Unframing/Reframing in the Contemporary Visual, Performing, and Media Arts
open access | peer reviewed-
a cura di
- Pietro Conte - Ca' Foscari University of Venice - email
- Cristina Baldacci - Ca' Foscari University of Venice - email
- Susanne Franco - Ca' Foscari University of Venice - email
Over the last two decades, the notion of the frame has been radically challenged in the visual, performing, and media arts, particularly as a consequence of the introduction of two mutually related concepts: ‘unframing’ and ‘reframing’. While the first refers to the gesture of ideally getting rid of any framing device, the second offers alternative ways to contextualise objects, acts, and images in time and space. This issue of JoLMA proposes to examine the concepts of unframing and reframing from the interdisciplinary perspective of visual art, performance, and media studies, by following both a theoretical and a practice-based approach. The entanglement of theory and practice becomes crucial when an attempt is made to introduce new epistemological standpoints.
Keywords Art Ontology • Frame • Avalanche magazine • Framing in art • Visual Culture Studies • Storytelling • Human-machine entanglement • Feminist art • Reframing • Hyper-enactment • Art magazines • Contemporary art • Re-framing • Art theory • Judy Chicago • Art of the 1960s and 1970s • Desktop documentary • Sequential Images • Training humans • Augmented reality • Fictional Worlds • Artists’ magazines • Art • Virtual Reality • ChatGPT • Narration • AI • Pictorial Storytelling • Camille Henrot • Interpretation • Grosse Fatigue • Picture Thresholds • Re-enactment • Single Images • Framing • Conversation • Image
Permalink http://doi.org/10.30687/Jolma/2723-9640/2023/01 | Pubblicato 25 Settembre 2023 | Lingua en, it
Copyright © Pietro Conte, Cristina Baldacci, Susanne Franco. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.