Ultimately, LOVE is the purest motivation for our actions. Love is wanting others to be happy too. It motivates goodwill, friendliness, kindness, compassion for those who are suffering, and a desire to be of service to all.
Experience can be an excellent teacher, if we reflect on our actions and their consequences. We then consider our actions more carefully and cease being merely reactive to situations. Over time we become wiser and more skilful in our actions.
We can also consider what the wise have said about actions. Wise people in all times and places have suggested rules or guidelines that promote a way of living that is harmonious with everyone and that contributes to a stable peace of mind and a life free of fear and strife for the individual.
Respect for others, and ourselves, is the underlying basis for such principles. Ethical actions consider the long-term interests of all. We can start with rules or guidelines but potentially we can go beyond following rules and act from understanding; and even beyond that, we can act from a feeling of being connected to all other beings and to the whole of nature.
To build a harmonious and peaceful world we need mutual tolerance and understanding. The most promising avenue is to be found in a system of secular ethics grounded in a deep appreciation of our common humanity.
The ethical principles suggested by Buddhists are a system of secular ethics which do not depend on a belief system. Here they are stated both in their positive and their negative aspects. The first three would be listed in any code of moral behaviour. Before any action we can ask ourselves some questions along these lines: —. Actions come from our state of mind. So, when our state of mind changes, then our actions change. If we make a conscious effort to develop our innate goodness, then that becomes our usual state of mind.
It used to be less about price tags or wondering which galleries will display the work in question. In short, art today is less about appreciation of the finer things in life and more about prostituting oneself for the highest rate. Save my name, email, and website in this browser for the next time I comment. The positive impact of art: Education: Art has always been the perfect medium in which to convey ideas, emotions and notions to others; after all, you have a blank canvas and putting it to good use by painting an evocative image, to convey a common message was about the only way you could communicate to the masses.
About Latest Posts. Alan Behrens. Alan Behrens is an experienced writer and our editor-in-chief. PNI's goal is to publish high-quality, educational content covering everything from history to current events. In other words the audience comes into contact with us not through contemplation but through activity. The series of events and exhibitions entitled Direct Week, according to the idea outlined in the call for participation, aimed to establish direct contact with the audience instead of exhibiting art objects.
It was during this exhibition that Tams Szentjby presented his action entitled Exclusion exercise Punishment-preventive autotherapy: with a bucket over his head he punished himself for a week, for eight hours a day, while also inviting the audience occasional local visitors and art professionals to interrogate him.
The programme is essentially identical with that previously planned. You must provide whatever equipment you may need. You can ask anything from the self-sentenced and II. You can ask the following: Are all life-schemes that exclude even one other human being immoral? Can one form a community with another person without being completely free oneself? Is cultures real purpose to make one conscious of the fact that ones fate is identical to history?
Is it the most important thing to discover and realise what is needed in life? Those who bear the unbearable, do they know nothing about life?
Know nothing about the interdependence that is contained in life: Can he bear himself without us, is everything hopeless without us? Can the blockade of the present be broken only by a new type of behaviour? Is the realisation of the future in the present an acceleration of our lives? Because historical time applies to the totality and not to the individual, would you try to live the facts of the present and your future desolation simultaneously? Is this all to manifest difference and therefore there to activate a potentially different?
Can the changeable also be unfinished? Is the unfinished to be changed? Is unchange: suffering? Is incompleteness: suffering? Do you hope that you can make us conscious of interdependence by demonstrating that we are all at each others mercy? Is there punishment in your action? Is there action in your punishment? Is action a sin? Is punishment a sin? Is sin action? Is action punishment?
What is a sin? Is sin that action that causes suffering? Is sin that action that causes no change? Is there anything at all that you can call an action that would not produce a change, and whose existence is not aimed at reducing suffering? Are you punishing yourself because by self-punishment taking the punishment of self-punishment you release the punisher from the punishment that is not action: that is sin?
Do you feel particularly exposed because you cannot see to whom you are talking? The group represented an emergent generation who inherited the language of conceptual art but were also looking for new ways to become professional artists. Drozdiks performance reflected on the malecentred perspective of traditional art education. In addition to the consciously assumed female position, the critique on art history also indicated a new, postmodern critical approach.
Interview with Orshi Drozdik, Andrs Halsz and Kroly Kelemen Orshi Drozdik: I invited some artists and critics to participate in my performance in order to legitimise my work. They were my friends rather than just colleagues. They could do whatever they wanted. They opened my show. Fine Art Model. The institutionalised Fine Art model. Art model. The model of thought that society wants for the individual. Andras Halsz: I liked it a lot: it was a silent, relatively small room. And behind these big wooden 4.
The model of thought that the individual ofdoors, they were sitting together. Piroska was sitfers to society.
I found it beautiful, because it is 5. Model conflict. She went to Orsolya Drozdik, school for six or seven years, and she was looking at the nude carefully all the time. I found it very funny. It was not erotic at all. Zsigmond Krolyi: I can remember that there were five of us, and I wrote a text Then Orshi and Piroska walked into this room, which was somehow closed off, first with a cordon, then with a gauze curtain, so you could not enter.
The spectator could see them as a picture through the frame of the door. Orshi Drozdik: They didnt understand the work the art-history and the audience. On a visual level it was very pleasurable and complex. It was comprehensible in a modernist way too.
They understood the work this way. But the use of the female body and its complex structure they did not understand. Unfortunately, I did not explain enough why I chose a female nude. I should have elaborated more what the conflict was about. Even though I consider secrecy as a very important component of art, this work was didactic; still, I did not provide any guidance to its reading.
The intention was to show the grotesque nature of the situation that a woman artist has to draw a naked woman. Auby Budapest Artur mijewski Warsaw. How can we remember, reconstruct, and recycle exhibitions in order to include them in our shared historical knowledge.
How could historical research, adapted to international curatorial discourses, change the prevailing feeling of being ignored, and the sense of belatedness of historically and geo-politically marginal art scenes.
How could Eastern European art practitioners take advantage of, and at the same time overcome the voyeuristic interest of the Western art market in the communist past, fuelled as it is by post-colonialism and globalism. How can we make sense of the shared experiences of youth movements, sub-, parallel- and counter cultures, political activism and the fundamental differences concerning the legacies of the neo-avantgarde. The newspapers included interviews with Reesa Greenberg, Prelom kolektiv, kuda.
The themes and sessions of the symposium included: 1. Revisiting exhibitions: reconstruction and re-contextualisation 2. Archives the archive as exhibition format, and exhibition archives 3. East European Exhibitions as tools of identity-politics 4. Opening of Wouldnt it be easier for the government to dissolve the people and elect another?
Typopass Critical design and conceptual typography exhibition organised by tranzit. Exhibition view: Typopass: Typographic Utopias. The exhibition Tango Luxus and others presented historical and contemporary projects and publica- selected and lent by Piotr tions from the boundaries of design and the visual arts in three Rypson Artist publications groups: Typographic utopias, Anti- and parallel design and Sub- from the collection of versive design.
Artpool Art Research Centre A utopian approach to design first appeared in the modernist selected by Viktor Ktun, movements, questioning the ornamental function of design and and further publications aligning it with social and political goals. The s and s saw Curators: Judit Angel the appearance of anti-design; as a means of expressing a critiDra Hegyi Zsuzsa Lszl cal attitude, more and more artists turned to deliberately amateur DIY methods.
Today, design elements that were originally The autumn seminar of the Free created through political and social commitment have become School for Art Theory and Practice was freely interchangeable stylistic elements, devices for marketing, connected to Typopass Critical design political decoding and the conscious use of a range of visual lan- and conceptual typography exhibition. At the same time, the approach of typography as a world-constructing system can also be discerned in neo-avant-garde and contemporary practices.
In this section we presented historical documents and contemporary projects that deal with the heritage and reception of modernist design and typography. East European neo-avantgarde artists and samizdat publishers often use such solutions as a revolt against the good taste and professionalism representative of institutions. This segment focused on Eastern-European artists publications, historical and contemporary practices using deliberately rudimentary and unpretentious design techniques.
Plgium collection: anarchistic and non-official publications from the s. New and existing projects raise awareness of underlying mechanisms and signs embedded in various typographical practices. Installation view: Andreas Fogarasi, Sound Traveler, , light box and display presenting montage book series edited by Florian Pumhsl since , Photo: Sndor Bartha.
Design and criticality. Examples from the field of Hungarian and international design culture. Creating blueprints for mass production, graphic design, industrial design, environmental design, advertising, interior design, fashion design etc.
The focus of the research and of the Ideology of Design exhibition, events and publications are the theories and practices of industrial and graphic design that were taking place during almost half a century of socialist Yugoslavia, examining their wider social and ideological context. Design is a productive and highly interdisciplinary field, which includes achievements from culture, science, architecture, technology and artistic practice, and thus represents fertile ground for sociological and philosophical discussions on technology and the market, about the social and political-economical dynamics and the labour process.
A special aspect of the project focused on discussions and practices taking place in socialist Yugoslavia, which tried to define the role of design in a non- market socialist economy, its functionalism and its being conditioned by the market, or its social engagement, and the role of design in.
Developing progressive, critical and contradictory positions, design was simultaneously presented as a symbol of post-war reconstruction in a country in the sway of industrialisation and as a means for the liberation of man from material privation, but as decades went by it became one of the central factors in building a socialist market society.
The project, Ideology of Design, deals with the contextualisation of contradictory processes refracted through theory and practices of design and, parallel to this, the way in which different ideologies of design and visual identities were created, first in post-war Yugoslavia, then during the tempestuous s and s, through to the stage at which this community ceased to exist. The project also re-examines the opportunity to create the relationship between critical and historical design and contemporary practice, which is increasingly seen as the exclusive domain of the creative industries.
Refracted through an ideological prism of neoliberal capitalism these industries preserve the exploitative relationship between creativity and the creative personae. Thus, a question arises: Is it possible today to observe and practice design outside of the dominant functionalist principles and market-dictated production and consumption, and to develop their engaged dimension in creating more humane social relations, i.
Or, to put it differently: you dont get out of bed to go to work. You cannot go to work, because you are your work. And since you already are your work you can be nowhere where there isnt also your work. At the moment of the big bang of design in the 21st century, we the designers are becoming the key producers of value of all sorts.
The collateral damage is everywhere at the same time, so that everywhere there is design, and the way it operates is uncontrolled and inconsistent. So what signifies we, the generation of the design blast, what makes this generation different from others, with what new problems and challenges are we confronted? My thesis is that we, the generation of the design blast, who live in the explosion and its aftermath, have to reinvent our we. We are in a situation where there is little or no emphasis on our collectivity as we are all, of course, individuals, and we are competitors, and we can try to hide this by creating our own niches where it seems were not competing.
What is needed at the moment is not another niche, but the description of a new condition, one through which we may be able to construct a we. It is clear that design is an integral part of visual culture and culture generally, in shaping the twentieth century. An interview with Ivan Picelj, a graphic designer from Zagreb was added to the series of dialogues produced for the Ideology of Design project.
This was realised by Dragan Mileusni and eljko Serdarevi, a designer couple from Zagreb, on the occasion of the anniversary of Helvetica typeface. Matko Metrovi: It can be clearly observed that the s were the decisive moment. Perhaps it was the Informbiro Resolution that had caused a deep moral, political and economic crisis, but by the beginning of the s that crisis was already overcome and the strength of the collective was activated, with a certain vision, of course.
When design was discussed, it was usually understood that it was concerned with items for everyday use, that there is nothing to be said about it, or that it is about the pure functionality of design. However, some authors had developed certain ideological discussions about the consumer society, the media and the extension of autonomous art into productive practice. The year spread the seed of questioning what should artists do in a market society, what should artists do in the society of ideological polarisation, etc.
This year is key to the environment around which this described problematic revolves. What is interesting is that all those fluctuations touch on the realm Capital supported counter-revolution. Design is not something The fact that it continued working that is only happening in offices, at turned into something that is of the opdrawing tables, factories or stores The fall of the Berlin Wall has two meanings: it was not only However, there was a struggle to the fall of the psychological leftovers of position design as the topic of the one deformed revolutionary idea that is day in the socialist society with the today called communism, and commu- slogan: we need a society with higher nism as understood only in that sense, social standards, not a consumer but it was the victory of counter-revo- society as such.
In this we can see the lution; finally there was only one ruler enthusiasm of the immediate postand he imposed his power. Ideologically war generations. Within the countries that fell under its impact no one is capable of adopting a neutral point of view and saying: well, that is counter-revolution, because the real revolution is long gone and forgotten.
There was this exceptional strategic and principled politics of solidarity, and that was crucial in helping the countrys balanced development Branko Vuievi: If we were to make some kind of balance sheet of the last century, according to me it would look completely different than it does in art history.
If we want to state what was most important in twentieth century art, I would start by saying that it wasnt painting, but photography, architecture, partly film and graphic design.
Stane Bernik: People should actually start this The tools back then were callipers, rulers and scissors. We are talking about a well-planned good in twentieth century art history, and that is editing. We cannot alter the fact sold; everybody was looking for better that someone has that opinion, but it is an opinion that goods.
That was the place for creation and deprives us all of something design. I call left cultural heritage, Design encompasses the widest catego- which is not bad at all. It is actually realised Since the Germans didnt through its sociality. Branislav Dobanovaki: During the jury sessions [official competitions for political posters] one could learn a lot; those sessions were simply an additional education for those who were at the beginning of their professional career, especially for me at the beginning of the seventies.
Back then, the Association [of Applied Artists] worked really well. Freelance artists had health, social and pension security, and the title of freelance artist wasnt easy to get. It was simply that things were functioning Fedor Kritovac: Design to whom and for whom? When we disregard something that initially looks like a slogan for all, for the people, for the citizens then we cannot avoid the questions that were relevant then, and are even more so today, and that is: within this Enlightenmentutopia dimension, design is necessary as a general value, regardless of how it is consumed.
When people remember those international exhibitions, from Great Britain and Germany, then it would be an oversimplification to say that this is only for political reasons, because those exhibitions had an aspect of learning and enlightenment.
The fact that it was all to hand, that it could be heard, seen, understood that is an absolute gain that didnt come from consumerism. This overview of practices in industrial and graphic design results from the work of Dejan Kri and is developed from his timeline of the history of graphic design in Croatia from , which was presented as part of the didactical exhibition Designed in Croatia May in the gallery of the Croatian Society of Designers in Zagreb.
The project questions revolution transition? How can a democratic transition be produced? What is the role of design in the ongoing conversion of political flux into mythology? Inspired by the European Revolution, this collection focuses on the very specific context of the Year of Revolution and the new political paradigm experienced in those days: the plan for a synchronised attempt at continental revolution.
Indeed, from the first students and workers demonstrations in Paris at the beginning of February to the end of the Hungarian Civil War in December , revolutions took place everywhere in Europe. Forty European cities have been the theatres of major collective events that continue to interrogate todays political context: collective spontaneity, polycentric organisation,. The cooperative Europe. The collection intends manages the development to highlight similar contempoof several research and rary situations of disjunction economical structures in between manifold revolutionfields such as territorial ary practices and standardised ergonomics, experimental theoretical attempts.
The main concept behind this adaptive use of design is the ease of arranging Z blocks in individual, social and hybrid spaces, different in size, being formal or informal, public or intimate. The blocks can stand on their own and be used as chairs, or can be combined horizontally to form benches and sofas.
Furthermore, the Z blocks can be arranged vertically into building partitions, niches, walls and columns. Finally they can be treated as scattered furniture across rooms and galleries. The geometry of a single block derives from reading alleged US medical recommendations for using prosthetic devices offering better sensual comfort during sexual encounters between middle-class couples.
If capitalism is able to produce specific knowledge of its intended use in the bedrooms of the American middle-class, the aim behind proposing and producing Z blocks is to disperse and Balkanise this scientific knowledge into an abstract for everyday social use anywhere, free from the dictate of its prescribed purpose. After every event visitors using Zblocks are free to take them home and use them as they like. The earlier, dumber version of this design, produced by Normal Architecture Offices predecessor, Normal Group of Architecture, appeared in the stage set of a production by an all female contemporary dance company performing in St.
The possibility of redesigning only the last posted proposal of the logo on the website restricts the field of creativity and the authors inspiration, but it could also lead to better solutions. This process demonstrates redesigning as an ongoing process of identity change, which constantly redefines the very ideology of an event. Furthermore, redesign and the continual redefining of identity illustrate the competitive nature of design in terms of the ongoing demand for innovation.
The significance of redesigning and redefining the exhibitions identity when the exhibition is already open also lies in viewing identity as a retrospective action, rather than an instantly formulated visual representation.
The identity of the exhibition ID: Identity presentation, photo: Szilrd Kovcs is formed as it ends, revealing all existing Studio is dealing with contemporary redesigned logo suggestions. Open Design understanding of visual communication Studios involvement in the exhibition and graphic design.
Two educational and informative activities projects presented to the public were for different target groups and to based on notions psychological support open understanding of visual pressure, deadline, speed and identity culture through workshops, plays, representing ideologies that define lectures and discussions. One of the design as an open and collaborative aims of these activities is to build an discipline, but also show the phenomena international network of designers of contemporary society.
Project Open Design. Working under pressure influences participants and results. The need for a quick response, increased concentration, and fast communication, is omnipresent. The project ID: Deadline design performance presents an open studio, where two graphic designers Marko Brki and Katarina Luki Balaikova work together in the exhibition space of the Museum of Contemporary Art in Vojvodina. With time restraints and unpleasant physical and psychical conditions the pair are creating an exhibition catalogue.
Format www. The idea of the A3. Format project is that creative ideas begin with an online collaborative platform, which is open to a range of interventions on a socalled digital canvas, dimensions The origin of the A3. Format project started with the development of this digital format, using the Internet.
The publication is a particular overview www. The rules were simple, use one colour black. Communism on the Ruins of Socialism O ur beloved heroine has said our choice is socialism or barbarism.
It is quite clear what she meant. Capitalism threatens to annihilate civilisation. Socialism took it upon itself to save it. By socialism we should understand the real movement trade unions, workers parties, workers councils, proletarian revolutions, a large body of theory and of committed art, and the resulting systems of government that set its face against capital and the bourgeois state, and thus, has attempted to save and transform civilisation as it has found it. Civilisation has certainly survived, such as it is, thanks to socialism, nuclear war has been averted and, for a while, we have perhaps witnessed a slight attenuation of cruelty and a minuscule retreat of misery and inequality, at least there, where the workers movement could force temporary compromises on the adversary.
This is why we started Little Sun. On a practical level, we work to promote solar energy for all — Little Sun responds to the need to develop sustainable, renewable energy by producing and distributing affordable solar-powered lamps and mobile chargers, focusing especially on reaching regions of the world that do not have consistent access to an electrical grid.
At the same time, Little Sun is also about making people feel connected to the lives of others in places that are far away geographically. For those who pick up a Little Sun solar lamp, hold it in their hands, and use it to light their evening, the lamp communicates a feeling of having resources and of being powerful.
With Little Sun you tap into the energy of the sun to power up with solar energy. It takes something that belongs to all of us — the sun — and makes it available to each of us. This feeling of having personal power is something we can all identify with. Little Sun creates a community based around this feeling that spans the globe. I am convinced that by bringing us together to share and discuss, a work of art can make us more tolerant of difference and of one another.
The encounter with art — and with others over art — can help us identify with one another, expand our notions of we, and show us that individual engagement in the world has actual consequences. You can follow him on Twitter via olafureliasson. The views expressed in this article are those of the author alone and not the World Economic Forum. Urban resilience, virtual reality, digital warfare and other top stories of the week.
But it could use a guiding hand to nudge it in a direction that will benefit humanity as a whole.
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