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Drawing --- Graphic arts --- drawings [visual works] --- prints [visual works] --- anno 1500-1799 --- anno 1400-1499 --- Venice --- Staatliche Graphische Sammlung München --- prenten --- tekeningen --- 15de eeuw --- 16de eeuw --- 17de eeuw --- 18de eeuw --- 19de eeuw --- Venetië --- Staatliche Graphische Sammlung München. --- prenten. --- tekeningen. --- 15de eeuw. --- 16de eeuw. --- 17de eeuw. --- 18de eeuw. --- 19de eeuw. --- Venetië. --- Venetiaanse school

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"Re-enchanting the World is a publication accompanying Małgorzata Mirga-Tas's exhibition of the same name, shown in the Polish pavilion at the 59th Venice Biennale. The exhibit is Mirga-Tas's manifesto on Roma identity and art, drawing inspiration from the Renaissance frescoes of the Palazzo Schifanoia in Ferrara and thus attempting to expand the European iconosphere and history of art with representations of Roma culture.The title of the project and this book is inspired by Silvia Federici's book Re-enchanting the World: Feminism and the Politics of the Commons (2018), in which re-enchanting - a non-violent process in which women play an important role - reverses the unfortunate fate of the world, shaking off its evil spell. This publication presents Mirga-Tas's re-enchanting of the world as a way of recovering the idea of the Roma community, with consideration to transnationality, cyclicity and the evolution of meanings, proposing a new narrative about the continuous cultural migration of images and mutual influences between Roma, Polish and European cultures.Within the multidirectional texts featuring poetry, prose and essays, as well as images of Mirga-Tas's project and its process, we witness her re-enchantment of the world through a re-examination of identity, a recognition of feminine power, and a re-presentation of historical and contemporary visual narratives."--.

kunst --- textiel --- textielkunst --- eenentwintigste eeuw --- Polen --- Mirga-Tas Malgorzata --- Roma --- 7.071 MIRGA-TAS --- Biennale di Venezia --- Mirga-Tas, Malgorzata --- Mirga-Tas, Malgorzata / Expositions --- Catalogues d'exposition --- Mirga-Tas, Malgorzata. --- collages --- quiltwork --- ontwerpmethodiek --- Biënnale van Venetië --- 772.9 --- 779.8 --- portretten --- productdesign, afzonderlijke voorwerpen --- textielkunst, overige --- Exhibitions --- Mirga-Tas, Małgorzata, --- antiziganisme --- racisme

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In her project ‘Relocating a Structure. German Pavilion 2022’, 59th International Art Exhibition – La Biennale di Venezia, Maria Eichhorn examines the eventful history of the German Pavilion.Eichhorn’s initial idea to relocate the German Pavilion for the duration of the Biennale and then to faithfully reassemble it on its original site were accompanied by an analysis of the actual physical structure of the pavilion, which principally consists of two buildings: the Bavarian Pavilion built in 1909 and the extensions carried out by the Nazis in 1938, as seen today. The artist had the foundations of the pavilion excavated and layers of plaster removed from its walls to expose the joins between the earlier structure and the remodelled building. This comprehensive publication is one of the components of her contribution. In addition to a vast photographic documentation of the project and numerous historical photographs, the publication brings together essays and studies on the history of the Biennale and the German Pavilion, as well as on broader aspects embracing art history, philosophy, urban sociology, and politics.

Art --- art history --- wars --- environments [sculpture] --- world wars --- political art --- architecture [object genre] --- philosophy of art --- Eichhorn, Maria --- Venice Biennale --- Beeldende kunst ; Duitsland ; 21ste eeuw --- Installaties ; environments ; 21ste eeuw --- Architectuur en beeldende kunst --- Biënnale van Venetië (59ste ; 2022) ; Duits paviljoen --- 7.07 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Architectuur; Duitsland; architectuur onder het Nazibewind --- Architectuur ; reconstructie ; van het verleden --- Kunst en nazisme

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Blloshmi, Lumturi ; Heller, Mónica ; Arutiunian, Andrius ; Fusinato, Marco ; Knebl, Jakob Lena & Scheirl, Ashley Hans ; Akhundova, Fidan ; Baghirzade, Agdes ; Infinity ; Khankishiyeva, Sabiha ; Novruzova, Fidan (Fidam Kim) ; Saadatkhan, Ramina ; Zhuk (Israfilova, Narmin) ; enz.

Art --- Art, Modern --- kunst --- magie --- Braidotti Rosi --- gender studies --- feminisme --- surrealisme --- 7.039 --- lichamelijkheid --- Biennale di Venezia --- Biënnale van Venetië --- eenentwintigste eeuw --- 705.9 --- conceptuele kunst --- kunst; algemeen ; beeldende kunst; algemeen ; 21e eeuw --- Biennale di Venezia. --- Bienal de Venecia --- Bienal de Veneza --- Bienal Internacional de Arte --- Bienal Internacional de Venecia --- Biʼenaleh be-Ṿenetsyah --- Biennale d'arte --- Biennale de Venise --- Biennale di Arte di Venezia --- Biennale internationale d'art de Venise --- Biennale internazionale d'arte Venezia --- Biennale of Venice --- Biennale Venedig (Exhibition) --- Biennale veneziana --- Biennle Arte --- Ente autonomo la Biennale di Venezia --- Ente della Biennale --- Esposizione biennale internazionale d'arte --- Esposizione internazionale d'arte --- International Art Biennale --- International Art Exhibition --- International Biennial Exhibition of Art --- International Exhibition of Art --- International Venice Biennale --- Velencei Biennálé --- Venice Biennale --- Venice Biennial --- Weinisi shuang nian zhan --- ביאנלה בוונציה --- 威尼斯雙年展 --- Exhibitions --- Biennials (Art fairs) --- art [discipline] --- technology [general associated concept] --- Homo sapiens [species] --- fauna --- flora [plants] --- metamorfose --- bodies [animal components]

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En modifiant notre relation collective à la planète, le réchauffement climatique a eu un impact sur le regard des artistes. Aujourd'hui, le concept romantique du « sublime » prend une nouvelle actualité : basé sur les rapports entre l'humain et la nature, défini comme un sentiment de « plaisir mêlé de terreur » et par le contraste entre l'individu et l'immensité, le sublime devient la notion esthétique qui détermine l'anthropocène. Dans Planète B. Le sublime et la crise climatique, Nicolas Bourriaud réunit des artistes du monde entier dans une exposition en trois actes : 1. Toute exposition est une forêt. 2. Charles Darwin et les récifs coralliens. 3. La mort tragique de l'île de Nauru.

Changement climatique --- Anthropocène --- Esthétique --- kunst --- eenentwintigste eeuw --- kunst en ecologie --- Biënnale van Venetië --- antropoceen --- Alix-Tabeling Nils --- Armour Dana-Fiona --- Avery Charles --- Baruchello Gianfranco --- Berrada Hicham --- Bondi Bianca --- Buggenhout Peter --- Cabot Roberto --- Cerveny Alex --- Conway Anna --- Crispin Sterling --- Geers Kendell --- Geiger Anna Bella --- Gréaud Loris --- Hooper Schneider Max --- Ingarden Agata --- Kirkeby Per --- Kurant Agnieszka --- Londi Romana --- Magadlela Turiya --- Pizzani Lucia --- Rocha Pitta Thiago --- Snöfrid Ylva --- Uriburu Nicolas --- Wellmann Ambera --- Yang Haegue --- Zach Phillip --- 7.039 --- 705.9 --- 21e eeuw --- Italië --- klimaatverandering --- ecologie --- Alix-Tabeling, Nils --- Armour, Dana-Fiona --- Avery, Charles --- Baruchello, Gianfranco --- Berrada, Hicham --- Bondi, Bianca --- Buggenhout, Peter --- Cabot, Roberto --- Cerveny, Alex --- Conway, Anna --- Crispin, Sterling --- Geers, Kendell --- Geiger, Anna Bella --- Gréaud, Loris --- Hooper Schneider, Max --- Ingarden, Agata --- Kirkeby, Per --- Kurant, Agnieszka --- Londi, Romana --- Magadlela, Turiya --- Pizzani, Lucia --- Rocha Pitta, Thiago --- Snöfrid, Ylva --- Uriburu, Nicolás --- Wellmann, Ambera --- Yang, Haegue --- Zach, Phillip --- kunst; algemeen ; beeldende kunst; algemeen ; 21e eeuw --- Art --- art [fine art] --- Sublime, the --- climate change --- Schneider, Max Hooper --- García Uriburu, Nicolás --- art [discipline]