Benyounes Amirouche Writes about References, Bets of Contemporary Art

2020-10-21 | Since 1 Month

"Visual Paths…References and Bets of Contemporary Arts" is a new book by Moroccan artist and critic Benyounes Amirouche that is set to release soon by the 5otot publishing house in Jordan.

It includes an introduction "Visual Paths or Potential of Thinking in Art," and an abstract "Contemporary Art and Postmodernism…Approach for Understanding" by Moroccan writer Moulim EL Aroussi. The book also includes a number of studies published in two parts: the first dubbed "Contemporary Art Means…Transformations, and Extensions" features the following studies:

Revolutions of Biography and Style…from the Art to the No Art; Media Logic in Contemporary Visual Arts; Décor Inputs in Contemporary Art; Foundations and Substitutions of Digital Creativity; Performance as an Alternative Art; From Work System to Art System; Artwork and Dialogue.

Read More: American poet Louise Gluck wins 2020 Nobel Prize in Literature

The second part dubbed "Contemporary Arabic Art…Causes and Bets" features many studies as well including: The Art and The Network Community…From Culture to Creative Industries; Dilemmas of Contemporary Arab Visual Art…Diaspora Art in Light of Globalization; Manifestations of Immigration Asylum in the Current Syrian Contemporary Art; Artwork Standard in Face of Extremism; Social Dimension as Fulcrum in the Current Art.

 

In the book's introduction, Aroussi described Benyounes Amirouche as "a visual artist who chose to think about art as it is. Because he judges art based on the performance not based on abstract theories, his writings lure your attention from the moment you begin reading his texts.

He doesn't allow you to think of another writer of intellect because his theoretical references don't interfere with the dominance of the image. He writes in a way that opens the door to the artwork first, and then allows the thoughts to flow indirectly to the reader's mind. I feel he writes about art without the complexities we usually find in the writings of other artists, who transform the visual piece into a literary piece before they write about it."

"Amirouche doesn't put the understanding before the artwork; instead, he gives the understanding the opportunity to introduce itself in the image," Aroussi said.

"The critic managed to select examples from across the Arab countries to explain his point of view. The Arabic art that we know has many common factors that gather its artists from the west to the east, despite some opinions saying it's hard to find a line that links its different movements and schools," concluded Aroussi.



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