| 词条 | Draft:Gloria Benedikt |
| 释义 |
See Markup for how to mark section headings. Section headings are delimited by equal signs (=), which are used to construct the table of contents of a page. Fix reference errors. Robert McClenon (talk) 07:51, 7 December 2018 (UTC)}} {{AFC comment|1=1. Please remove all external links from the body texts2. Wikipedia can NOT be the source 3. Please note subject need to pass the notability requirements for ENTERTAINER of Wikipedia. 4. Sources provided need to be independent, reliable to demonstrate the notability of the subject. 5. Please read Your First Article and Referring for Beginners to familiar yourself on how to write an article and cite source in Wikipedia. CASSIOPEIA(talk) 09:50, 14 September 2018 (UTC)}} {{AFC comment|1=Please note we don't use external links in the body of an article they might be suitable for conversion into references though Theroadislong (talk) 15:20, 11 May 2018 (UTC)}}[1] Gloria Benedikt is an Austrian dancer and choreographer who works at the intersection of art and science and currently leads the Science and Art project at the International Institute for Applied Systems Analysis (IIASA).[2] Recent performance and speaking engagements include the Euro Science Open Space (Toulouse)[3], the Kennedy Center, Washington (DC)[4]; the European Forum Alpbach[5]; the Bridging Europe Festival (Budapest) [6] and Carnegie Hall [7]. She was born in Graz (14th of February 1983) and trained at the Vienna State Opera Ballet School[8]and English National Ballet School, London [9]. Since graduating in 2002 she has worked in the United Kingdom, Germany, Hungary, Cyprus, the United States, the Netherlands and Austria. She obtained her higher academic education at Harvard University, class of 2013, where she served as Vice President of the Harvard Club of Austria Student Chapter[10]during the 2010/2011 academic year. During her academic studies she continued to dance full time. Upon graduation in 2013, she started to connect her academic and dance training by ‘choreographing papers’.[11] After a public debate on 'arts, economics & the irrational' at the Museum of Modern Art, Vienna, on November 29, 2014, with Tomáš Sedláček[12][13], composer Merlijn Twaalfhoven[14] and Pavel Kabat, former CEO of International Institute for Applied Systems Analysis (IIASA) in Vienna[15], invited her to join the institute. In 2015 she was appointed as IIASA’s first Science & Art Research Associate.[16]. Never before had the Institute for Applied Systems Analysis (IIASA) appointed an artist as an Associate Fellow. [17]. Benedikt explores how the knowledge of art and science can be combined, in order to tackle global challenges more effectively and how artists can support transformations towards a sustainable future. In 2017, she co-curated the UN SDSN Concert for a Sustainable Planet at Carnegie Hall.[18]. Since 2018, she leads the Science and Art Project at IIASA.[19] She returned to Harvard University as a guest speaker at the Mellon School for performance research[20].In 2017, Gloria Benedikt co-curated the UN SDSN Concert for a Sustainable Planet at Carnegie Hall.[21]. She returned to Harvard University’s Mellon Summer School for performance research.[22] and collaborated in the Program for Evolutionary Dynamics[23] on the choreographed paper "Dancing with the Future" which premiered in September 2018.[24] Constructive ArtIn 2017 Benedikt co-authored The Art of Systems Analysis[25] with the Canadian Playwright, Chantal Bilodeau[26] and Dutch composer Merlijn Twaalfhoven. They illustrate how artists can support transformations to sustainabilty and, by doing so, demonstrate the emergence of a new art form, defined as constructive art. Constructive art doesn't just illustrate a topic, reflect on a problem or, in the case of activist art, advocate for a particular point of view. It poses original questions that open up avenues for inquiry and aims to change perceptions, breaking negative patterns of behaviour and promoting new ways of relating to humans and nonhumans. Constructive art engages with real-life problems through the artistic process. It breaks the old dichotomy between autonomous and applied art to make room for a novel approach where artists create autonomous spaces within the context of current global challenges. While the methodologies used in constructive art vary, two main approaches can be identified:
Within these two approaches are five hallmarks that define constructive art: social relevance, investigation, process, constructive output, and media engagement. |
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