Sentences with phrase «complex subjectivities»

Curated by Gabi Ngcobo, this year's Biennale is titled «We don't need another hero» and focuses on artists who «confront the incessant anxieties perpetuated by a willful disregard for complex subjectivities.»

Titled We don't need another hero, the 10th Berlin Biennale for Contemporary Art is a conversation with artists and contributors who think and act beyond art as they confront the incessant anxieties perpetuated by a willful disregard for complex subjectivities.

It is a conversation with artists and contributors who think and act beyond art as they confront the incessant anxieties perpetuated by a willful disregard for complex subjectivities.

In conversation with artists and contributors who think and act beyond art, the curatorial process will confront the incessant anxieties perpetuated through the misunderstanding of complex subjectivities.

The exhibition invites artists and contributors «to confront the incessant anxieties perpetuated by a willful disregard for complex subjectivities.»

The 10th Berlin Biennale for Contemporary Art titled We don't need another hero is a conversation with artists and contributors who think and act beyond art as they confront the incessant anxieties perpetuated by a willful disregard for complex subjectivities.

If we view the whole of physical reality as composed of throbs of nonconscious emotion, we can understand how, out of this, there emerged in an evolutionary process the highly complex subjectivity that constitutes our own experience.

Not exact matches

An example of ontic power would be the asymmetrical interdependence of the macroscopic features of the act of speaking, including all the dynamic movement of subjectivity towards understanding that goes with the words, with a whole complex of neuronal activity.

The third distinctive characteristic is a complex and profound subjectivity, both conscious and unconscious, acquired after infancy by the individual absorbing the complexity of responses and meanings of a culture that has been created through many generations accumulating the resources for human living.

My central point now is that it is only in light of this theory of Whitehead's own intellectual project that one could do what Lewis has now proposed doing: show its completion or fulfillment in his own theory of God as the subjectivity of the future, a profoundly difficult and complex notion discussed at greater length in other essays by George Allan and Robert C. Neville in this Special Focus.

Higher and more complex forms of subjectivity can emerge, but they can not be described here in detail.

Existing at the edge of consciousness this inner space is complex and fluid, as it touches upon the enigma that is subjectivity itself.

Among an ever expanding (and as Karen Barad might say, «entangled») list, I am inspired by the complex and contradictory city I live in (the city of Chicago) and the incredible community of hard working, sincere, talented artists who I am surround by and have the privilege of working alongside and in collaboration with every day (too many and to diverse to name individually here) / / by mentors A. Laurie Palmer and Claire Pentecost and Anne Wilson and Ben Nicholson / / by Simon Starling and Andrea Zittel and Mark Dion and Sarah Sze and Phoebe Wasburn and Mierele Laderman Ukeles and Joseph Beuys and Eva Hesse and Hans Haacke and Robert Smithson / / by writers and philosophers Karen Barad and Jane Bennett and Rebecca Solnit and Italo Calvino and Steward Brand and the contributors to The Whole Earth Catalog (of which my father gave me his copies) and Ken Issacs and Carl Sagan and Neil deGrasse Tyson and William Cronon and Bruno Latour and Deluze and Guttari and Jack Burnham / / by ideas of radical intimacy and transformation and ephemerality and experimentation and growth and agency and mobility and nomadicism and balance and maintenance and survival and change and subjectivity and hylozoism and living structures / / by mycelium and soil and terracotta and honey and mead and wild yeast and beeswax and fat and felt and salt and sulfur and bismuth and meteorites and microbes and algae and oil and carbon and tar and water and lightening and electricity and oak and maple / / by exploration and navigation and «the Age of Wonder» and the Mir Space Station and the Deep Tunnel Project / / by Lake Michigan and the Chicago River and waterways and canals and oceans and puddles... to name a few.

Whether it is in the potency of teenage girls captured by Dutch artist Rineke Dijkstra, the female body as a site for ideology pictured by Iranian artist Shirin Neshat, or Dutch artist Hellen van Meene «s depiction of a bubble gum - blowing adolescent recalling the paintings of Vermeer, these complex and aesthetically compelling works tell a vital story of women, subjectivity and art.

However, the paradox of «the studio» is that it is simultaneously the expressive site of our most intimate subjectivity and our most human fears and desires, as they are articulated through popular music; Catchy aims to unpack and explore this complex relationship.

The show explores how artists are currently depicting subjectivity, unpacking complex systems of power, and claiming sites of artistic agency.

As such, the artist's sculptures and paintings function as saturated explorations of the constructed nature of subjectivity that reimagines the limits of autobiography through complex materiality.

Depicting a range of natural phenomena — such as the weightless, seamless, underwater world of dolphins; honeybees who communicate through dancing; and the surprising fortitude of animals in Chernobyl in the aftermath of the worst nuclear meltdown ever — her works explore the subjectivity of animals and the complex relationships humans have constructed with nature.