Matthew Darbyshire's work explores notions of social and
cultural critique through playful approaches to urban architecture and design.
Not exact matches
A justified process - rooted philosophical appreciation of social canons can be taught
through a pedagogical strategy that begins with their
critique, that expunges them from the natural given furnishings of the immediately real in order to rediscover them as the inherited
cultural accretions by which we transform the immediately real into a world of enduring meanings and human significance.
A grisly
critique of representations of violence, the original version shot a hole right
through the fourth wall, but Haneke's echo — which re-uses the same locations and stresses its own pointlessness at every turn — transforms his
cultural commentary into an endless hall of mirrors, completing the project by repeating it.
The Remains of the Day seems to build on that
critique, but examining it
through a lens where the sociopolitical need for such a sect of people, even the
cultural need, is waning.
As students learn to use technology tools to build representations of a social world's characteristics, they generate reflective critical thought
through their analysis and
critique of the identities, relationships, and values constructed by the
cultural practices and discourses in that social world.
Through Spiderman's canned laugh track emerges a
critique of the
cultural fear, ignorance, and misrepresentation surrounding black masculinity and the early years of the AIDS crisis.
13:00 — 14:30 Discussion: Writing into history How are independent practitioners performing
critique within and on the margins of
cultural centres
through forms of «writing»?
This panel will address some of the theoretical interventions at play when considering the ways in which Indigenous peoples have sought to overcome the contemporary life of settler - colonization and achieve self - determination
through cultural production and
critique.
His paintings and drawings are built up by combining multiple disparate references, often with the result of lampooning or
critiquing politics or
cultural norms
through a method that has been termed «reverse anthropology.»
Through employing the Nefertiti bust as a metaphorical thread, and by interrogating the contested history of Egyptian Museum collections from the 19th century onwards, the exhibition is concerned with the
critique of museology, the staging of the artwork and the writing of art - historical narrative as a means of forming and informing
cultural otherness.
In response to
critique of this history, which included displacing a generation of Aboriginal children into boarding schools where they were stripped of their linguistic and
cultural heritage, Australia has in recent years represented itself internationally
through a collection of symbols drawn from indigenous sources.
Neshat, whose work
critiques the
cultural construction of difference, fully turns her attention to American culture for the first time in this show and depicts the ambiguity of feeling for an outsider
through enigmatic images, haunting encounters and mystified points of view in her film and photography.
Through her lyrical videos, Behbahani stages a contemporary
cultural critique by layering and juxtaposing allusions to past and present sociopolitical circumstances with a language that she draws from her experience as a painter.
The broader residency programme at IMMA afforded me the opportunity to contextualise my practice in the wider contemporary world whilst aligning my personal philosophies with changes,
critique and new ways of seeing; emerging
through conversations and debate which fermented out of the
cultural production of the IMMA programme.»