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Fareed Armaly (born 1957 in Iowa) is an Arab American artist, curator, author and editor who lives and works in the United States and Berlin, Europe. Starting in the late 1980s, his work introduced a focus on the open definition of contemporary artistic practice as the medium itself, well-suited towards rendering a contemporary syntax from issues pertaining to a politics of culture, identity and representation. His initial wider recognition came in relation to 'Kontext Kunst'〔(【引用サイトリンク】 first = Künstlerlexikon )〕|〔To the point that there in the German-speaking area is a term 'Kontextkunst' (context art), coined by Peter Weibel for an exhibition with the same name in Graz in 1993, and highly contested by particularly the Cologne-based leftist art scene. Kontextkunst is, if you wish a German parallel to the so-called 'relational aesthetics' but more programmatically political and academic. Both imply a more dynamic notion of art, which actively takes the context into consideration and which often goes beyond the exhibition space. Some of the artists used as 'good' examples by Christian Kravagna have been associated with Kontextkunst. See Peter Weibel: Kontextkunst – Kunst der 90er Jahre, Cologne, DuMont Verlag 1994; cited from: 〕|〔()he way has been paved for effective critique to move beyond self-referentiality, as identified by Peter Weibel in his 1994 Kontextkunst (context art) project, suggestive of a proactive attitude towards change: ''It is no longer purely about critiquing the art system, but about critiquing reality and analysing and creating social processes. In the ’90s, non-art contexts are being increasingly drawn into the art discourse. Artists are becoming autonomous agents of social processes, partisans of the real. The interaction between artists and social situations, between art and non-art contexts has led to a new art form, where both are folded together: Context art. The aim of this social construction of art is to take part in the social construction of reality.'' cited from: 〕 a term coined by a 1993 seminal group exhibition/publication. Armaly’s work is unique in confounding genre, his focus on artistic practice is methodologically expansive, including a range of interdisciplinary-based exhibitions, collaborative projects as well the longer-term roles and positions within the art institutional framework. ==Work Method== Armaly’s exhibition projects can be described in terms of how they draw together working fields and relations, that connect between different categories of enquiry and methods of exposition. Their subject is reflected within and constituted through each project’s particular type of scripted construction. A hallmark of these constructions is that a project 'identity' emerges from a dynamic aggregate. The attention is drawn from what is 'exhibited' onto the correspondences between them, and renders the effect of perceiving these interweaved associations as the experience itself. Graphical guiding systems, wall texts and resource publication operate as a dialog, suggesting the constant triangulation of the locus of the artwork. By offering analytical passages through, more 'situationist' than 'site', these construct rather than illustrate. Their new construction material is derived from a synthesis of programming codes, a script joining media, architecture, computer, working with historical material, archives, resource interviews as social histories. A description of the architecture housing the exhibition may instead reveal an alternate narrative, that shifts from the sense of a structure and materiality onto a social-political realm. As a strategy this re-coding enables to reintroduce the construction in mind as an interface to a particular institutional matrix. It is within this interface that the diverse, new productions for the exhibition are located, and which establishes the project’s contemporary spatial narrative. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fareed Armaly」の詳細全文を読む スポンサード リンク
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