-%20How%20Social+CID_b08f978406406b33bde0f31b91d1dd22&utm_source=HyperallergicNewsletter

EXPOSITION – SUR LA ROUTE DU TOKAIDO


10 juillet - 10:00,07 octobre - 18:00
L’acquisition récente d’un important album d’estampes du Tokaido ayant appartenu à Victor Segalen (1878-1919), poète, romancier et sinologue, est l’occasion de présenter pour la première fois au public cette route autour de laquelle s’agrègent de nombreuses estampes fameuses.


Le Tokaido ou « route de la mer de l’Est » est le plus important des itinéraires (kaido) du Japon. Il est surtout connu en Europe pour être une route littorale pittoresque, plus exactement une des cinq routes du Gokaido, tout autant itinéraire touristique que tracé participant à la construction d’un espace politique dans le Japon de l’époque d’Edo (1603-1868).
La circulation sur cet itinéraire se développa rapidement à partir de l’époque de Kamakura (1185-1333), alors que la capitale était implantée dans cette ville non loin d’Edo (Tokyo). Il est vital à l’époque d’Edo, liant Kyoto, lieu de résidence de l’empereur, à Edo, capitale du shogun. Les sites remarquables et fameux s’égrènent tout au long du chemin : Odawara, Hakone, Mishima, Nissaka, la passe de Nakayama, Ie col de Suzuka et le célèbre sanctuaire d’Ise. Succession de points de vue spectaculaires, surplombant la plus grande partie du temps la mer, s’agrippant aux escarpements, partant à l’assaut de terrains montueux et difficiles, il offrait de remarquables plongées dans de vertigineux paysages. Les points de vue captivants, partout présents, y jouent des rivières, des auberges, des effets de trouées vers l’intérieur ou sur la mer. Le long de son trajet cinquante-trois relais furent aménagés ; autant que ce que compte d’estampes la célèbre série d’Hiroshige (1797-1858) à quoi l’on ajoute le pont Nihonbashi, étape de départ à Edo et celui de Sanjo à Kyoto, ultime point du voyage.
En cheminant sur la route du Tokaido, le MNAAG propose à ses visiteurs de l’accompagner dans une entreprise littéraire, artistique et mémorielle.
Mémorielle d’abord, car c’est à l’occasion de l’acquisition d’un superbe album qui appartint à Victor Segalen (1878-1919) que l’idée de cette exposition est née. Il y a cent ans mourrait l’homme de lettres que l’on connaît plus comme passionné de Chine qu’amateur de Japon. On ne sait pas les circonstances qui mirent en présence un ensemble exceptionnel du « Tokaido processionnaire » de 1863 et le sinologue. Mais il est l’occasion de présenter une autre vision de cette route, plus attachée à dépeindre des situations et des personnages qui offrent un témoignage très intéressant des dernières années du shogunat.



Entreprise artistique en premier lieu, c’est bien ce qu’est le Tokaido dans l’imaginaire collectif. C’est ce que montre « l’album Segalen » à travers ses près de 200 estampes et sa cohorte d’artistes : Utagawa Kunisada, Hiroshige II, Toyohara Kunichika, Kawanabe Kyosai, Utagawa Sadahide, etc. Comment, autour de cet ultime ensemble destiné à rappeler à l’empereur les bons services d’un shogun désormais sur le déclin, ne pas évoquer l’œuvre des grands devanciers sur cette route pittoresque et célèbre ? Hokusai bien sûr, Hiroshige plus que tout. La matière était vaste et c’est pourquoi nous avons décidé de nous concentrer sur la série de vue la plus célèbre, les Cinquante-trois stations du Tokaidō (Tokaidō gojusan tsugi) d’Utagawa Hiroshige. Le musée ne possède pas l’intégralité de la splendide édition dite Hoeido de 1833-1834. M. Jerzy Leskowicz, collectionneur hors pair et ami du musée, a bien voulu nous suivre sur le chemin et nous faire l’honneur de nous confier pour un temps un exceptionnel premier tirage complet de ses collections. Hiroshige nous sert de guide donc, non sans être accompagné d’estampes à peine moins connues et de guides de voyages de la fin de l’époque d’Edo, propriété du même collectionneur ; ils illustrent l’engouement autour de cette route.

Cet itinéraire littoral aux vues époustouflantes, aux nombreuses difficultés, suscita aussi une matière littéraire abondante dont l’œuvre fameuse de Jippensha Ikku. Le chemin a bien changé aujourd’hui, mais à travers les estampes la magie demeure inchangée et nous restitue un Japon qui toujours nous fait rêver.
L’album du « dernier Tokaido » conclut une longue tradition. De nombreux artistes japonais ont illustré, sous des formes diverses, totalement ou partiellement, les grandes étapes scandant la route qui relie Kyoto, capitale impériale, à Edo (Tokyo), capitale du Shogun.

https://www.guimet.fr/event/sur-la-route-du-tokaido/

EXPOSITION PHOTOS "THE WORLD INSPIRED BY CITROËN" 7 GRANDS PHOTOGRAPHES SHOOTENT CITROËN EN 100 PHOTOS DANS 7 VILLES DU MONDE


À l’occasion des 100 ans de Citroën, dans le cadre d’un partenariat entre les deux marques, la Monnaie de Paris accueille du 9 juillet au 18 août, l’exposition "THE WORLD INSPIRED BY CITROËN" (le monde inspiré par Citroën).
Pour célébrer son anniversaire, le constructeur automobile a donné carte blanche à sept grands photographes internationaux pour raconter la ville, leur ville, avec les voitures pour personnages.
Au total, 100 clichés marqués par l’inspiration de leur créateur nous font voyager dans 7 métropoles.
Au total, 100 clichés marqués par l’inspiration de leur créateur nous font voyager dans 7 métropoles.


Erwin Olaf – Amsterdam
Marcos López – Buenos Aires
Sonia Sieff – Paris
Yoshiyuki Okuyama – Tokyo
Mouna Karray – Tunis
Formento + Formento – New York
Delfino Sisto Legnani – Milan
À partir du 16 juillet, des voitures de collection Citroën seront exposées dans les cours de la Monnaie de Paris.

Un catalogue collector édité en partenariat avec le magazine IDEAT en format XXL (30 x 38 cm), bilingue français/anglais, est disponible à la boutique Monnaie de Paris durant l’exposition.

https://www.monnaiedeparis.fr/en/activites-et-visites/exposition-photos-the-world-inspired-by-citroen

TERRITORIOS INDEFINIDOS. PERSPECTIVAS SOBRE EL LEGADO COLONIAL


En abril de 1955, los representantes de 29 países asiáticos y africanos, la mayoría de los cuales acababan de acceder a la independencia, se reunieron en una conferencia en Bandung, Indonesia, para defender intereses comunes respecto a la soberanía nacional, la descolonización, el antiimperialismo y el desarrollo económico. La conferencia internacional para establecer nuevas alianzas geopolíticas representaba al 54% de la población mundial de ese momento y marcó un punto de inflexión en el orden político poscolonial. De ese encuentro emergió el Movimiento de Países No Alineados (MNOAL), formado por naciones que compartían aquella ideología y evitaban la bipolaridad de la Guerra Fría, y también el término «Tercer Mundo».



La pieza central de la exposición es la película de Naeem Mohaiemen (n. 1969) Two Meetings and a Funeral (2017), que entreteje meticulosamente imágenes de archivo y nuevas filmaciones con la narración del historiador Vijay Prashad (n. 1967) para reflexionar sobre el impulso y la solidaridad de las ideologías de izquierda del MNOAL y poner al descubierto las complejidades que determinaron su desafortunado fracaso.

Otras obras expuestas, remontándose más allá de ese momento histórico, abordan la huella de la represión y la desposesión colonial, así como el modo en que las potencias imperiales han ejercido el control mediante estructuras epistémicas como la cartografía política y la lengua. A través de la obra de artistas procedentes de geografías y diásporas diversas, la exposición también señala los retos de la independencia y la condición poscolonial. Tal como advirtió el primer presidente de Indonesia, Ahmed Sukarno (1901-1970), en el discurso de apertura en la Conferencia de Bandung, «el colonialismo también tiene su variante moderna, en forma de control económico, control intelectual... Es un enemigo hábil y determinado, y aparece disfrazado de muchas maneras.»

Los artistas incluidos en la exposición son: Maria Thereza Alves, Lothar Baumgarten, Black Audio Film Collective, Alán Carrasco, Mariana Castillo Deball, Sandra Gamarra, Jeffrey Gibson, Maryam Jafri, Kapwani Kiwanga, Naeem Mohaiemen, Daniela Ortiz y Xose Quiroga, The Otolith Group, Pala Pothupitiye, Superflex, Munem Wasif y Dana Whabira.

Comisariada por: Hiuwai Chu (curadora, MACBA)
https://www.macba.cat/es/exposicion-territorios-indefinidos-reflexiones-sobre-el-poscolonialismo?gclid=CjwKCAjwgqbpBRAREiwAF046JcPVYababUIQIgc05BnxY9Y9-TuYML8umWHOjDGJUaSn5A1cpnXNZBoC4UgQAvD_BwE

HOW SOCIAL MEDIA IS ALLOWING FOR ILLEGAL ANTIQUITIES TRAFFICKING


The Antiquities Trafficking and Heritage Anthropology Research (ATHAR) Project has published a critical report on West Asian antiquities trafficking taking place more or less out in the open on Facebook.
Michael Press
Last month, the ATHAR Project published an important report on West Asian antiquities trafficking taking place more or less out in the open — on Facebook.


ATHAR is an acronym for Antiquities Trafficking and Heritage Anthropology Research. It is also the Arabic word for “antiquities.” The project is led by two experts on West Asian antiquities who co-authored the report: Amr Al-Azm, a Syrian archaeologist once of Syria’s Directorate-General of Archaeology and Museums and the University of Damascus; and Katie Paul, an anthropologist with years of experience investigating looting and smuggling in the region.

The report, “Facebook’s Black Market in Antiquities: Trafficking, Terrorism, and War Crimes,” published in June, is the result of nearly two years of research — the authors began tracking antiquities trafficking on Facebook in October 2017. (They had previously published an interim report in World Politics Review in August 2018; and their Facebook project was the subject of a BBC story in May 2019.) The new report is naturally much more detailed.

The thing that strikes the reader first about antiquities trafficking organized via Facebook is its sheer scale. For the report, Al-Azm and Paul identified and monitored 95 Arabic-language Facebook Groups (Paul told Hyperallergic that since the report was written this number has risen to over 100) with 488 administrators, and a total of well over 1 million members. The reach of these 95 Groups is global. Only a small portion of these members are likely active buyers and sellers on Facebook — but based on a case study of four groups based in Syria, where the authors show the percentage of active users ranges from 1.6% to 9.3% of total membership, they are still likely in the tens of thousands.

(The exact number of individual members of these groups is uncertain. The authors give a total of 1,947,195 members at the time of the report, but members who belong to more than one group are counted multiple times. Paul said in an email to Hyperallergic that, based on sampling, she estimates that there are over 1,800,000 unique members.)

The report details various aspects of online antiquities trafficking. It shows how integrated these buyers and sellers truly are, in a network spanning not only West Asia, but also several continents. It demonstrates that coins and other small finds, while often ignored in media accounts of more monumental heritage, make up the vast majority of artifacts offered for sale. Al-Azm and Paul also discuss clear examples of looting to order: Interested buyers will post requests for objects they are interested in, and shortly after (sometimes within days) other group members will post images claimed to be of freshly looted objects — some shown still in the ground. In their case study of four Syrian groups, Al-Azm and Paul show that buyers are located predominantly in West Asia (and secondarily in North Africa). They interpret this reasonably as indicating purchases are made primarily by middlemen, who might later smuggle the objects abroad. At the same time, several buyers were located outside the region, particularly in Europe and North America.
The ATHAR Project is far from alone. It is in fact the latest in a series of studies by scholars and investigative journalists on the illegal antiquities trades in West Asia and online. Studies of satellite imagery since 2014 have revealed recent systematic looting at sites in Syria, large and small. Interviews with on-the-ground participants in the trade have provided a wealth of detail and stunning anecdotes, though the information is often hard to confirm. Other studies have investigated the mechanics of antiquities trafficking on internet sites as well as brick-and-mortar dealers and auction houses.

In many cases, the ATHAR Project’s findings corroborate what was already known (or at least suspected) from these previous reports: There was a spike in looting in Syria since 2011; coins and other small finds play the largest role in recent trafficking throughout the Middle East (because they are easy to smuggle and launder); loot-to-order is a common occurrence in antiquities looting (though not necessarily via Facebook). That antiquities trafficking has been made easier by a number of online platforms —from Facebook, to eBay, to Amazon, to WhatsApp — has been clear for several years. One notorious case involved a Coptic papyrus fragment of the New Testament book of Galatians offered illegally for sale on eBay in 2012 — which turned up, two years later, in the possession of Hobby Lobby. It has also been clear that a large percentage of objects being smuggled out of Syria are fake. (While fakes are not singled out by the ATHAR Project report, that many of the objects appearing on Facebook are fakes is clear from the images.) The value of the ATHAR Project report in these cases is to provide hard data and greater detail.
But all of these reports must be read carefully and critically. Many otherwise solid studies overemphasize the role of “terrorists” (often singling out ISIS) in profiting from antiquities trafficking — even though looting in Syria has been conducted or overseen by all parties to the conflict, and ISIS is apparently not responsible for most of it. Sober articles in academic journals that barely mention ISIS are promoted in exaggerated fashion, hyping ISIS from their headlines on. In the case of the ATHAR Project report, its use of the terms “terrorists” and “violent extremists” from the title onward has been amplified by news coverage.

(In an email to Hyperallergic, Paul explained that the report highlights terrorism in order to show that antiquities trafficking continues to fund extremist groups even after the fall of ISIS, since they were never the only such group to profit from these activities.)

Focusing on ISIS or “terrorists” lets other groups, especially state actors like Syrian governmental forces, off the hook for profiting from trafficking. It also reinforces a loaded term. “Terrorists” often ends up referring only to those non-state militant groups that one’s government is not allied with. What matters more: that specific groups labeled “terrorists” are profiting from antiquities trafficking, or that artifacts are being stolen on a massive scale, often to fund continuing cycles of violence by all parties in an armed conflict? Looting expands dramatically under wartime conditions because people are desperate to find ways to survive. Working against antiquities trafficking “must be part of a multidimensional strategy that addresses humanitarian needs,” as Sam Hardy (an expert on conflict antiquities) has put it, “or it may cause further harm.”



Who is supporting these studies also matters greatly. ATHAR is a volunteer project, but many other studies receive financial support. Between 2014 and 2017, The American Schools of Oriental Research (ASOR) Cultural Heritage Initiatives received millions of dollars in funding from the U.S. State Department — not a disinterested party in various conflicts in West Asia and North Africa. While ASOR CHI has carried out important work in Syria and Iraq (some of which I have cited above) as well as Libya, it has not expanded its purview to Yemen. The fact that the greatest threat to antiquities in the country has been from the coalition led by American ally Saudi Arabia may not be unrelated. Meanwhile, the NGO Antiquities Coalition has joined forces with the Saudi-supported Yemeni government to publicize threats to Yemen’s cultural heritage. The result is that the organization has repeatedly singled out the Houthis (along with Al Qaeda and ISIS) as a threat while ignoring the Saudi role. To its credit, the ATHAR Project report has a section devoted to Yemen, clearly pointing to cases of looting in both Houthi and Saudi coalition held areas. (The reader should note that the Antiquities Coalition has funded work on antiquities trafficking in West Asia, including some previous support for The Day After project of which ATHAR Project co-director Al-Azm is a founder. Paul, the other co-director of the ATHAR Project, previously worked for the Antiquities Coalition. However, in cases such as Yemen it appears that that work may not be nonpartisan but politically motivated.)

Regardless of where their financial support comes from, these projects often carry out important, high-quality work. But these funding sources should make us stop and think: Why are these studies being supported or carried out in the first place?

One reason seems to be to affect government policy. This may be why many of these studies repeatedly use terms like “terrorists” or “violent extremists” or “criminal groups,” since these are popular targets of politicians. Since the publication of the ATHAR Project report, its authors have submitted a letter to the US House of Representatives during counterterrorism hearings. In several studies the authors state clearly that they hope that improved data and models will lead to better policy.

This is a common assumption — that flawed policy results from flawed data. But is it really true? Think about policy discussion in recent years in the US, on issues ranging from gun control to climate change, to healthcare, to home foreclosures. It seems that better data are often not wanted, because the stated goals of legislation are often different from the actual goals. In the case of antiquities trafficking, the continued emphasis on ISIS as a unique looter of antiquities, even after many experts warned for years that all parties in the Syrian civil war have profited from looting, suggests that there is more going on than simply bad data.

Experts would do well to continue to work on the problem of antiquities trafficking — but they (and the rest of us) would also do well to stop and think how that work is framed and used.

https://hyperallergic.com/508907/how-social-media-is-allowing-for-illegal-antiquities-trafficking/?utm_medium=email&utm_campaign=Daily%20071219%20-%20How%20Social&utm_content=Daily%20071219%20-%20How%20Social+CID_b08f978406406b33bde0f31b91d1dd22&utm_source=HyperallergicNewsletter