| Srl | Item |
| 1 |
ID:
191104
|
|
|
|
|
| Summary/Abstract |
This article seeks to examine the double agent from a literary perspective, focusing on how two spy novels set during the Cold War era—Tinker Tailor Soldier Spy (1974) by John le Carré and The Untouchable (1997) by John Banville—associate the double agent with the world of art. In spy novels set during the Cold War era, using the art world as a setting can provide a divided sense of self and the double agent’s struggle toward inner completeness. Ultimately, this struggle ends in failure.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 2 |
ID:
180357
|
|
|
|
|
| Summary/Abstract |
This article analyzes the production and presentation of artworks of three countries of the Gulf Region –– Qatar, the UAE and Saudi Arabia –– to evaluate its place and potential in the globalized artworld. The Gulf region is a small but significant part of the global artworld with high potential for further development. Art globalization in the Gulf began to develop only in the 2000s –– from about 2006 in the UAE, followed by a second wave in Qatar five years later. A third wave is rising with the increasingly international exposure of Saudi Art. The article examines which factors are essential for participation in a globalized art world and whether the region enjoys international recognition on the global stage. A composite artworld ecosystem model comprising institutions, artists and their artworks, commercial entities and government was conceived on a philosophical and sociological basis within a historical and geopolitical framework. The roles of the museum, biennials, art galleries and art fairs, are converging in many respects. All the nodes of the artworld ecosystem are required for globalization, with participation in the biennial model being the most important factor, being more flexible than the museal institutions in funding and programming. To reach a wider audience, the art fair model could be more relevant than the more esoteric biennial format. The Gulf region’s patrons possess strong motivations for supporting the arts of the region internationally. In addition, the desire to enter the global cultural world through the promotion of art museums as a tourist destination is a strong motivator for governments.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 3 |
ID:
190346
|
|
|
|
|
| Summary/Abstract |
The art world is commonly seen as being conducive to the emergence of cosmopolitan spaces and sociabilities. However, this cosmopolitanism cannot be understood without observing the specific characteristics of the field of art and the socio-political context in which it emerges. This article examines how the internationalization and diversification of actors involved in the art scene in Tehran, reconfigures power relations and creates new relationships of interdependence, alignment or domination between actors from diverse social and geographical backgrounds. The focus is on the connections between Dubai and Tehran forged through artistic practices, via the analysis of a key actor: the “cultural entrepreneur”. In this sense, cosmopolitanism is considered both through the individual trajectory of the cultural entrepreneur, strongly anchored in the Iranian national context, and as a characteristic of urban spaces and sociabilities generated by artistic dynamics.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|