Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad: Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes
How can works of art position themselves, in the present time? What can be their meaning in an environment of global crisis and how can they react it? It is with these questions in mind, that this contribution focusses on one work by Banksy and one work by Zolaykha Sherzad. Both works position thems...
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| Format: | Elektronisch Artikel |
| Sprache: | German |
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2022-05-03
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| Online-Zugang: | Volltext Volltext |
| Zusammenfassung: | How can works of art position themselves, in the present time? What can be their meaning in an environment of global crisis and how can they react it? It is with these questions in mind, that this contribution focusses on one work by Banksy and one work by Zolaykha Sherzad. Both works position themselves in different ways in relation to crisis and react to modern forms of artistic presentation. But these two references also bring ambivalences to the table, as e.g. the works’ use of form differs from that of given modernist points of reference. Differences like these pose the question, whether our idea of Modernism might be too monolithic |
| Beschreibung: | Online-Ressource (8 Seiten) 2 Illustrationen |
| ISSN: | 1618-8101 |
| DOI: | 10.48633/ksttx.2022.1.88241 |
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| spelling | Hengst, Lutz Hendrik Verfasser (DE-588)138504776 aut Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes Lutz Hengst 2022-05-03 Online-Ressource (8 Seiten) 2 Illustrationen txt rdacontent c rdamedia cr rdacarrier How can works of art position themselves, in the present time? What can be their meaning in an environment of global crisis and how can they react it? It is with these questions in mind, that this contribution focusses on one work by Banksy and one work by Zolaykha Sherzad. Both works position themselves in different ways in relation to crisis and react to modern forms of artistic presentation. But these two references also bring ambivalences to the table, as e.g. the works’ use of form differs from that of given modernist points of reference. Differences like these pose the question, whether our idea of Modernism might be too monolithic Sherzad, Zolaykha 1967- (DE-588)1048456528 gnd rswk-swf Banksy 1974- Flower Bomber (DE-588)1214757618 gnd rswk-swf Banksy 1974- (DE-588)131787225 gnd rswk-swf Banksy 1974- (DE-588)131787225 p Banksy 1974- Flower Bomber (DE-588)1214757618 u Sherzad, Zolaykha 1967- (DE-588)1048456528 p DE-604 number:1 year:2022 Kunsttexte.de [S.l.], 2022 Ausgabe 1 (2022): Gegenwart (DE-604)BV014034525 1618-8101 (DE-600)2063498-5 application/pdf 264,04 KB https://journals.ub.uni-heidelberg.de/index.php/kunsttexte/article/view/88241 Resolving-System kostenfrei Volltext https://doi.org/10.48633/ksttx.2022.1.88241 Resolving-System kostenfrei Volltext |
| spellingShingle | Hengst, Lutz Hendrik Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes Sherzad, Zolaykha 1967- (DE-588)1048456528 gnd Banksy 1974- Flower Bomber (DE-588)1214757618 gnd Banksy 1974- (DE-588)131787225 gnd |
| subject_GND | (DE-588)1048456528 (DE-588)1214757618 (DE-588)131787225 |
| title | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes |
| title_auth | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes |
| title_exact_search | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes |
| title_exact_search_txtP | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes |
| title_full | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes Lutz Hengst |
| title_fullStr | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes Lutz Hengst |
| title_full_unstemmed | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes Lutz Hengst |
| title_short | Strahlkraft vor grauem Grund bei Banksy und Zolaykha Sherzad |
| title_sort | strahlkraft vor grauem grund bei banksy und zolaykha sherzad notizen zu zwei varianten der positionierung von gegenwartskunst inmitten zugespitzter krisen und modernen erbes |
| title_sub | Notizen zu zwei Varianten der Positionierung von Gegenwartskunst inmitten zugespitzter Krisen und modernen Erbes |
| topic | Sherzad, Zolaykha 1967- (DE-588)1048456528 gnd Banksy 1974- Flower Bomber (DE-588)1214757618 gnd Banksy 1974- (DE-588)131787225 gnd |
| topic_facet | Sherzad, Zolaykha 1967- Banksy 1974- Flower Bomber Banksy 1974- |
| url | https://journals.ub.uni-heidelberg.de/index.php/kunsttexte/article/view/88241 https://doi.org/10.48633/ksttx.2022.1.88241 |
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