摘要：In contemporary Turkish art, topics or items considered obscene by society are being carried out by a number of artists with protest, agitation, anti-propaganda, or strike purposes. Issues that are often seen in social life such as domestic violence, honour killings, rape, gender discrimination, intolerance against minority groups generate some artists＇ main theme in their work. Certain circles do not show any reaction to such social wounds, or even support. These circles that have no discomfort in the existence of these wounds get disturbed when they face these social realities through artistic activities. These artists are subject to threats or even physical attacks by such groups. In this paper, Turkish artists, namely Sukran Moral, Taner Ceylan, and Nezaket Ekici who make use of such obscene scenes in their works, will be analyzed including their performances, reactions, and attitudes toward threats and attacks.

摘要：With the development of economy and society, every comer of the world＇ s cultural and spiritual civilization are closely linked together, At the same time, the clothing and contemporary art are in the big tide of mutual penetration and mutual influence. contemporary art has influenced on the costume design. Costume design can play their own advantages in art tide, toward a higher point. The passage from the clothing design and other fields of contemporary art in the process of cross-border integration explores the future development trend of garment design.

摘要：What is the influence of the media as a means of work today？ Media as a material （paper, canvas, vinyl, etc.） on which it is printed, with its specific characteristics and special features--texture （plain, uneven, with a defined relief）, colour shade, and even thickness; media as a means of documentation of the result of the creative process through catalogues; media as a mediator representing the result of this process in the common cultural sphere. How powerful is the media？ There is one thing happening at the moment of ＂the event occurring＂ in the institution （a gallery, an exhibition hall, etc.）. It is performed, reproduced, eventually sold. Otherwise it does not exist--it is not paid attention in the media, it is released nowhere （it is nowhere ＂published＂）, respectively it does not influence anybody and does not iustify the use of its existence.

摘要：The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figure, in relation to the perception and representation of space and the role and form of the sign. According to this philosopher, the figure dominates the communication process by deconstructing the text. Both the topography of the figure and art is the result of repression processes and the subsequent discharge of libidinal energy. art in particular is a formalism of the death drive, according to Lyotard. The figure of ＂the mobled queen＂, the expression of a possible slip of the tongue in Hamlet, becomes a symbol of the distorted relationship of the visual, the semantic, the ethical, and the critical role of this in art and communication. In addition to Lyotard＇s model, the possible figures of globalization will be discussed in relation to Peter Sloterdik＇s Globes. Spheres II.

摘要：Conceptual art is one of the twentieth century art movements that has gained popular attention in the contemporary artworld. It has received much scholarly prominence in the Western world, and perceived as an emergent art of European origin. What has been given little or no scholarly attention is the African essence of root of conceptual art movement. This article addresses the historical epochs of conceptual art in Africa and delves into the critical question of whether or not conceptual art is an emergent art in Africa. With the help of the images of African artworks, this article attempts to fmd visual answers by examining the art-historical account of the art through visual analysis in simple narrative format in telling the African side of the story. It concludes that the adoration and idolization of Marcel Duchamp as the father of conceptual art is contestable since the art was many centuries old in Africa before the twentieth century artists began to practice it in the West. Duchamp＇s attempt at dematerialization of art, and showing distaste to the traditional aesthetics of Western art at the time through conceptual exploration had been in practice in African art and, therefore, not an invention.

摘要：Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. Nowadays in China this artistic revolution has sparked a vivid debate among the art critics on three main topics： （1） definition of the phenomenon; （2） analysis of its nature; and （3） classification of the artistic production. In this article, all these aspects are analysed in order to give a comprehensive view of the present theoretical discussion and of its future development.

摘要：This paper was carried out by the group of professors--Maia Creus, Tamara Diaz, and Ines Martins from the Design Analysis and Prospective Department, with the collaboration of the Catalan Institute for Women, Generalitat de Catalunya. Maia Creus and Ines Martins are parts of the research group TADD （Theory, Analysis, Design, and Development） recognized by Ramon Llull University. The research, based on feminist and performance studies, focuses on artistic groups currently working in Catalonia and whose practices produce tools and technology sharing, highlight the social and educational potential of ICTs （information and communication technologies） free access when used, consciously and critically, from feminist perspectives assumed. The research project was developed as a dual methodological process. This research group has developed a critical review of the three conceptual axes--women, art, and technology--around which revolves the present study and, in parallel, has conducted field work directly with groups of selected artists, in order to meet them within their areas of production and to know more about their working methods, theoretical discourse, goals, frustrations, and desires. This deployment in parallel was used to develop a group of key concepts that revolve around ＂free culture＂ and ＂culture of access＂ that in contrast with the practices and theories of the investigated groups are necessary to intercept and reinterpret. Through various forms of visibility, this paper intends to investigate, promote, and share these tools, technologies, and pedagogies developed by these groups which, by its own dynamics of collective work, as well as the processes of public participation, emphasize forms of interculturality and interdisciplinary.

摘要：The writings and artistic works of Antoni Tàpies(2009;2011)mirror the influences of the cosmic vision of the Chinese ***,numbers,and creative procedures related to this correlative thought prevail in his art.Tàpies integrated different iconological codes from the ancient Chinese thinking into his art to question the existential meaning of the universe and to express his thoughts on the cultural and socio-political controversies of his *** other words,the images,media,and techniques that he utilized for his works were extensions of his life experiences intertwined with various socio-historical facts and his personal feelings.

摘要：China traditional culture, our culture, the root of all the children of the Yellow Emperor. Ancient poetry, the essence of traditional Chinese culture, but also the world’s cultural and artistic treasure house of a bright pearl. Chinese culture has a long history, broad and profound, poetry is always the highbrow type of aesthetic elegant, attracted many devout followers, especially those in the thoughts and feelings, wisdom and creativity in a famous through the ages, although after thousands of years of vicissitudes of life still shine, while dancing alone in the modern civilization and tired of noisy. Never forgotten.