![]() The Modern Spiritualist Movement is often understood to begin the same year as the Suffragist movement in The United States, in 1848. Spiritualism, like the suffragist movement, gave women a voice in a time period marked by strict and repressive social practices that controlled even the expression of grief. Not only did it develop in response to technological advancements, but also social movements and events at the time as well, like high infant mortality rates due to epidemics across the world and Women’s Suffrage. With technologies that either suspended time visually, or allowed people to communicate with others almost instantaneously through coded electrical messages, this new belief system developed as responses to these new modes of communications. It became not only an discourse of philosophy, but crossed over into the realms of scientific experimentation, mysticism, and art.This was due to quickly developing media and communication technologies during the Second Industrial Revolution that revived interest in metaphysical texts and gave rise to belief systems like Spiritualism. The exploration of what constitutes time and space has been an abiding subject since the beginning of recorded history, with a profound interest rooted in the nineteenth-century that continued into the turn of the twentieth-century to contemporary times. It is this pondering of one’s own mortality driven by technological accelerationism and direct confrontation of death that drives both one’s fears and curiosity of / in the unknown and towards the exploration of the occult. “The pressure of technology, the outbreak of the pandemic, the heightening of social tensions, and the looming threat of environmental disaster remind us every day that as mortal bodies, we are neither invincible nor self-sufficient…” The Milk of Dreams, Cecilia Alemani, 59th International Art Exhibition of La Biennale di Venezia, Venice, Italy. But what has sparked this recent interest in this subject area among myself and fellow artists, researchers, and historians, etc.? In a recent statement made by curator, Cecilia Alemani, on the theme for the 59th International Art Exhibition of La Biennale di Venezia, she states that: The occult in art has always been my main research focus since the start of my academic career primarily the intersections of Spiritualism within nineteenth and twentieth-century photographic practices and mourning customs. Why has the creation and research of the occult in art become so popular nowadays? Is it a nineteenth-century revival, or has it always existed, but just never acknowledged by traditional institutions before? I often side with the latter. You can decide how much you want to bring to the project. You can choose how much you want to contribute to the project. You can now participate in the project by supporting it. If you believe in A*DESK, we need your backing to be able to continue. We want to carry on being independent, remaining open to more ideas and opinions. At A*DESK we have also generated work for over one hundred professionals in culture, from small collaborations with reviews and classes, to more prolonged and intense collaborations.Īt A*DESK we believe in the need for free and universal access to culture and knowledge. Their efforts, knowledge and belief in the project are what make it grow internationally. Many people have collaborated with A*DESK, and continue to do so. A*DESK has become consolidated thanks to all those who have believed in the project, all those who have followed us, debating, participating and collaborating. A*DESK has been offering since 2002 contents about criticism and contemporary art.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |