Photographic images can, apart from their capacity to show, convey an experience, a quality that has seldom been recognized. In this book the artist and photographer Maarten Vanvolsem explains how the strip technique can tell a different story of time and space in photographic images, a story that leads to new expressions and experiences of time and movement. The strip technique itself seems to be neglected in the debate on time and photography, although it has a long history. Its use is widespread and, especially in recent years, more and more artists rediscover the technique.
Despite our stereotypical ideas on photographic images as snapshots (slices of time), photography is fundamentally a time-based medium. The relationships between photography and time are manifold: time can be directly represented within the image, it can be its theme and philosophical horizon, but it can also represent the global framework in which photographic practices develop and change through time.
Highly influential both as an artist and as a theoretician Victor Burgin figures amongst the most insightful thinkers on visual culture in recent times. His writings focus on the production of meanings and affects through images – at the intersections of subjective desire and sociopolitical organization – and cross a diversity of representational practices (photography, film, painting, advertising, television, the internet) and theoretical fields (semiotics, psychoanalysis, feminist theory, cultural studies).
How do we relate the body we have and the bodies we see to the mind, or to the soul? Fluid Flesh addresses the relationship between the body, religion, and the visual arts, which is one of both love and tension. Are we able (and allowed) to think of the divine in a corporeal way? Isn’t artistic expression, which originated from both the human mind and body, intrinsically a bodily matter.
This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether photography has a hybrid or chameleonic character because it can be part of entirely different mixed-media works of art.
Henri Van Lier's contribution to the field of photography is comparable, in its scope as well as in its achievements, to the work of all those we now consider being the great modern classics: Walter Benjamin, André Bazin, André Malraux, John Berger, Susan Sontag, or Roland Barthes.
Collective Inventions constitutes the first collection and book-length publication on Surrealism in Belgium on which Belgian and Anglo-American scholars have collaborated. Collective Inventions offers new writings by leading international scholars and experts on the movement's diverse manifestations in Belgium. The essays range from comparative analyses of Surrealism in Belgium with other versions of Surrealism, particularly French, to detailed critical engagements with individual oeuvres.
What is the place of Critical Realism today, given the fact that both realism and commitment in art have become highly problematic notions since at least several decades? Realism in the first place appears to be relegated to the museum of pre-modern styles and devices, safely locked-up in the toolbox of 19th-Century art history. Secondly, in our cool, postmodern times, the place for commitment has become highly confuse. The naïve confusion between Critical Realism and notions like Social(ist) Realism or Political Correctness has complexified that situation.
This book is the result of a collaborative project, commissioned to the Lieven Gevaert Research Centre for Photography and Visual Studies at the KULeuven by the Concertgebouw Bruges. Complying to its mission as a laboratory for creation, the Concertgebouw seeks farreaching synergies between different artistic media. Photography and music thus found one another in a creative encounter that lasted six months, during MOZART06, the Concertgebouw's festival in the Spring of 2006.
This book is the outcome of a collaborative research project between LGC, the Leuven Museumsite and STUK Arts Centre. On the occasion of the centennial anniversary of Constantin Meunier's death, the contributions by Sura Levine and Marjan Sterckx examine the importance of Meunier for Leuven, where he taught at the Arts Academy from 1887 until 1897 and lived from 1887 until 1894. As a complement, four authors from various disciplinary backgrounds address the actuality of Meunier's social realist thought today.