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https://uncloud.nl/artists.php -> overzicht artiesten

“Transliminal refers to the temporary estrangement that takes place during the intermediate phase of a transformation, of which the final destination is unknown. With this theme, Uncloud presents a metaphor for the current state of the world, in which we all experience estrangement from our old realities. This feeling creates a temporary reality forced on us by urgent experiences. More than ever we feel that our future is uncertain. In this transliminal phase, we find ourselves entangled with a process of transformation where the distinction between the tangible and intangible is undefined; where the threshold between reality and speculation is sometimes perceived as unknown. The overwhelming uncertainty of this phase is created by the in-betweenness of the state we are in. At the same time, this state leads also to renewed experience, thoughts and insights. It leads into the creation of something new: transformation. Within a transforming world, art can help us understand the processes we are in. By providing authentic and different experiences, art facilitates perspective, proposes possible solutions for modern challenges and composes alternative outcomes for the future. Transliminal art is intrinsically connected to the context in which it is made and presented. It provides a re-interpretation of not only its direct environment, but also of the world it is surrounded by. Transliminal art finds itself in the now. Based on modern knowledge and equipped with contemporary technology, it encourages a radically different and experimental approach to modern tools and narratives. It often takes the form of an abstract multi-sensory experience, where the visitor forms their own narrative, reflection and interpretation. Within the context of a former forensic psychiatric observation institute, Uncloud 2021:Transliminal presents the visitor a metaphor for the digitized, isolated and transitional world we currently live in, and brings this back into the tangible physical reality. Uncloud 2021 will take the form of a Pop-Up Museum for contemporary and media art in the former forensic psychiatric observation institute of the Netherlands, the Pieter Baan Centre. At Uncloud 2021:Transliminal, over 20 local and international artists present their work and push the boundaries between visual art, space and sound. Next to the exhibition, two concerts will take place: one on the opening day, saturday 30 october, in collaboration with Modulation., and the second on sunday 14 november in collaboration with Le Guess Who?.”

Bezocht do 18 nov 2021

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A rt :2 1 — Art in the Twenty-First Century — is the first public broadcasting series to focus exclusively on contemporary visual art, and to approach contemporary artists through conversations about their lives, work and sources of inspiration. Each one-hour progr a m , like an art exhibit, is structured around a theme — a broad category to help students analyze, compare and contrast the diverse a rtists presented. The four themes are P l a c e, S p i r i t u a l i t y, I d e n t i t y and C o n s u m p t i o n. Each program opens with an introduction by a celebrity host, among them Steve Mart i n and John McEnroe. Martin and McEnroe, while being well known in their own fields, are also passionate and knowledgeable about contemporary art. To make the introduction itself unique to television, each opening segment was created as a work of art. The opening of Place, for example, was created by visual and p e rforming artist Laurie Anderson. Identity opens with an original scene created collaboratively by William Wegman and Steve Mart i n . Within each program, collages of written and spoken words appear between segments as thought-provoking stimuli about the themes and art featured. re l ated re s o u rce s Students and teachers also will find additional b a c k ground information in two other resources created specifically for Art :2 1: a Web site and a companion book. The Web site can be found at w w w. p b s . o r g b e ginning August 2 0 0 1. Look for the series under Programs on the PBS home page. In addition to considerable background on the series and artists, the site contains activities and information on local resources in many areas. Note also that throughout this guide selected vocabulary words are highlighted in b o l d p r i n t . This signifies that their definitions can be found on page 3 2. A more comprehensive glossary is on the Art: 21 Web site. The book, A rt: 2 1 — Art in the Twenty-First Century (i s b n 0- 8 1 0 9-1 3 9 7-6; e a n 9 7 8 0 8 1 0 9 1 3 9 7) is published by the prestigi o u s a rt book publisher Harry N. Abrams, Inc. The 8⅝ x 1 1½ i n c h volume has over 3 5 0 i l l u s t r a t i o n s , 3 2 0 of them in full color, and is 2 1 6 pages in length. Why use such a series in the classroom? • The series is a window through which to view numerous contemporary themes. It can have a significant educational impact by creating points of communication and conversation about issues that are important to students. • A rt reflects what is going on in society and enables people to have some influence over their environment. It is a process both of communication and discovery. • The series shows artists as real people and presents a range of notions of what it means to be an artist. The artists featured, who range in age from their early 3 0s to early 9 0s, are males and females; European American, Latino, African American, Native American, Chinese American and so forth; they live on ranches and in cities; they create art using paint, film, light, wood, fabric, computers and as many other media as you can imagi n e . C o l l e c t i v e l y, the artists look a lot like the diverse populations of our schools. • The series shows how artists use many contemporary technologies with which students are increasingly familiar. • C o n temporary art can be a springboard to the study of history as reflected in the art of any era. As well, it addresses numerous social studies themes and promotes strong involvement in the language art s . • You do not need to be an expert on art to use the series as a teaching resource. Art :2 1 is an introduction to contemporary art as well as a vehicle for critical thinking and creative exploration. Join in exploring new ideas alongside your students. 

Source: https://art21.org/wp-content/uploads/2017/03/art21_season_one_guide.pdf

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Essay Een zoektocht naar zingeving en geestverruiming - Michiel van Elk

gebruikt voor AO - brief 1

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Onderzoek AO - brief 1

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Voorstelling die ik heb bezocht

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Natuur kunst -> Wangechi Mutu kunstenaar. 

Episode 277: From her Nairobi studio, artist Wangechi Mutu considers her relationship with the natural world and the ways in which it has influenced her variegated artistic practice. A self-described "city girl with a nature brain," Mutu recounts her upbringing in Kenya, memories of playing in her family’s garden, and attending an all-girls Catholic school. These experiences instilled a profound respect for both nature and the feminine in Mutu, alongside a curiosity about the African history, heritage, and culture that was omitted from her studies. Today, Mutu’s monumental sculptures of hybrid female, animal, and plant forms assert "how incredibly important every single plant and animal and human is in keeping us all alive and afloat." Tracing her journey from Kenya to New York, first as a university student and later as an established exhibiting artist, Mutu charts the evolution of her artwork from her collage paintings, to explorations with photography and heroic sculptures made from earth and bronze. In her early collage paintings, Mutu explored the tension created by mixing cut outs from wildlife and fashion magazines with vintage illustrations and her own watercolors. As her dense and colorful collage works grew in scale, the artist began incorporating her own photography into her paintings. This combination sparked Mutu’s reflection on the wider history of photography, colonization, and how Black and female bodies have been photographed, packaged, and consumed. In her most recent works, including the "Sentinel" series (2016–present), "The NewOnes, will free Us" (2019) at The Metropolitan Museum of Art, and "Crocodylus" and "MamaRay" (2020) at Gladstone Gallery, Mutu draws upon her reverence for the divine feminine and her frustration with the schism between "the way we worship the image of the woman, but denigrate the actual human being." The artist’s elegant and powerful hybrid female-animal figures command viewers’ attention and regard. Unable to return to her native Kenya for many years while living and working in New York, Mutu reflects on the convergence of African and Western influences that have informed her artwork and her binational identity. Mutu now works between her Nairobi and New York studios, looking to compare, combine, and understand herself from these multiple viewpoints. This film is among a collection that comprise Art21’s participation in the multi-institutional Feminist Art Coalition initiative. Feminist Art Coalition (FAC) is a platform for art projects informed by feminisms, fostering collaborations between arts institutions that aim to make public their commitment to social justice and structural change. Wangechi Mutu was born in 1972 in Nairobi, Kenya. In her collages, drawings, sculptures, and films, Mutu centers the female body to create powerful and self-possessed figures that are hybrids of human, plant, animal, and machine forms. Sampling from a diverse array of sources—from natural materials to fashion magazines, medical diagrams, and traditional African arts—the artist creates otherworldly realms that examine cultural identity, the feminine, colonial history, and global consumption.

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Documentaire over ana mendieta -> kunstenaar die werkt met natuur, rituelen en performance

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Film die ik zag in het Forum -> Over Sam, een syrische vluchteling die zijn rug verkoopt aan een kunstenaar en wordt tentoongesteld als levend kunstwerk. Interessante discussiestarter en een grote ‘fuck you’ naar de kunstwereld. Vraag mij af of dit qua moraal kan. Doet het recht aan het leed van een land en aan een vluchteling. 

Film is geïnspireerd op een echt ‘kunstwerk’? van kunstenaar Wim Delvoye, die de Zwitser Tim Steiner tatoeëerde op zijn rug. Deze man koos vrijwillig voor het verkopen van zijn huid en moet tot zijn dood beschikbaar zijn bij exposities. Na zijn dood wordt zijn huid verkocht.

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Ai wei Wei (kunstenaar) wordt vastgehouden door de chineze autoriteiten, In S.a.c.r.e.d. staat elke letter voor een onderdeel van zijn dag dat hij werd vastgehouden 

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Kunstenaar - Ao - Rituelen

ironische film waarin een robot een soort meditatie laat zien op een filmset (geanimeerd)

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Rituelen van kunstenaars

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“Artists’ performance often has a ritualistic quality – as artists create and use their own personal mythologies in order to explore their identity and wider society. Mona Hatoumused her own body as a site for exploring the fragility and strength of the human condition under duress. For the 1985 Roadworks exhibition organised by the Brixton Artists Collective, Hatoum walked barefoot through the streets of Brixton in London for nearly an hour with Doc Marten boots, usually worn by both police and skinheads, attached to her ankles by their laces. This act, captured in Performance Still 1985, is reminiscent of religious pilgrimages where pilgrims endure extreme hardship to demonstrate their belief and faith. Artist Joseph Beuys’s interest in mythology, botany and zoology led him to evolve a rich and complex personal symbolism. To Beuys fat and felt were important symbols of life and survival and he often incorporated these into his performances.” - Tate Modern

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What is a ritual? Rituals can be religious, ceremonial or personal; they can be represented directly or referred to symbolically using imagery, objects or abstract shapes and patterns.

What is a ritual?

A ritual is a an activity that usually sticks to a set pattern and typically involves a set of actions, words, and objects. Rituals are often repeated at intervals (whether daily, weekly, annually – or on certain special occasions). The word ritual often has associations of serious formal or religious ceremonies – like graduations, christenings or processions – but a ritual can also relate to cultural activities or traditions that happen in everyday life such as Christmas shopping or carnivals…or even fish and chips on a Friday. A ritual can also be highly personal: Do you always play football or swim on a Saturday morning or have tea at your grannies every Sunday? These could be considered your personal rituals. - Tate Modern 

- > Artistiek onderzoek 

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Kunstenaar die als inspiratiebron kan gelden voor AO door een soort mystiek die er omheen kan hangen. Kan onderdeel worden van ritueel

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“Waarom een handreiking voor een integrale benadering van duurzame ontwikkeling in het onderwijs? We leven met steeds meer mensen op deze planeet en onze huidige manier van leven raakt de grenzen van het draagvlak van de aarde. Het is een grote uitdaging om welvaart binnen de ecologische grenzen van de planeet te realiseren op een manier dat iedereen goed kan leven en niet slechts bepaalde bevoorrechte groepen mensen. Om dit te kunnen bereiken zijn er ingrijpende veranderingen nodig, er wordt in dit verband gesproken van ‘transitie’. Dit betekent dat we andere dingen moeten doen en niet de dingen een beetje anders doen. Ons onderwijs kan leerlingen en studenten helpen om zich voor te bereiden op participatie in een duurzamere samenleving, een samenleving in transitie. De Whole School Approach to Sustainability is een integrale schoolaanpak om duurzame ontwikkeling te integreren in het onderwijs. Integreren in de visie, het curriculum en de didactiek, de bedrijfsvoering, de deskundigheidsbevordering van al het personeel en dit met aandacht voor de omgeving van de school (UNESCO, 2016). Het is de synthese van deze verbindingen die een Whole School Approach tot een krachtige aanpak maakt. Een werkwijze die samen met het hele team, de leerlingen en actoren uit de omgeving van de school wordt opgepakt. Hiermee wordt John Dewey’s uitspraak “Education is not preparation for life; education is life itself” in praktijk gebracht. Door actief en praktisch aan de slag te gaan met duurzame ontwikkeling leveren scholen een belangrijke bijdrage aan toekomstgericht onderwijs. Met de Whole School Approach to Sustainability werkt het onderwijs behalve aan kennis ook aan de ontwikkeling van een (levens) houding waarbij duurzaam handelen een vanzelfsprekendheid is. Deze handreiking is bedoeld om vanuit bovenstaande ambitie een schoolbrede en integrale aanpak planmatig uit te voeren. Het gebruikte model van planmatige implementatie is gebaseerd op literatuur- en praktijkonderzoek en op ervaringen van Nederlandse scholen. Bij deze handreiking hoort het filmpje Whole School Approach to Sustainability (te vinden op www.lvdo.nl en op YouTube) dat in enkele minuten laat zien hoe een whole school approach to sustainability er in de praktijk uit kan zien.” - bron die ik heb gebruikt voor OWF

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Video over Jan Steen (alumni van minerva, beeldend kunstenaar), die hele indrukwekkende performances maakt in de natuur. Op aanrader van Nina, een performance artist waar ik mee samenwerk op de suikerunie rondom de witte wieven