Inspired predominately by the Baroque period, my work is an expression and reinterpretation of the historical image within the context of contemporary art practices; primarily focusing on the portrayal of emotions, and the passions of the soul, through gesture and expression. Whether an anguished face, a hand pressed to the breast, a face filled with joy, rapture or love, or a sublime landscape these images evoke an emotive response. Through my interpretation of these works I aim to project my images beyond the normal boundaries into a world of excess, where the body becomes the expression and the sensation; writhing with torment, sexual tension, spiritual ecstasy or the pain of martyrdom. I attempt to address disclosure of a concealed truth; making the invisible visible. Within my work I aim to create an atmosphere where violence and serenity meet, light and contrast become every bit as powerful as form, where shadows create pools of drama and unease; and where the mark of the artist portrays the essence and being of the emotion being portrayed. In my work, figures and faces respond and react to unseen emotional triggers, often the subjects are not the main focus of the work, but instead witnesses of something greater, poised on a spiritual, liminal threshold of heightened perception and intensity within an ambiguous narrative.

Lee-Anne Trewartha
January 2009
For more information about Lee-Anne Trewartha, you can visit her website: http://www.leeannetrewartha.com/

This interdisciplinary conference will investigate the role of religion in the Hispanic Baroque. We propose to explore the Baroque not merely as a specific and historical set of literary, artistic and architectural styles. Rather we seek to study it as a complex cultural system that emerged from early modern transatlantic interaction and exchange of knowledge and imagination, and that continues to shape the political, social and cultural reality of the Atlantic world and beyond to this day.

Call for papers: read more…

Argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics have to be understood as part of the same complex. This title shows how the strategies of these two Baroques emerged in the political and social world of the Spanish Empire, and how they continue to be deployed in the cultural politics of the present.
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* Publisher: Stanford University Press
* Published: 01 January 2010
* ISBN 13: 9780804769549 ISBN 10: 0804769540

“However, some people succeeds to design ornaments as fully part of the narration expressed by a project. Computation allows them then to populate a structure with an expressive ornamentation that register the resulting architecture in what we could call neo-baroque. Architecture becomes thus a materialized surrounding narration and computer seems essential to have a global and local control of the project (capitalism not allowing the construction to take as much time as it used to do in the 17th century during the baroque era).
Tobias Klein, former student at the Bartlett and now teaching at the Royal College of Arts, the Architectural Association and one of the founders of an experimental design group called horhizon, is one of this rare people. His two projects, Synthetic Syncretism and Contour Embodiment and the project developed by one of his student, Jordan Hodgson at the RCA are examples of fascinating narrations embodied by their neo-baroque architecture.” From Boiteauoutils, 31/12/2009. Read the entire article here: http://boiteaoutils.blogspot.com/2009/12/computationnal-neo-baroque-projects-by.html

Drawing on the concept of ‘cultural anthropophagy’, which goes back to the 1928 Manifesto Antropófago by the Brazilian poet and polemicist Oswald De Andrade, an exhibit and a series of talks reflect on the critical digestion of the other as a fundamental issue in the phenomenology of cultural encounters.

European Father and Indigenous Mothers – The Postmodern Neobaroque in Latin American Culture. 


Talks by the artist Demian Schopf and by the curators of the exhibition, Elena Agudio and Paz Guevara.

Venue: ICI Conference room (3rd floor)

Time: 18:00
____________

Silent Revolution. Solo show of Demian Schopf

Demian Schopf’s The Silent Revolution is a photographic series of enactments of baroque paintings of angels and archangels from the Latin-American colonial period, an interesting hybrid coming out from the encounter/clash between European and Indigenous visual cultures.

Venue: ICI Library (2nd floor)

Time: 20:00

· Beverley, John 1988. “Going Baroque?” Boundary 15(3) & 16(1): 27-39.

· Buci-Glucksman, Christine La Folie du Voir: De l’esthétique Baroque. Paris: Editions Galilée. 1986.

· Calloway, Stephen Baroque Baroque, the Culture of Excess. London: Phaidon. 1994.

· Coyne, Petah Neo Baroque! Charta, 2006.

· Cro, Stelio “Fellini’s Freudian Psyche Between Neo-Realism and Neo Baroque,” Canadian Journal of Italian Studies 18 (5): 162-83. 1995.

· Degli-Esposti, Christina “The Neo-Baroque Scopic Regime in Postmodern Cinema: Metamorphosis and Morphogeneses. The Case of Peter Greenaway’s Encyclopedic Cinema,” Cinefocus 4. 1996.

· Degli-Esposti, Christina “Sally Potter’s Orlando and the Neo-Baroque Scopic Regime,” Cinema Journal 36 (1, Fall 1996):75-93.

· Degli-Esposti, Christina “Federico Fellini’s Intervista or the Neo-Baroque Creativity of the Analysand on Screen,” Italica (Spring1996).

· Deleuze, Gilles The Fold: Leibniz and the Baroque. Trans. Tom Conley. Minneapolis: University of Minneapolis Press, 1993. (Originally published 1988).

· Greenberg, Mitchell Baroque Bodies: Psychoanalysis and the Culture of French Absolutism, Cornell University Press, 2001.

· Guardini, Francesco “Old and New, Modern and Postmodern: Baroque and Neobaroque,” McLuhan Studies 4, 1996. (Available at: http://www.chass.utoronto.ca/mcluhan-studies/v1_iss4/1_4index.htm).

· Guardini, Francesco “Baroque and Neobaroque: the Great Retrievals,” Forum Italicum 30 (1): 1996. 129-35.

· Jay, Martin Downcast Eyes: the Denigration of Vision in Twentieth-Century French Thought. Berkeley: University of California Press. 1994.

· Kaup, Monika “Becoming-Baroque: Folding European Forms into the New World Baroque with Alejo Carpentier”, The New Centennial Review , Volume 5, Number 2, Fall 2005, pp. 107-149.

· Lambert, Gregg The Return Of The Baroque In Modern Culture, Continuum International Publishing Group (November 30, 2004)

· Lima, Luiz Costa Dispersa Demanda. Rio de Janeiro: Francisco Alves Editora. 1981.

· Mataix, Remedios, “Para una teoría de la cultura: La expresión Americana de José Lezama Lima”, Rassegna Iberistica, 73 (2001), pp. 91-92.

· Noys, Benjamin “Tulse Luper Database: Peter Greenaway, the New Media Object and the Art of Exhaustion”, Image and Narrative, August 2005.
http://www.imageandnarrative.be/tulseluper/noys.htm

· Tweedie, James “Caliban’s Books: The Hybrid Text in Peter Greenaway’s Prospero’s Books”, Cinema Journal, 40, Number 1, Fall 2000, pp. 104-126.

· Purgar, Kresimir The Neo-Baroque Subject, Meandarmedia, 2007.

· Spadaccini, Nicholas and Luis Martin-Estudillo, ed.s Hispanic Baroques: Reading Cultures In Context, Vanderbilt University Press, 2005.

· Wakefield, Steve Carpentier’s Baroque Fiction: Returning Medusa’s Gaze, Tamesis Books, 2004.

· Wacker, Kelly Ed. Baroque Tendencies in Contemporary Art, Cambridge Scholars Publishing, Cambridge, 2008

· Zamora, Lois Parkinson “Magic Realism and the New World Baroque”: http://www.uh.edu/~englmi/ObjectsAndSeeing_intro.html

· Zamudio-Taylor, Victor and Elizabeth Armstrong, Ultra Baroque: Aspects of Post Latin American Art, 2000.

Echeverria, Bolívar

· On Ethos Barroco :
Echeverria, Bolívar and Horst Kurnitzky, Conversaciones sobre lo barroco, , México : UNAM, 1993, 87 pages.

Moser, Walter

· Résurgences baroques. Les trajectoires d’un processus transculturel, eds. N. Goyer et W. Moser, Bruxelles : La Lettre Volée, 2001, 277 pages

• “‘Puissance baroque’ dans les nouveaux médias. A propos de Prospero’s Books de Peter
  Greenaway”. Cinémas X: 2-3, 2000, pp 39-63.
• “Résurgences baroques”, in eds. Joachim Küpper et Friedrich Wolfzettel, Diskurse des Barock , Dezentrierte oder rezentrierte Welt?, München: Fink Verlag, 2000, 655-680.
• « ‘Puissance du baroque’ : De l’instabilité ontologique dans les nouveaux médias », Barroco, 18, 2000, pp 189-206.

Ndalianis, Angela

· Neo-Baroque Aesthetics and Contemporary Entertainment, Cambridge, Mass. : MIT Press, 1994, 323 pages.

· “Architektur und Rhetorische Inszenierung”, in Design als Rhetorik, ed.s Gesche Joost and Arne Scheuermann, Basel, Birkhäuser Verlag, 2008, pp.191-203. [ISBN: 978-3-764-38345-9]

· “Foreword”, Baroque Tendencies in Contemporary Art, Ed. Kelly Wacker, Cambridge Scholars Publishing, Cambridge, 2008.

· “Le Baroque ‘rechargé’: Effets spéciaux et seductions Technologiques“ in De Tron à Matrix: Réflexions sur un cinema d’un Genre Nouveau. ed. Ludovic Graillat, CRDP de Midi-Pyrénées: Toulouse, 2006, pp.103-122.

· “Estética Neobarroca y entretenimiento contempor à neo” in Barrocos y Neobarrocos: El Infierno de Lo Bello, ed. F. Javier Panera Cuevas, Salamanca Ciudad de Cultura: Salamanca, 2005, pp.337-365.

· “Television and the Neo-Baroque”, in The Contemporary Television Serial, ed.s Lucy Mazdon and Michael Hammond, University of Edinburgh, Edinburgh, 2005, pp.83-101.

· “Architectures of the Senses: Neo-Baroque Entertainment Spectacles”, Rethinking Media Change: The Aesthetics Of Transition ed.s David Thorburn & Henry Jenkins, MIT Press, Massachusetts, 2003, pp.355-73.

· “Caravaggio Reloaded: Neo-Baroque Poetics”, Caravaggio: Darkness & Light, Exhibition Catalogue, Art Gallery of NSW/National Gallery of Victoria, 2003, pp.72-77.