The Influence of the Media on the Contemporary Art and on Graphic Arts in Particular in Bulgaria

What is the influence of the media as a means of work today？ Media as a material （paper, canvas, vinyl, etc.） on which it is printed, with its specific characteristics and special features--texture （plain, uneven, with a defined relief）, colour shade, and even thickness; media as a means of documentation of the result of the creative process through catalogues; media as a mediator representing the result of this process in the common cultural sphere. How powerful is the media？ There is one thing happening at the moment of ＂the event occurring＂ in the institution （a gallery, an exhibition hall, etc.）. It is performed, reproduced, eventually sold. Otherwise it does not exist--it is not paid attention in the media, it is released nowhere （it is nowhere ＂published＂）, respectively it does not influence anybody and does not iustify the use of its existence.

Inter-border Integration of Fashion Design and Contemporary Art

With the development of economy and society, every comer of the world＇ s cultural and spiritual civilization are closely linked together, At the same time, the clothing and contemporary art are in the big tide of mutual penetration and mutual influence. Contemporary art has influenced on the costume design. Costume design can play their own advantages in art tide, toward a higher point. The passage from the clothing design and other fields of contemporary art in the process of cross-border integration explores the future development trend of garment design.

696 Weihai Road:A Contemporary Art Scene in Shanghai & Open Workshops

Upon entering the lane leading to 696 Weihai Road one encounters a ramshackle area ot disused and decaying warehouses and factories. Proving to be the perfect spot for artists seeking a fordable rents, many of these spacious interiors now serve as studios. Since 2006 more than thirty artists from all over the world have moved into the area.

Blind Date Sino German Exhibition of Contemporary Art

Period: March 2nd -April 8th Hours: Tuesday-Sunday 10am to 5pm (Closed Mondays) Venue: F2, 3, Zhu Qizhan Art Museum Address: 580 Ouyang Road, Hong Kou District Shanghai Website: www.zmusueum.

The Scenes of the Obscene in Contemporary Turkish Art

In contemporary Turkish art, topics or items considered obscene by society are being carried out by a number of artists with protest, agitation, anti-propaganda, or strike purposes. Issues that are often seen in social life such as domestic violence, honour killings, rape, gender discrimination, intolerance against minority groups generate some artists＇ main theme in their work. Certain circles do not show any reaction to such social wounds, or even support. These circles that have no discomfort in the existence of these wounds get disturbed when they face these social realities through artistic activities. These artists are subject to threats or even physical attacks by such groups. In this paper, Turkish artists, namely Sukran Moral, Taner Ceylan, and Nezaket Ekici who make use of such obscene scenes in their works, will be analyzed including their performances, reactions, and attitudes toward threats and attacks.

Hamlet＇s Mobled Queen： The Displacement of the Figure in Contemporary Discourse, Communication, and Art

The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figure, in relation to the perception and representation of space and the role and form of the sign. According to this philosopher, the figure dominates the communication process by deconstructing the text. Both the topography of the figure and art is the result of repression processes and the subsequent discharge of libidinal energy. Art in particular is a formalism of the death drive, according to Lyotard. The figure of ＂the mobled queen＂, the expression of a possible slip of the tongue in Hamlet, becomes a symbol of the distorted relationship of the visual, the semantic, the ethical, and the critical role of this in art and communication. In addition to Lyotard＇s model, the possible figures of globalization will be discussed in relation to Peter Sloterdik＇s Globes. Spheres II.

Conceptualization of Art and Architecture

Western modern and contemporary architecture and art is a conceptual architecture and art, change in human concept promotes the development of modern and contemporary architecture and art, presents us a new look. Evolvement of concept is the core force that pushes forward the unceasing development of art and architecture, art and architecture as concept always influence and interact with each other and create a new dimension. Both architects and artists try to express their opinions using the individualized works and practices in the context of changing values in social transformation, which has become the significance of contemporary architectural design and artistic creation.

Artistic Practices [Between] Gender and Technologies

This paper was carried out by the group of professors--Maia Creus, Tamara Diaz, and Ines Martins from the Design Analysis and Prospective Department, with the collaboration of the Catalan Institute for Women, Generalitat de Catalunya. Maia Creus and Ines Martins are parts of the research group TADD （Theory, Analysis, Design, and Development） recognized by Ramon Llull University. The research, based on feminist and performance studies, focuses on artistic groups currently working in Catalonia and whose practices produce tools and technology sharing, highlight the social and educational potential of ICTs （information and communication technologies） free access when used, consciously and critically, from feminist perspectives assumed. The research project was developed as a dual methodological process. This research group has developed a critical review of the three conceptual axes--women, art, and technology--around which revolves the present study and, in parallel, has conducted field work directly with groups of selected artists, in order to meet them within their areas of production and to know more about their working methods, theoretical discourse, goals, frustrations, and desires. This deployment in parallel was used to develop a group of key concepts that revolve around ＂free culture＂ and ＂culture of access＂ that in contrast with the practices and theories of the investigated groups are necessary to intercept and reinterpret. Through various forms of visibility, this paper intends to investigate, promote, and share these tools, technologies, and pedagogies developed by these groups which, by its own dynamics of collective work, as well as the processes of public participation, emphasize forms of interculturality and interdisciplinary.

What is ＂Chinese Modem Calligraphy＂？ An Exploration of the Critical Debate on Modem Calligraphy in Contemporary China

Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. Nowadays in China this artistic revolution has sparked a vivid debate among the art critics on three main topics： （1） definition of the phenomenon; （2） analysis of its nature; and （3） classification of the artistic production. In this article, all these aspects are analysed in order to give a comprehensive view of the present theoretical discussion and of its future development.

Conceptual Art： The Untold Story of African Art

Conceptual art is one of the twentieth century art movements that has gained popular attention in the contemporary artworld. It has received much scholarly prominence in the Western world, and perceived as an emergent art of European origin. What has been given little or no scholarly attention is the African essence of root of conceptual art movement. This article addresses the historical epochs of conceptual art in Africa and delves into the critical question of whether or not conceptual art is an emergent art in Africa. With the help of the images of African artworks, this article attempts to fmd visual answers by examining the art-historical account of the art through visual analysis in simple narrative format in telling the African side of the story. It concludes that the adoration and idolization of Marcel Duchamp as the father of conceptual art is contestable since the art was many centuries old in Africa before the twentieth century artists began to practice it in the West. Duchamp＇s attempt at dematerialization of art, and showing distaste to the traditional aesthetics of Western art at the time through conceptual exploration had been in practice in African art and, therefore, not an invention.

The Chinese Yin-Yang Thinking in Antoni Tàpies’Artistic Creation

The writings and artistic works of Antoni Tàpies(2009;2011)mirror the influences of the cosmic vision of the Chinese yin-yang.Signs,numbers,and creative procedures related to this correlative thought prevail in his art.Tàpies integrated different iconological codes from the ancient Chinese thinking into his art to question the existential meaning of the universe and to express his thoughts on the cultural and socio-political controversies of his time.In other words,the images,media,and techniques that he utilized for his works were extensions of his life experiences intertwined with various socio-historical facts and his personal feelings.

New Exhibition Practices and the Role of Museums in a Pandemic

The global epidemic caused by the COVID-19 virus has affected the behavior and consciousness of people.Fears associated with their own death,the death of loved ones,uncertainty in the future,insecurity and vulnerability combined with a new vision of the world around us,nature,their physicality,the value of other people,the value of society in general and their place in it.Various emotions,anxieties,and new discoveries found their expression in the pieces of art created during the pandemic and bearing its imprint.The new conditions influenced not only the content of the expositions of modern museums,but also the activities of the museum as a whole.That tendency conduced the relocation of the transfer of expositions to open spaces,emerging of the new exhibition formats,the active development of Internet projects,the creation of social clubs and groups to support each other by people in a pandemic.Thus,the contemporary museum takes on a new role.In a crisis,it becomes a place where it is possible to master complex emotions with the help of art,a platform for discussions,exchange of their impressions,experiences,with the aim of helping people find emotional balance and hope in the future in a crisis.

The influence of ancient poetry on Chinese traditional culture

China traditional culture, our culture, the root of all the children of the Yellow Emperor. Ancient poetry, the essence of traditional Chinese culture, but also the world’s cultural and artistic treasure house of a bright pearl. Chinese culture has a long history, broad and profound, poetry is always the highbrow type of aesthetic elegant, attracted many devout followers, especially those in the thoughts and feelings, wisdom and creativity in a famous through the ages, although after thousands of years of vicissitudes of life still shine, while dancing alone in the modern civilization and tired of noisy. Never forgotten.