جستجوی مقالات مرتبط با کلیدواژه "هنر زیست محیطی" در نشریات گروه "هنر و معماری"

Among various late 20th century schools of thought which have addressed the rapid deterioration of nature and the environment, Ecofeminism stands out. The term was first coined by the French writer Francoise d’Eaubonne in her 1972 book Feminism or Death.She was almost the first one to viewdomination, gender and the environmentin connection with each other. According to Ecofeminism, a dominating ideology equally treats women and the culturally inferior, andthe naturally inferior such as animals and the environment. In other words, similar patterns are at work to undermine the essence and identity of both.Thus,Ecofeminism has philosophical, theological, sociological and ecological concerns on one hand, and political and pragmatic concerns on the other. One can identify Ecofeminism schools and branches based on their political thought and praxis; however, what they all have in common is questioning dominant power structures that have equally subjugated woman and nature over time in different sociocultural and political contexts. Freed from gender/ecologic domination patterns,uto/dystopias and their hazards thus turn into main subjects of contemporary Ecofeminist subjects through a self-deconstructive approach.One should, however, admit that Ecofeminism’sfundamental philosophical and methodological flaws, most significantlyaccording to its critics, pure essentialism. The present paper intends to reframe Ecofeminismthrougha study of some contemporary artworks in the genre,rereading its deemed essentialism and sexism.

Ecological problems are among the concerns of the contemporaryworld. In recent years some artists in Iran have been using the new artmedia to express and understand these problems in order to challenge theaudience. Urban art, in addition to providing aesthetic aspects, can play amore effective role in raising public awareness of the issue of ecologyprotection through its proximity to interactive art and by consideringcitizen audiences as the primary target of such artwork. In this regard, itseems that the many commonalities between the new art media and theurban art have made it possible for artists in this city to reach theiraudiences more than ever. Studying and recognizing the ecologicalartworks in urban spaces of Iran shows that among the new media,environmental art is more aligned with the artist's goals and expressingecological concerns in the city because of its quick and easycommunication with the environment and the audience. Other media havebeen favored by artists. In this descriptive-analytical study, an ecologicalapproach is used to examine the reasons for artists' attention to new mediain Iranian urban spaces by evaluating the extent of their presence in theurban context and how they succeed in conveying the ecological conceptsin their creative works.