Antecedent
发表于 2025-3-23 13:05:02
After Salzmann: Thoughts on Humour, Erasure, Photography and Palestine be remedied through artistic intervention. Zananiri’s work intervenes in these black-and-white images to question how humour can unsettle, reduce, or even negate the colonial baggage these images carry.
出汗
发表于 2025-3-23 14:09:49
Making ‘Funny’ Art During the Greek Crisis … So What?f these works is considered to be irony and strategies of subversive affirmation and over-identification inspired by artists Santiago Sierra and Laibach. Shifting attention from what ‘funny’ work is about, to what it ‘does’ to audiences and within the local context, Chiavara’s work questions the cap
Maximizer
发表于 2025-3-23 18:16:49
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讨厌
发表于 2025-3-23 23:55:20
Is Art a Means of Resistance in Times of Global Crisis?: Far-Right, Humour and Street Art in Today’sming powerful tools of visual critique in the public space. While many of these works have engendered reactions such as censorship or vandalisation, they have nevertheless contributed to highlighting and amplifying the disruptive potential of civic dissent expressed through public art and humour. An
Parabola
发表于 2025-3-24 06:18:16
https://doi.org/10.1007/978-3-031-18961-6humour studies; comedy studies; art history; visual culture; contemporary art
DEAWL
发表于 2025-3-24 07:03:59
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浮雕
发表于 2025-3-24 10:47:23
https://doi.org/10.1057/9780230500877ical and humanitarian crisis. Although this shift in art practice is evident across a broad spectrum of both geography and forms of ‘crisis’ (from military occupation in Palestine, to the struggle for indigenous sovereignty in Australia, and economic crisis and austerity in Greece), there remains a
Redundant
发表于 2025-3-24 16:24:31
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Pathogen
发表于 2025-3-24 20:27:22
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Cholesterol
发表于 2025-3-25 01:30:51
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