Sentences with phrase «by situationists»

The exhibition is inspired by certain «psychogeographic» methods of exploring urban space, firstly practiced by the Situationists in the 1950s in Paris.

Employed brilliantly by the Situationists, whose great philosopher Guy Debord laid out the socio - aesthetic framework for this practice, détournements twist the terms of mimicry in ironic parody using the a semblance of the easily recognizable to dissemble and redirect the literal meaning of signs so as to construe a more honest picture of their deceptive intentions.

«This idea of «excess of image» derives from dogmatic philosophers, Feuerbach, for example, is further developed by Situationists, Guy Debord, in particular, and popularized by Susan Sontag in her book on photography.

On Saturday, May 3rd Marfa Dialogues / NY participant, Mary Miss and game designer Josh Debonis will offer an «exploration» of Madison Square Park and the surrounding neighborhood using methods influenced by the Situationist's Dérive.

The revolution envisaged by the Situationist International demanded creativity in everyday life, the constructing of situations or the «fashioning of a temporary micro-environment and series of events for a single moment in the life of several individuals.»

In the video Cokes pairs footage from the 1965 riots in Watts, Boston, Detroit, and Newark with text by The Situationist International, Barbara Kruger, Morrissey, and Depeche Mode's Martin L. Gore, along with music by the industrial band Skinny Puppy.

McKenzie sometimes plays with the idea of not documenting work as does Tino Sehgal... as well both artist practice a similar project inspired by the Situationist and other avant - garde groups such as the Fluxus whose program works at the manipulation of existential psychic phenomenon — ambiance and mood.

Recent research in law and psychology — particularly the research highlighted by The Situationist blog published by the Project on Law and Mind Sciences at Harvard Law School — emphasizes how context affects people's understanding and use of legal information.

Not exact matches

The mission of the Situationists was to find ways for people to express their authenticity by creating new «situations» through a critical hermeneutics «that sees through appearances, illusions, and fantasies to the realities being masked and covered over.»

For the situationist, the issue is never settled by simply answering the question, «Is it a sin?»

Now Rosefeldt is releasing his project as a single 90 - minute feature, described on his website as «a series of striking monologues -LSB-...] created by editing and reassembling a collage of artists» manifestos, from declarations penned by the Futurists, Dadaists and Situationists, to the musings of individual artists, architects, dancers and filmmakers such as Sol LeWitt, Yvonne Rainer and Jim Jarmusch.»

The «dissident Revolutionary Lettrists,» as Wollen called them, were led by two young filmmakers, Guy Debord and Gil Wolman, who went on to become situationists.

His Situationist wanderings have increasingly been confined by a running track in that neighborhood.

They journey out of the studio, into the neighbourhood, the city, the territory or entire continent beyond, in a manner that evokes by turns Surrealist, Borgesian or Situationist metropolitan perambulation, or exploration in wilderness spaces nature and culture.

Like the Situationists Jongeleen turns against mass consumption and over-regulated society by interrupting the public space.

Sixty years after Guy Debord, joined by a group of artists, thinkers and revolutionaries, established the Situationist International, the forms of advanced capitalism they critiqued - commodity fetishism, social alienation and the replacement of significance by spectacle - have become the bedrock of twenty - first - century society.

Even as arguments against modernism's supposed transcendence of daily life were issued by a host of global players — Hélio Oiticica and the tropicália movement in Brazil, Guy Debord and the Situationist International in France, the Art Workers» Coalition and early land art in the us — many influential curators and critics doubled down, most notably Michael Fried in his 1967 essay «Art and Objecthood», a defence of medium specificity and the priority of immediacy and opticality.

Making Biennials in Contemporary Times: Essays from the World Biennial Forum No 2, edited by Galit Eilat, Nuria Enguita Mayo, Charles Esche et al Limits to Culture: Urban Regeneration vs. Dissident Art, by Malcom Miles Cosmonauts of the Future: Texts From The Situationist Movement in Scandinavia and Elsewhere, edited by Mikkel Bolt Rasmussen and Jakob Jakobsen Who Cares?

This exhibition marks the launch of seminal Senegalese process based situationist artist Issa Samb's (aka Joe Ouakam) first monograph published by Raw Material Company in collaboration with OCA, Office of Contemporary Art Norway.

For his first extensive presentation in Istanbul, Dirimart opens both galleries, in Dolapdere and Nişantaşı, to the films and photographs of Berlin - based artist Julian Rosefeldt, who has been celebrated worldwide for his film installation Manifesto (2015), a reenactment of historical avant - garde manifestos by artist groups such as the Dadaists, the Situationists, and Futurists, featuring Australian actress Cate Blanchett in thirteen different roles.

In his landmark 1967 book, the Situationist philosopher and cultural theorist Guy Debord wrote that «the spectacle is not a collection of images, but a social relation among people, mediated by images.»

In describing writing as a «poor substitute for the joy and the agony of love», e industrial introduces itself as a «meditation on human - machine reconfigurations, inflation and desire» inspired by the Italian Situationist Giuseppe Pinot - Gallizio and his approach to mass - production and collapse.

Practices that provoked outwardly political manifestations appear in works by artists associated with the Lettristes and Situationist International, and the posters and publications Emory Douglas made for the Black Panther Party.

Daniel Birnbaum and Kim West's essay «Life on Sirius: The Situationist International and the Exhibition After Art» is the third volume in the series «All the King's Horses», published by Sternberg Press.

The project is driven by Romero's interest in establishing parallels between the tradition of iconoclasm and Spanish political heterodoxy in general, on the one hand, and radical avant - garde art practices, from Malevich to the Situationists, on the other.

Meessen's own contribution links political emancipation in Congo with Marxist - inspired liberation movements throughout the Global South and the May 1968 student uprising associated with the Situationist International, a group whose genuinely international origins (including a number of Congolese) have been obscured by Francophone nationalism in the ensuing decades.

Metabolic City surveys work by the British collective Archigram; the Japanese Metabolists (whose members include Fumihiko Maki, architect of the Kemper Art Museum); and the Dutch painter Constant Nieuwenhuys, an early member of the Situationist International.

Villar's work draws from multidisciplinary theoretical sources including the works of Foucault and de Certeau, and is foregrounded by aesthetic traditions ranging from the sixties and seventies performative - based sculpture and installations by Helio Oiticica, Lygia Clark and Cildo Meirelles to the urban strategies of the Situationists and the anarchitecture of Gordon Matta - Clark.

Inspired by the traditions of Dada and its activists like Tristan Tzara, and related to other contemporary art movements and genres such as Mail Art, Lettrism, Funk Art, Nouveau Realisme, as well as Neo-Dada, and the Situationist International, Fluxus was firmly opposed to conventional art, which it saw as elitist and remote.

On another screen, unrecognizably impersonated by Blanchett, a homeless vagabond staggers along apocalyptic industrial ruins, debunking capitalism with words from Guy Debord's Situationist manifesto; the press release provides all sources of Blanchett's script and an introduction of Situationism in lay terms.

Widely regarded as one of the most pioneering artists of his generation, British artist Liam Gillick presents A Game of War Structure, 2011, a newly - designed version of The Game of War (Le Jeu de la Guerre) created originally by the French Situationist Guy Debord in 1977, while the internationally - celebrated Spanish artist Susana Solano's work, Carmen, 2011, is a large stainless steel sculptural work which encourages the viewer to experience the emotion that the form engenders as it transforms the surrounding environment.