2024-03-29T16:05:21+03:30 http://kimiahonar.ir/browse.php?mag_id=20&slc_lang=fa&sid=1
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 An Essay on Defending the Possibility of Ethical Criticism of Art Mohsen Karami mohsenekarami@gamil.com Malek Hosseini malek.hosseini@yahoo.com Masoud Olia masoud.olia@gmail.com As many have said, “ethical criticism of art” has been the most enduring topic in the philosophy of art; but, in this broad topic, we must distinguish two problems: the first is the possibility of ethical criticism of artworks, and the second is the relevance of such criticism to the aesthetic value of artworks. In other words, the first problem is whether we can reasonably engage in ethical criticism of artworks or not, whereas the second problem is whether the ethical criticism of an artwork relates to the aesthetic criticism of it. This essay, however, is just about the second problem. To deal with the problem, we firstly divided the arguments against ethical criticism of art into three divisions - ontological, epistemological, and methodological - and then, gathering the arguments for the possibility of such criticism, from radical moralism to moderate autonomism and even “immoralism”, we attempted to meet the opponents and show that it can be reasonable to criticize ethically. ethical criticism of art ontological arguments epistemological arguments methodological arguments moral/immoral situations propositional knowledge non-propositional knowledge typical audience 2016 8 01 7 22 http://kimiahonar.ir/article-1-730-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 Hegel’s Real Giants or Gombrich’s Imaginary Giants? Mehdi Kord Noqani meh.noghani@gmail.com Gombrich is one the most influential and important figures in art history and its theoretical foundations. Although Gombrich  introduces Hegel as “the father of art history”, he believes that “art history should free itself of Hegel’s authority.” The first part of this article reviews Gombrich’s polemic against Hegel. In order to elucidate his criticisms of Hegel, his two main texts, “In  Search of Cultural History” and “The Father of Art History”, are reviewed. In the second part, Gombrich’s “misreading” has been evaluated. Gombrich’s criticisms of Hegel’s art history and aesthetics can be considered as one of the Western experiences in order to provide theoretical foundations for art history. Gombrich Hegel art history spirit Relativism 2016 8 01 23 41 http://kimiahonar.ir/article-1-731-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 Merleau-Ponty’s Philosophical Concepts: The Basis for the Analysis of Interactive Art in Performance of “ Field “ Safa Sebti safasebti@yahoo.com Zahra Rahbarnia Z.rahbarnia@alzahra.ac.ir Mehdi Khabbazi Kenari Mkenari@yahoo.com Merleau-Ponty’s understanding of art is tied with his phenomenological view point of perception. According to him, the important matter in art, is not only about beauty, but about perception and expression as well. Merleau-Ponty seeks to describe the relation between the artist, the objects and the world he paints. In other words, he considered the relation between the artist and the artwork. However, in this study we are looking for another aspect of the relationship. Our purpose here is to describe the interaction of artwork and the audience. With this aim, rather than addressing his direct comments about art, we will return to Merleau-Ponty’s philosophical project. In this paper, first of all, we investigate fundamental concepts of Merleau-Ponty’s philosophy and then use these concepts to describe the relationship of the audience with interactive art event in general, and to describe the interweaving of the body of performer with the audience in an interactive performance in particular. In the end, by emphasizing on research data and analyzing them in the field of interactive art we look at the performance of “ Field “ (performer: Amir Mobed) and we analyze the importance of the aspect of embodiment in performer and audience in event and the interaction between them. It is important that interactive art, despite its expansion in the world of contemporary art and despite numerous research studies in this area, has been less studied from a philosophical perspective. By means of Merleau-Ponty’s philosophical views in the context of interactive art, it is a possibility to free a work of art from definitions, limitations, as well as dualism of outside / inside, artist / audience. Interaction of the audience with the artwork is the resurgence for art in order to establish a common world between the artist, audience and interactive art event. According to philosophical concepts of Merleau-Ponty, in the performance “Field”, performer is not the source and promoter of performance and all the body’s actions are not independent from the audience. He is exposed to embodiment, including looking, sensation and movement, and also the expression and bodily activity of audience. Interactive event is the common world of performer and audience, in which they are exposed to eachother’s perception, and influenced by eachother’s actions. In this performance, Merleau-Ponty’s concepts of expression are frequently manifested prior to any thought and reasoning, which is because of the physical proximity of performer and audienc. Merleau-Ponty interactive art audience embodiment performance of “Field” 2016 8 01 43 55 http://kimiahonar.ir/article-1-732-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 Contemporary Beauty: A Turn from Objective and Subjective Point of View to the Event Farideh Afarin f.afarin@semnan.ac.ir Beauty has different types of definition in the history of aesthetics. Objective beauty stems from plato’s point of view. Kant and Nitzsche were pioneers in proposing subjective beauty and Heidegger`s definition of beauty as event is so fundamental in contemporary philosophy. French philosophers drew inspiration from Heidegger to provide new definition for beauty and it`s criterion. Levinas played an important role in breaking definition of beauty from ordinary world. He defined art and beauty in relation to ambiguity and exotisme. Contemporary artist, Orlan with her surgeries struggles the conventions of ideal beatuy. She also separates her way from stereotypes, images and cliches in video games, TV and magazins and criticises women for being object of men and artist`s gaze. Through her controversial performance/surgeries she transformes herself to a moving sculpture who has a strange face; for example, she implanted two prosthesis in two side of her forehead instead of cheekbones which seemed like horns. Thus, ideal and subjective beauty has converted to an strange and exotic event. This event is exterior to the circle of visual requirements of artistic systems and rules. event beauty aesthetics contemporary art Orlan 2016 8 01 57 70 http://kimiahonar.ir/article-1-733-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 Propaganda in Saqqakhaneh School of Art based on Pierre Bourdieu’s Sociological Theory Azadeh Bahmanipor atma_az@yahoo.com Effatsadat Afzal Tusi afzaltusi@alzah.ac.ir The Saqqakhaneh School of painting was central in the historical artistic transition to Modernism after the Constitutional Revolution in Iran. This school of art emerged under the Pahlavi regime and was extensively supported by Iranian nation-state. The modernizing state used this school of art as a unique form of propaganda to represent Iranian cultural heritage in its desire for modernization and its aesthetic orientation towards the West in the global stage. The Saqqakhaneh School continued to influence postrevolutionary visual arts exposing a plurality of artistic tastes as well as an ambivalent and contradictory artistic practice. Using Pierre Bourdieu’s sociological approach to the study of art, this article offers a critical and impartial assessment of this school by locating it within the Iranian artistic field of power while valuing the social character of the artists in the production, circulation and consumption of this school of art. Bourdieu cultural capital Saqqakhaneh School of painting modernism field of power 2016 8 01 71 88 http://kimiahonar.ir/article-1-734-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 Exhibition Discourse in Contemporary Art of Iran (By Analyzing the Exhibition Cycle “Of Labour, Of Dirt”, Tehran) Elham Puriya Mehr elham.puriamehr@gmail.com Ashrafalsadat Mousavilar a.mousavilar@alzahra.ac.ir From 1990 to the present, the subject of “exhibition discourse” has been considered both in theoretical discussions and in practice as a dynamic process that is effective in production of cultural concepts. In contemporary art of Iran, especially in recent decades, discussions related to the exhibition and the relationship of art and the audience has been somewhat important; however, practically, organizing exhibition has not been gone beyond modernist methods, and displaying art object to the audience has still a repeating content. With this background, this article seeks to prove its hypothesis in relation to the theoretical discussions such as “dematerialization of art work” and “discursive participation”, and as a case study, “Of Labour, Of Dirt” (the third exhibition of Babak Golkar’s exhibition cycle in Iran) is analyzed. Using a qualitative research method and data collection through field observations and written documents, it would try to answer the questions about curating, cultural discourse and place of audience in this process in Contemporary art of Iran. Research’s findings indicates the potentials of art exhibitions in Iran and suggests that it is formed on the basis of audience presence and precise understanding of contemporary theoretical structures. It will then create a proper place for discursive action in the circle of production and distribution of cultural phenomena in society. contemporary art of Iran scream pots discursive action art exhibitions 2016 8 01 89 99 http://kimiahonar.ir/article-1-735-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 The Influence of Some Eastern Philisophical Concepts on Western Art Cinema: The Case Study of “The Fountain” by Darren Aronofsky Farshad Fereshte Hekmat During 100 years of the cinema history too many poetic and artistic movies have been made based on visual, dreamlike and different world especially against the real world. These movies tend to deconstruct and to break the norms a process known as defamiliarization. This cinema is based on intuitions. The content and structural functions of the artistic cinema are to make questions and to stimulate audiences to contemplate. Therefore, documentary and storyboard movies of this kind are not the pure reflection of the reality and they discover the facts beyond the common life, nature and universe. Hence, we may use hermeneutical criticism, philosophical criticism, typology and linguistics to understand this type of cinema. This cinema is based on visual language and the dialogues has main role in it. The artistic, poetic cinema’s admirable efforts are about innovation, breaking the norms, empiricism, deconstruction, and including philosophical illuminating massages and concepts (in the vast and the positive way). Darren Aronofsky used the world of dreams, myth, legends, and rituals as the sources of inspiration in poetic, artistic movie “The Fountain”. Love, beauty, worship of life, glory of nature, redemption, the criticism of violence, ontology, showing the pains and happiness and feelings of the human being are the content and the idea of this movie; moreover, this film includes the philosophical, theosophical, anthropological, psychological, mythological, and allegorical substrata. cinema meaning art poem intuition philosophy myth fiction The Fountain Aronofsky 2016 8 01 101 109 http://kimiahonar.ir/article-1-736-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2016 5 19 n.akhavanaghdam@gmail.com 2016 8 01 111 117 http://kimiahonar.ir/article-1-737-en.pdf