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Maria Hahnenkamp

Belvedere, Wien

*für Leute, die von Kunst keine Ahnung haben - Für alle Kunstfans und die, die es werden wollen!

How to Art*

Cemile Sahin

ROAD RUNNER

Unter den hochtechnologischen Bedingungen der Gegenwart wird Materialität in Wissenschaft wie Kunst zunehmend als Agent aufgefasst, der jenseits bewusster menschlicher Wahrnehmung in ökologischen, digitalen oder neuronalen Umwelten angesiedelt ist. In diesem Zusammenhang bezeichnet der Begriff des nonconscious (N. Katherine Hayles) sowohl Formen computergestützter Erfahrung als auch neuronale körperliche Prozesse. Die Beiträge dieser interdisziplinären Publikation fragen nach den Konsequenzen des Nicht-Bewussten als Werkstoff und Vorstellung für ästhetische Praktiken. So öffnen sie insbesondere die an Vorstellungen von Reflexivität und Intentionalität orientierte Theorie, Geschichte und Praxis zeitgenössischer Kunst für neue kritische Lesarten. <ul> <li>Gibt es eine Kunst ohne Bewusstsein? </li> <li>Neue Lesarten von Theorie und Geschichte zeitgenössischer Kunst </li></ul>

Under the present day's highly technological conditions, materiality in science as well as art is perceived increasingly as an agent located beyond conscious human perception in ecological, digital or neuronal environments. In this context, the term nonconscious (N. Katherine Hayles) refers to forms of computer-based experience as well as neuronal bodily processes. The contributions to this interdisciplinary publication enquire into the consequences of the nonconscious as material and imagination for aesthetic practices. In particular, they encourage new critical readings of the theory, history and practice of contemporary art oriented towards notions of reflexivity and intentionality. <ul><li>Is there art without consciousness?</li><li>New interpretations of the theory and history of contemporary art</li></ul>

Beiträge zur technologischen Ästhetik der Gegenwart

Kunst ohne Bewusstsein?

I Love New York

Gesche Würfel

The Absence and Presence of the Berlin Wall

Walk the Earth

Social Visualities

“Vision and Verticality offers dialogue across disciplines, integration of novel and well-worn theories, reports on research, and reflection on the meaning of the new modern.It is is dizzying, brilliant and eclectic the topics introduced will have a broad reach and currency far into the future.”&nbsp;—Douglas Harper, Professor Emeritus of Sociology, Duquesne University, USA. Founding member of the International Visual Sociological Association&nbsp;“Vision and Verticality is a quite beautiful and highly original collection on vision, verticality and the immersive volumes of the air. It is an enthralling, soaring book, told from multiple established and emerging voices, which offers grounding and lift to an emergent more-than sociological expanse of verticality, air and their multitudes of practice. Extraordinary.”&nbsp;&nbsp;—Peter Adey, Professor of Human Geography (and Honorary Principal Fellow, University of Melbourne)&nbsp;Royal Holloway University of London, UK&nbsp;"This book&nbsp;is an accessible, provocative and thoughtfully curated collection of groundbreaking interventions into the increasingly multidisciplinary field of Visual Studies. Pedagogically and polemically rich, the volume sets forth an expanded field of visual inquiry that broadens understandings of advanced technological imaging that have been overlooked.”&nbsp;—Derek Conrad Murray, Professor, History of Art and Visual Culture, University of California, USA&nbsp;This rich and accessible volume maps current debates within the expanded field of image-based, vertical analysis. With contributions from astronauts, artists, architects, sociologists, urbanists, visual culture theorists, geographers, anthropologists and more, the book signals new moves in inter and multidisciplinary research on visual-vertical thinking and related practices within the social sciences, humanities and across the arts.&nbsp;Gary Bratchford is Senior Lecturer of Photography and Associate Director of Creative Practice Research Academy at the University of Central Lancashire, UK. He is President of the International Sociological Association’s Visual Sociology Research Committee (RC57) and CoEditor of Visual Studies Journal.&nbsp;Dennis Zuev is Professor at the University of Saint Joseph, Macau, China, and Senior Researcher at CIES-ISCTE, Lisbon, Portugal. He is a cofounder (in 2006) and vice-president (research) of ISA Research Committee in Visual Sociology (2010–2018).

This rich and accessible volume maps current debates within the expanded field of image-based, vertical analysis. With contributions from astronauts, artists, architects, sociologists, urbanists, visual culture theorists, geographers, anthropologists and more the book signals new moves in inter and multidisciplinary research on visual-vertical thinking and related practices within the social sciences, humanities and across the arts. Grounded in socio-visual thinking, Vision and Verticality addresses the emerging shift in the way social scientists move from a sociology of or through images towards a sociology with images. In doing so, this volume illustrates how the sky and atmosphere remain a surprisingly underexplored domain within visual sociology, beyond the framework of drone-related research. Finally, this volume asserts how vertical and atmospherically framed socio-visual analysis is beginning to shape and inform how we see and experience urban spaces, travel, leisure, politics, and environmental challenges through various prisms, including artistic practices, methodological processes, and user-generated content.&nbsp;&nbsp;

A Multidisciplinary Approach

Vision and Verticality

Demonstrating a wide array of influences-from Chinese calligraphy to Expressionism-Liu Wei's work deals with universal themes of humanity. With a career spanning over thirty years, he has proved a master of rendering human flesh and combining figuration with text and abstraction. Liu Wei's deft grasp of technique and acute awareness of color and composition is evident in his lush landscapes, in which flora and fauna often escape the confines of the canvas and spill out onto the Rococo-style frames. Featuring texts by distinguished specialists in contemporary Chinese art, this first major English-language monograph provides an in-depth look at the historical context and traces his development from his early paintings reflecting disenchantment with political and artistic utopias through the lenses of skepticism and satire, to lush landscapes, striking portraits, and more recent philosophic and contemplative calligraphic works on paper. LIU WEI (*1965, Beijing), studied printmaking at the Central Academy of Fine Arts in Beijing, where he still lives today. He first rose to prominence as a preeminent figure in China's "cynical realism" movement of the 1990s. His paintings have been shown in museum exhibitions and biennials worldwide, including the Museum of Contemporary Art, Sydney, the Singapore Art Museum, the San Francisco Museum of Modern Art, and the Venice Biennale.

Demonstrating a wide array of influences—from Chinese calligraphy to Expressionism—Liu Wei’s work deals with universal themes of humanity. With a career spanning over thirty years, he has proved a master of rendering human flesh and combining figuration with text and abstraction. Liu Wei’s deft grasp of technique and acute awareness of color and composition is evident in his lush landscapes, in which flora and fauna often escape the confines of the canvas and spill out onto the Rococo-style frames. Featuring texts by distinguished specialists in contemporary Chinese art, this first major English-language monograph provides an in-depth look at the historical context and traces his development from his early paintings reflecting disenchantment with political and artistic utopias through the lenses of skepticism and satire, to lush landscapes, striking portraits, and more recent philosophic and contemplative calligraphic works on paper. LIU WEI (*1965, Beijing), studied printmaking at the Central Academy of Fine Arts in Beijing, where he still lives today. He first rose to prominence as a preeminent figure in China’s “cynical realism” movement of the 1990s. His paintings have been shown in museum exhibitions and biennials worldwide, including the Museum of Contemporary Art, Sydney, the Singapore Art Museum, the San Francisco Museum of Modern Art, and the Venice Biennale.

Maria Hahnenkamp

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Bibliografische Angaben

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