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Showing 5 results for Esmaeil
Kheyzaran Esmaeilzadeh,
Volume 5, Issue 18 (5-2016)
Abstract
This articles focuses on the possibility of the audience’s democratic participation in the interactive arts and discovers it on some samples of art activism. The theoretical framework is based on Walter Benjamin’s ideas about democratic art, and on the relationship between art and politics as seen by Jacques Rancière. It searches features of democratic participation in art in two models, “the standing man” in Turkey as a political-artistic action, as well as the “Village of Arts and Humanities” in the United States as a socio-artistic activity. The paper analyzes political and democratic characteristics of the samples based on the theoretical framework proposed and explaines how art activism with interactive approach provides the equall involvement and participation of the audience and also clarifies why these activities should basically be considered as Art.
Alireza Esmaeilzadeh Barzi,
Volume 5, Issue 21 (2-2017)
Abstract
This paper will provide a critique of Badiou’s ideas about art and artistic truth. We diagnose an incompatibility in this area of his philosophy. We can obviously recognize this if we compare Badiou’s general views about truth and artistic truth in one hand and his encounters with special works of art in other hand. A precise investigation on the nature of these encounters will expose a deep incompatibility between two different meanings of artistic truth, simultaneously at work in Badiou’s philosophy. Recognizing this, we can account for some inconsistencies and discordances that occur in his different texts.
Kheyzaran Esmaeilzadeh, Parisa Shad Ghazvini,
Volume 7, Issue 28 (12-2018)
Abstract
Landscape and building-painting as a genre is one of the many features of Iranian painting in the last years of the Qajar and the first years of the Pahlavi era. This paper explains the relation between these painting as the particular, following the domination of the discourse of nationalism as the general. To reason this idea and to explain the relationship between these two, Georg Lukács theoretical method is used to link the “totality” and mediations”. Hypothesis of the article is based on the texts of two books, Nameh Khosravan by Jalal-o-Din Mirza and Asar-e-Ajam, by Forsat Shirazi, in addition to publication of a large number of “travelogues” of western travelers who visited Iran in Qajar period. These works in terms of their subject as “Recognition and Exploration of Iran” which was based on the compilation of new archaeological documents can be assumed as “mediations” inside a general discourse called nationalism which attracted the attention of painters to the issue of their homeland and its landscapes. The purpose is to clarify the social historical context of the topographical paintings during this period and to illustrate the transition path from nationalism to topographical paintings by utilization of these mediations.
Nasrin Esmaeili, Ali Moradkhani,
Volume 9, Issue 36 (11-2020)
Abstract
One of the most important contemporary theoretical approaches that can be used to analyze works of art is the theories of Jacques Lacan (1901-1980), a French post-structuralist psychoanalyst. By combining psychoanalysis, philosophy, linguistics, and anthropology, he analyzes the world of the human subject’s mind in a series of intertwined and extensive cultural and social relationships.This article aims to take a look at the painting-from-phtographs of the Gerhard Richter Foundation as a unique collection of contemporary artists from a psychoanalytic point of view; And to ask the question, what is the relationship between truth and appearance in Richter’s painting and Lacanian psychoanalysis? Also, how Lacan’s psychoanalytic concepts are found to be helpful in the critique of Richter’s painting?
The method used is descriptive-analytical and based on data and information using library and Internet resources, based on the observation of Richter artifacts and their analysis with Lacan’s psychoanalytic approach. This article shows that Lacanian concepts can be generalized to Richter’s paintings.
There is no definitive truth and reality is perceived through the eyes and the organized system according to past experiences, the lack and desire of the subject.
All of our reference points, everything we talk about and whatever we do through them, are all not absolute truth but stereotypes.
Nasrin Esmaeil, Ali Moradkhani, Amir Nasri,
Volume 12, Issue 46 (5-2023)
Abstract
In the present article, the application of Lacanian meanings in the field of philosophical thought and their comparison with examples of contemporary art has been studied. In this context, theories such as "split subject", "gaze", "Other" and "desire" are applied to the works of visual artist Marlene Dumas. In fact, this research seeks to answer the question of how the philosophical concepts of Lacan thought are reflected in works of art, especially paintings? And can the representation of the status of the contemporary subject in art be explained by Lacanian psychoanalysis ?In order to answer the questions of this research, we first propose psychoanalytic theories about the human subject based on Lacan's views in this field and then adapt them to Duma's portrait paintings. This approach will be in the process of analyzing and interpreting the works as a mainstay against which the paradigm of time in art is evaluated.
The research method in this article is descriptive-analytical and the data are analyzed inductively using written and library sources. Based on the research findings, it will be determined that the contemporary subject is a split subject with lacking, doubting, being prepared and divided.
And by following contemporary works of art, this can be find by reading works of art with Lacanian thought, a new way can be opened to understand the contemporary subject, especially in art.
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