Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.
摘要引言将Gina Ferreira和Lula Wanderley的治疗实践与巴西现代主义艺术家Lygia Clark的作品联系起来。费雷拉是一位社会心理学家，他利用艺术——例如摄影和电影——来对精神病患者进行社会化和治疗。Wandley是一位将创造力带入精神病治疗领域的艺术家。两人都在里约热内卢的公立精神病医院和诊所以及边缘化人群中工作，大大扩大了网站，并扩大了Clark的Estruturação do self（自我结构）治疗课程的应用。在《借给我你的眼睛》中，吉娜·费雷拉（Gina Ferreira）诗意地描述了莱吉娅·克拉克（Lygia Clark）的实践，以及交流如何成为艺术家的“治疗”可能性。这些想法构成了费雷拉对一位名叫佩德罗的客户（患者）的临床护理的叙述。在《沉默的话语》中，卢拉·旺德利描述了他对精神病学的艺术参与，以及他对罗莎等客户使用克拉克疗法的情况。这两篇引人注目的文章证明了克拉克的Estruturação是如何在艺术博物馆和学院的制度化空间之外产生自我共鸣的。
{"title":"Introduction: Art's Histories Without Art History","authors":"Kaira M. Cabañas","doi":"10.1162/artm_a_00329","DOIUrl":"https://doi.org/10.1162/artm_a_00329","url":null,"abstract":"Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"126-133"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45739648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.
摘要引言将Gina Ferreira和Lula Wanderley的治疗实践与巴西现代主义艺术家Lygia Clark的作品联系起来。费雷拉是一位社会心理学家，他利用艺术——例如摄影和电影——来对精神病患者进行社会化和治疗。Wandley是一位将创造力带入精神病治疗领域的艺术家。两人都在里约热内卢的公立精神病医院和诊所以及边缘化人群中工作，大大扩大了网站，并扩大了Clark的Estruturação do self（自我结构）治疗课程的应用。在《借给我你的眼睛》中，吉娜·费雷拉（Gina Ferreira）诗意地描述了莱吉娅·克拉克（Lygia Clark）的实践，以及交流如何成为艺术家的“治疗”可能性。这些想法构成了费雷拉对一位名叫佩德罗的客户（患者）的临床护理的叙述。在《沉默的话语》中，卢拉·旺德利描述了他对精神病学的艺术参与，以及他对罗莎等客户使用克拉克疗法的情况。这两篇引人注目的文章证明了克拉克的Estruturação是如何在艺术博物馆和学院的制度化空间之外产生自我共鸣的。
{"title":"Lend Me Your Eyes","authors":"Gina Ferreira","doi":"10.1162/artm_a_00330","DOIUrl":"https://doi.org/10.1162/artm_a_00330","url":null,"abstract":"Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"134-138"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45769115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Retraction of Holmes, Ros. 2018. “Meanwhile in China … Miao Ying and the Rise of Chinternet Ugly.” Artmargins 7 (1): 31–57","authors":"","doi":"10.1162/artm_e_00332","DOIUrl":"https://doi.org/10.1162/artm_e_00332","url":null,"abstract":"","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"144-145"},"PeriodicalIF":0.2,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48093903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Greg Burris teaches at the American University of Beirut and is the author of The Palestinian Idea: Film, Media, and the Radical Imagination (2019). His other writings on film, culture, and politics have appeared in such publications as Bright Lights Film Journal, CineAction, Cinema Journal, Film International, The Guardian, Jadaliyya, Journal of Islamic and Muslim Studies, Quarterly Review of Film and Video, and the anthologies Futures of Black Radicalism (2017) and Global Raciality: Empire, PostColoniality, and DeColoniality (2018).
{"title":"Contributors","authors":"","doi":"10.1162/artm_x_00321","DOIUrl":"https://doi.org/10.1162/artm_x_00321","url":null,"abstract":"<span><strong>Greg Burris</strong> teaches at the American University of Beirut and is the author of <span style=\"font-style:italic;\">The Palestinian Idea: Film, Media, and the Radical Imagination</span> (2019). His other writings on film, culture, and politics have appeared in such publications as <span style=\"font-style:italic;\">Bright Lights Film Journal, CineAction, Cinema Journal, Film International, The Guardian, Jadaliyya, Journal of Islamic and Muslim Studies, Quarterly Review of Film and Video,</span> and the anthologies <span style=\"font-style:italic;\">Futures of Black Radicalism</span> (2017) and <span style=\"font-style:italic;\">Global Raciality: Empire, PostColoniality, and DeColoniality</span> (2018).</span>","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"36 3","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138506115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ten years ago, the printed version of ARTMargins joined its sister publication, ARTMargins Online. The idea of the three founding editors— Sven Spieker, Angela Harutyunyan, and Octavian Esanu—was to create an innovative art historical journal with a broad remit that would offer some measure of correction to the euphoria surrounding globalized art at the time, and that would include contributions from the perspectives of artists, scholars, and critics. Would this hybrid publication model, which was somewhat unusual for an academic journal, be acceptable to its future publisher and readers? More importantly, would it find a place among already-existing publications that covered related ground in different ways, and often from angles we felt were close to our own? We have been finding or (re)formulating answers to these questions ever since, in ten rewarding years of collaboration, encounter, and conversation, both within the evolving editors’ collective—which currently comprises Karen Benezra, Pedro Erber, Elizabeth Harney, and Saloni Mathur, in addition to the three founding editors11—and outside it, with the artists, art historians, curators, and critics who have generously opted to publish their work in the journal or who have collaborated with us in other ways. ARTMargins could not have launched or thrived without the help and encouragement of all these colleagues and friends, several of whom subsequently agreed to join the journal's editorial board. We are also deeply grateful to the MIT Press and its dedicated staff, for being receptive to our initial ideas and for steadfastly nurturing the publication from the beginning. We also happily acknowledge financial and logistical support from the University of California, Santa Barbara and, for a period of four years, from the American University in Beirut.
{"title":"From the Editors","authors":"","doi":"10.1162/artm_e_00300","DOIUrl":"https://doi.org/10.1162/artm_e_00300","url":null,"abstract":"<span>Ten years ago, the printed version of <span style=\"font-style:italic;\">ARTMargins</span> joined its sister publication, <span style=\"font-style:italic;\">ARTMargins</span> Online. The idea of the three founding editors— Sven Spieker, Angela Harutyunyan, and Octavian Esanu—was to create an innovative art historical journal with a broad remit that would offer some measure of correction to the euphoria surrounding globalized art at the time, and that would include contributions from the perspectives of artists, scholars, and critics. Would this hybrid publication model, which was somewhat unusual for an academic journal, be acceptable to its future publisher and readers? More importantly, would it find a place among already-existing publications that covered related ground in different ways, and often from angles we felt were close to our own? We have been finding or (re)formulating answers to these questions ever since, in ten rewarding years of collaboration, encounter, and conversation, both within the evolving editors’ collective—which currently comprises Karen Benezra, Pedro Erber, Elizabeth Harney, and Saloni Mathur, in addition to the three founding editors<sup>11</sup>—and outside it, with the artists, art historians, curators, and critics who have generously opted to publish their work in the journal or who have collaborated with us in other ways. <span style=\"font-style:italic;\">ARTMargins</span> could not have launched or thrived without the help and encouragement of all these colleagues and friends, several of whom subsequently agreed to join the journal's editorial board. We are also deeply grateful to the MIT Press and its dedicated staff, for being receptive to our initial ideas and for steadfastly nurturing the publication from the beginning. We also happily acknowledge financial and logistical support from the University of California, Santa Barbara and, for a period of four years, from the American University in Beirut.</span>","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"36 4","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138506114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Following from a series of conversations that have been taking place sporadically between us in the past years, the current contribution serves as another opportunity to address ways of living multiple institutional lives. In our respective contexts, these pertain to different types of institutions, ranging from art school/academy, to university, to art or cultural organization/collective. Here we explore ways of traversing the boundaries and frictions between radical classroom practices and the institutional processes and frameworks that we speak and act within and against in the context of European higher arts education; all these environments are deeply entrenched in coloniality. We are drawn to radical classroom practices that experiment with forms of sociality that go beyond the dominant, modern-colonial model of meritocracy that dictates our lives in the academy and the labor market. We are interested in un/learning from accounts of educational practices in the lineage of pedagogues including Paulo Freire, bell hooks, Ivan Illich, Sandy Grande, Eve Tuck, Gesturing Towards Decolonial Futures, Gayatri Spivak, and Fred Moten/Stefano Harney. All these thinkers and practitioners share a perspective on education not as the solution to a problem but as a part of the problem (while still they engage in educational-institutional practices themselves). This
{"title":"In The Vortex of Institutional Lives","authors":"A. Krauss, F. Thajib","doi":"10.1162/artm_a_00313","DOIUrl":"https://doi.org/10.1162/artm_a_00313","url":null,"abstract":"Following from a series of conversations that have been taking place sporadically between us in the past years, the current contribution serves as another opportunity to address ways of living multiple institutional lives. In our respective contexts, these pertain to different types of institutions, ranging from art school/academy, to university, to art or cultural organization/collective. Here we explore ways of traversing the boundaries and frictions between radical classroom practices and the institutional processes and frameworks that we speak and act within and against in the context of European higher arts education; all these environments are deeply entrenched in coloniality. We are drawn to radical classroom practices that experiment with forms of sociality that go beyond the dominant, modern-colonial model of meritocracy that dictates our lives in the academy and the labor market. We are interested in un/learning from accounts of educational practices in the lineage of pedagogues including Paulo Freire, bell hooks, Ivan Illich, Sandy Grande, Eve Tuck, Gesturing Towards Decolonial Futures, Gayatri Spivak, and Fred Moten/Stefano Harney. All these thinkers and practitioners share a perspective on education not as the solution to a problem but as a part of the problem (while still they engage in educational-institutional practices themselves). This","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"10-28"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49606638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Erratum: Introduction to Jalal Al-e Ahmade “To Mohassess, for the Wall”","authors":"","doi":"10.1162/artm_e_00320","DOIUrl":"https://doi.org/10.1162/artm_e_00320","url":null,"abstract":"","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"226-226"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42161224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the special issue, we are interested in the multiple, and often strategic, connections between art and alternative, radical pedagogies. Of course, the confl uence of art and radical pedagogy is nothing particularly new. The past twenty years, especially, have witnessed a resurgence of all manner of debates and initiatives that attend to the role that contemporary art plays or could play in the development of critical education and pedagogy. Below the radar of academic art history, varying cross sections between artists’ movements and pedagogy have combined Black, feminist, LGBTQ+, or disability activism, as well as workers’ or anarchists’ struggles and organizing to shape art practices that do not shy away from teaching or from a relational epistemology of truth. Especially pertinent in this regard has been the enlistment of art in various forms of militant education as a means to oppose the hegemonic (visual) pedagogy of colonialism. The notion of an “educational turn,” referring both to increased awareness of the educational functions of art and to various cultural institutions beyond art education proper—with its blossoming occurring I N T R O D U C T I O N
在这期特刊中，我们对艺术与另类、激进教学法之间的多重、通常是战略性的联系感兴趣。当然，艺术与激进教育学的融合并不是什么新鲜事。尤其是在过去的二十年里，各种关于当代艺术在批判教育和教育学的发展中所扮演或可能扮演的角色的辩论和倡议重新抬头。在学术艺术史的雷达之下，艺术家运动和教育学之间的各种交叉部分结合了黑人，女权主义者，LGBTQ+或残疾人行动主义，以及工人或无政府主义者的斗争和组织，以塑造不回避教学或真理关系认识论的艺术实践。在这方面特别相关的是，艺术在各种形式的军事教育中被征用，作为反对殖民主义霸权(视觉)教学法的手段。“教育转向”的概念，既指对艺术教育功能的认识提高，也指艺术教育本身之外的各种文化机构，它的蓬勃发展发生在N . T . R . O . D . C . T . I . O . N
{"title":"The Heresy of Didactic Art","authors":"Sven Spieker, T. Holert","doi":"10.1162/artm_e_00312","DOIUrl":"https://doi.org/10.1162/artm_e_00312","url":null,"abstract":"In the special issue, we are interested in the multiple, and often strategic, connections between art and alternative, radical pedagogies. Of course, the confl uence of art and radical pedagogy is nothing particularly new. The past twenty years, especially, have witnessed a resurgence of all manner of debates and initiatives that attend to the role that contemporary art plays or could play in the development of critical education and pedagogy. Below the radar of academic art history, varying cross sections between artists’ movements and pedagogy have combined Black, feminist, LGBTQ+, or disability activism, as well as workers’ or anarchists’ struggles and organizing to shape art practices that do not shy away from teaching or from a relational epistemology of truth. Especially pertinent in this regard has been the enlistment of art in various forms of militant education as a means to oppose the hegemonic (visual) pedagogy of colonialism. The notion of an “educational turn,” referring both to increased awareness of the educational functions of art and to various cultural institutions beyond art education proper—with its blossoming occurring I N T R O D U C T I O N","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"3-9"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64467769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract From 1972 to 1977 the West German artist Marianne Wex (1937-2020) undertook an extensive photographic research project that eventually was published as a book: Let's Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures (1979). Both visual analysis and homeopathic demonstration of the patriarchal state's performative effect on somatic physical expression, the book is as much a work of renegade feminist sociology as it is a work of photo-conceptualism. This essay performs an archaeology of Let's Take Back Our Space, reading it in the context of contemporaneous aestheticopolitical discourses, including feminist autodidacticism.
{"title":"Between the Personal and the Political: On Marianne Wex's Let's Take Back Our Space","authors":"Judith F. Rodenbeck","doi":"10.1162/artm_a_00319","DOIUrl":"https://doi.org/10.1162/artm_a_00319","url":null,"abstract":"Abstract From 1972 to 1977 the West German artist Marianne Wex (1937-2020) undertook an extensive photographic research project that eventually was published as a book: Let's Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures (1979). Both visual analysis and homeopathic demonstration of the patriarchal state's performative effect on somatic physical expression, the book is as much a work of renegade feminist sociology as it is a work of photo-conceptualism. This essay performs an archaeology of Let's Take Back Our Space, reading it in the context of contemporaneous aestheticopolitical discourses, including feminist autodidacticism.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"50-80"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41399786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This short text is structured in two parts. The first one defines a significant part of my artistic practice as finding a way to represent thought, to transmit the action of thinking, this being done by means of short notes, diagrams, drawings, and sketches in a notebook. The second part defends an idea of art as accessible and necessary for everyone, pedagogical not in the sense that it “should” transmit knowledge but in the sense that it constructs a society where learning is pleasure.
{"title":"The Notebook","authors":"Dora García","doi":"10.1162/artm_a_00318","DOIUrl":"https://doi.org/10.1162/artm_a_00318","url":null,"abstract":"Abstract This short text is structured in two parts. The first one defines a significant part of my artistic practice as finding a way to represent thought, to transmit the action of thinking, this being done by means of short notes, diagrams, drawings, and sketches in a notebook. The second part defends an idea of art as accessible and necessary for everyone, pedagogical not in the sense that it “should” transmit knowledge but in the sense that it constructs a society where learning is pleasure.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"106-123"},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44077387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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