Sentences with phrase «global cultural production»

#globalization #museums #access #representation #decolonization #history A recent conference at the Stedelijk Museum in Amsterdam, «Collecting Geographies — Global Programming and Museums of Modern Art,» invited participants to question the responsibilities accrued to arts institutions when they present works of global cultural production as a response to market interest.

Not exact matches

We work and look for a global society with life quality, with informed happy citizens exercising their rights and duties, based on the principles of sustainable development and democracy; integrated; upholding values of solidarity, equity and justice; open to changes; respectful regarding traditional knowledge and cultural diversity; committed with the production and consumption of organic and biodiverse products.

Founded by artists Bjørnstjerne Christiansen, Jakob Fenger and Rasmus Nielsen, SUPERFLEX offers engaging, often humorous perspectives on the social and cultural concerns of our age, from migration to alternative energy production, and from the power of global capital to the regulation of intellectual property.

Director of Critical Studies and MA / PhD programs in UCLA's Department of Architecture and Urban Design, Sylvia Lavin engages artists, architects, and curators in a series of lively discussions on how cities are increasingly molded by images rather than buildings; on whether art and architecture are converging to form an integrated type of cultural consumption; and if the concept of the masterpiece has finally been destroyed by the sheer quantity of global design production.

In multifaceted projects, The Propeller Group blurs the lines between modes of cultural production and embraces the formats of branding campaigns, television commercials, Hollywood movies, and music videos to explore the complex ideologies that drive global commerce, war, and cultural and historical memory.

Located in the historic Old Market district, Bemis Center serves a critical role in the presentation and understanding of contemporary art, bridging the community of Omaha to a global discourse surrounding cultural production today.

Highlights of Broad MSU exhibitions in 2014 include: Future Returns: Contemporary Art from China — an exhibition featuring the response of over 20 contemporary Chinese artists to the country's rapid development and cultural transformation; Land Grant: The Flatbread Society, a commissioned site - specific work and series of public programs to explore food production, distribution, and farming methods; and the continuation of Broad MSU's Global Focus exhibition series — an initiative showcasing international emerging and mid-career artists.

During the past decade there has been a proliferation of cultural practitioners interrogating the global politics and ethics of food production, distribution and consumption.

Starting from the idea that abstracted knowledge is stored in cultural goods and artefacts, Vulsma's works reflect the interaction of historical relationships - such as India's leading role in the history of textile production, the rapid development of a European market and the desire to copy the Indian form language for Europe's own production - and the contemporary hierarchies in an unequal global distribution of labour.

Influenced by contemporary production in Nicaragua the exhibition's central subject is the background, to comment on the global, natural, social and cultural schemes of today.

Starting from the global economic crisis and the cultural and social contradictions it revealed, the artworks exhibited investigate visual stereotypes as well as our everyday relationship with image production.

Describing the exhibition, FRONT Artistic Director Jens Hoffmann said, «Over the course of the year leading up to the opening, FRONT will work to examine the local, regional and global influences that have shaped a 21st century American city located outside the traditional centers of cultural power and production in the United States.»

Bringing a poetic yet critical sensibility to the international stage, her work revolves around subjects such as the global economy, commerce and transportation often based on the classic gesture of the ready - made that is uncovering how collective memory and sociopolitical imperatives can define cultural production.»

As the director and curator of Carnegie Mellon's Miller Gallery she curated Keep It Slick: Infiltrating Capitalism with The Yes Men, the first solo exhibition of the internationally renowned culture - jamming group; Whatever It Takes: Steelers Fan Collections, Rituals, and Obsessions, which explored sports fanaticism as a significant form of cultural production; and Alien She, a traveling exhibition on the lasting impact of the global punk feminist movement Riot Grrrl, among other exhibitions.

While a stronger global presence makes sense, many of the established cultural groups have voiced opposition to measures designed to attract greater foreign participation if it risks reducing the guaranteed Canadian role in productions.