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Arts

Arts is an international, peer-reviewed, open access journal promoting significant research on all aspects of the visual and performing arts, published monthly online by MDPI.

Open Access— free for readers, with article processing charges (APC) paid by authors or their institutions.
High Visibility: indexed within ESCI (Web of Science), and other databases.
Rapid Publication: manuscripts are peer-reviewed and a first decision is provided to authors approximately 30.8 days after submission; acceptance to publication is undertaken in 5.9 days (median values for papers published in this journal in the second half of 2025).
Recognition of Reviewers: reviewers who provide timely, thorough peer-review reports receive vouchers entitling them to a discount on the APC of their next publication in any MDPI journal, in appreciation of the work done.

Impact Factor: 0.3 (2024)

Imprint Information Journal Flyer Open Access ISSN: 2076-0752

Latest Articles

13 pages, 217 KB

Open AccessArticle

Allegorical Mise en Scene Between Pilate and the Prophet

by Kamil Lipiński

Arts 2026, 15(5), 105; https://doi.org/10.3390/arts15050105 - 11 May 2026

The article discusses the contexts and frames of presenting the film Pilate and Others directed by Andrzej Wajda by introducing intermedia tools for analysis and interpretation, especially its symbolic overtones. In Mieke Bal’s theoretical perspective, mise-en-scène is comprehended as a theatrical metaphor describing [...] Read more.

The article discusses the contexts and frames of presenting the film Pilate and Others directed by Andrzej Wajda by introducing intermedia tools for analysis and interpretation, especially its symbolic overtones. In Mieke Bal’s theoretical perspective, mise-en-scène is comprehended as a theatrical metaphor describing the staging of a visual narrative in between the contexts. The focus shifts from the contexts of Wajda’s film to the visuals that open the flashback and futuroscope, which accompany and interweave the main narrative. With the figure of “transposition” in mind, our concern is to analyze the literary and cultural contexts in the new staging of the urban environment. The main plot focuses on the martyrdom of Yeshua Ha-Nocri expressed in an allegorizing manner. Full article

(This article belongs to the Special Issue Film at the Crossroads of Media and Art)

19 pages, 1524 KB

Open AccessArticle

Mike Kelley’s Speculative Architectures: Rethinking Public Art, Pedagogy, and Memory in Social Engagement

by Amy Bowman-McElhone

Arts 2026, 15(5), 104; https://doi.org/10.3390/arts15050104 - 9 May 2026

This article examines Mike Kelley’s Educational Complex (1995) and his culminating public artwork, Mobile Homestead (2005–2013), as speculative architectures that negotiate the fraught intersections of pedagogy, memory, and public engagement. While Educational Complex mobilizes the language of architectural models and dioramas to materialize [...] Read more.

This article examines Mike Kelley’s Educational Complex (1995) and his culminating public artwork, Mobile Homestead (2005–2013), as speculative architectures that negotiate the fraught intersections of pedagogy, memory, and public engagement. While Educational Complex mobilizes the language of architectural models and dioramas to materialize “blanks” as forms of pedagogical repression and institutional affiliation, Mobile Homestead extends this inquiry into public space through a community-oriented artwork that simultaneously invites access and withholds subterranean, private zones. Situating these projects within discourses of socially engaged and public art, the article argues that Kelley stages a productive paradox: his sustained skepticism toward public art’s political agency is folded into works that nonetheless generate collective encounters, informal pedagogies, and disaffiliated publics. Read together, these speculative architectures reconceptualize failure, disobedience, and disaffiliation not as negations of public engagement, but as critical strategies for exposing institutional complicity while constructing alternative architectures of memory, play, and social relation. By repositioning Kelley—often read primarily through psychoanalytic frameworks—as a pivotal yet overlooked figure in the histories of socially engaged and public art, the article unsettles prevailing narratives of community, resistance, and the public good. Full article

(This article belongs to the Special Issue Social Engagement and Public Art: Discourses and Praxis)

30 pages, 1962 KB

Open AccessArticle

The Téchne of the 21st Century Transgressive Laughter: Stiob, Holy Foolishness, Rock Counterculture and Carnivalesque Trolling

by Mark Yoffe

Arts 2026, 15(5), 103; https://doi.org/10.3390/arts15050103 - 9 May 2026

This article offers a comprehensive theorization of stiob as a historically sedimented, culturally specific, yet increasingly globalized modality of ironic discourse whose logic of deadpan overidentification has migrated from late-Soviet conceptualist counterculture into twenty-first-century political communication. Revisiting the folkloric, carnivalesque, and double-voiced foundations [...] Read more.

This article offers a comprehensive theorization of stiob as a historically sedimented, culturally specific, yet increasingly globalized modality of ironic discourse whose logic of deadpan overidentification has migrated from late-Soviet conceptualist counterculture into twenty-first-century political communication. Revisiting the folkloric, carnivalesque, and double-voiced foundations of stiob, this study situates the phenomenon within the longue durée of Russian humor, holy foolishness (юрoдствo), and the grotesque tradition described by Dmitry Likhachev, Aleksandr Panchenko, Mikhail Bakhtin, and Sergei Averintsev. The argument proceeds to demonstrate how contemporary political actors—most prominently Donald Trump and Vladimir Putin—have appropriated stiob and its adjacent practices (holy foolishness, trolling, strategic sacrilege, and carnivalesque inversion) as powerful rhetorical instruments capable of destabilizing discursive norms, undermining institutional authority, and creating a semi-permanent state of “infernal laughter.” Drawing on examples from political speech, social media, public performance, and mediatized spectacle, the article contends that both Trump and Putin deploy a repertoire of ironic aggression, misdirection, double-voiced innuendo, and taboo-breaking parody that weaponizes cultural archetypes of the jester, trickster, and holy fool. This mode of communication, simultaneously theatrical and destructive, produces a new form of political carnivalesque in which hierarchical orders are inverted, outrage is instrumentalized, and the distinction between sincerity and mockery collapses. Ultimately, this article argues that stiob, trolling, and holy foolishness now constitute a transnational discursive formation reshaping public culture in the twenty-first century. Full article

(This article belongs to the Special Issue The European Avant-Garde(s) and Technologies: Unfinished Modernity and the Idea of Tékhnē—the One Hundred Years’ Revolution, 1850–1950)

26 pages, 904 KB

Open AccessReview

Negotiating Stereotypes in the Film Black Panther: A Critical Scoping Review

by Berit Sandberg

Arts 2026, 15(5), 102; https://doi.org/10.3390/arts15050102 - 7 May 2026

The film Black Panther (2018) has been the subject of extensive discussion, particularly within the context of representational politics in contemporary Hollywood cinema. This critical scoping review maps how academic literature interprets the film‘s treatment of colonial, racial, cultural, gender, and disability-related stereotypes [...] Read more.

The film Black Panther (2018) has been the subject of extensive discussion, particularly within the context of representational politics in contemporary Hollywood cinema. This critical scoping review maps how academic literature interprets the film‘s treatment of colonial, racial, cultural, gender, and disability-related stereotypes and examines how these interpretations are shaped by epistemic context. A systematic search and screening process yielded 52 publications from 2018 to 2024 that were analyzed with qualitative content analysis and descriptive mapping. The review indicates that scholarly response to the film is defined by structured ambivalence. While scholarship predominantly frames Black Panther as challenging colonial and racial stereotypes, it also points to inconsistent representations and reinforced stereotyping, particularly with regard to cultural homogenization, exceptionalism, and patriarchal governance. Interpretive stances vary systematically across epistemic positions. Scholarship based in Africa emphasizes counter-stereotypical readings, whereas scholarship from the United States, accounting for half of the reviewed contributions, displays greater interpretive diversity, including more critical and ambivalent positions. These findings suggest that Black Panther does not function as a counter-stereotypical text. Rather, it is a site where representational politics in global blockbuster cinema, industry constraints, and epistemic authority intersect, extending the soft-power dynamics of the Marvel Cinematic Universe into academic knowledge production. Full article

(This article belongs to the Special Issue Contemporary Development of American Film)

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17 pages, 10935 KB

Open AccessArticle

Crossing Creative Encounters at Thresholds as Pulse of Suburban and Urban Spaces: Diaspora Performing Material Practice of Culture

by Varuni Kanagasundaram

Arts 2026, 15(5), 101; https://doi.org/10.3390/arts15050101 - 7 May 2026

Material practices of cultural rituals continue to be performed by the diaspora, initiating relational connections in places they have settled. The ritual of Kolam is a drawing on the ground undertaken by Tamil women in South India and Sri Lanka to mark the [...] Read more.

Material practices of cultural rituals continue to be performed by the diaspora, initiating relational connections in places they have settled. The ritual of Kolam is a drawing on the ground undertaken by Tamil women in South India and Sri Lanka to mark the threshold. Groups of women from the diaspora in Australia and Singapore carry out the traditional Kolam in public spaces during auspicious days. Observations of performative acts of place making served to develop the methodology for a contemporary practice. As a member of the Tamil diaspora, the author (re)imagines the performance of the traditional ritual to activate connections relevant for the wider communities living in the inner suburbs of Melbourne. The paper describes how tacit knowledge, materials, and processes are adapted for the broader society. The ethics of the traditional practice and the agencies harnessed upon performing become integrated into contemporary creative methods of participatory activity. Passersby using common paths and residents in a social housing complex created a series of visual drawings on bark using clay and natural materials. Ground installations of the assembled drawings conveyed stories through material dialogue. The less visible spaces and communities were revealed as part of the pulse of the suburban rhythms of movement. The paper demonstrates the potential significance of performing the cultural practices of the diaspora through collective acts of place making that strengthens social bonds not only for the diasporic group but also for society at large. Full article

(This article belongs to the Special Issue Social Engagement and Public Art: Discourses and Praxis)

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19 pages, 86419 KB

Open AccessArticle

Biological Otherness: Multispecies Agencies and Elastic Temporalities in Exhibition Practices

by Carolina Ramirez-Figueroa, Pei-Ying Lin and Antony Nevin

Arts 2026, 15(5), 100; https://doi.org/10.3390/arts15050100 - 7 May 2026

This contribution examines how contemporary exhibition practices engage with biological otherness through the interplay of material, technological mediation and curatorial practice. It explores how organisms and materials often considered marginal, such as viruses, microbial life, dust, and ash, can operate as co-authors in [...] Read more.

This contribution examines how contemporary exhibition practices engage with biological otherness through the interplay of material, technological mediation and curatorial practice. It explores how organisms and materials often considered marginal, such as viruses, microbial life, dust, and ash, can operate as co-authors in exhibition-making, unsettling hierarchies and binary frameworks that privilege human perception and control. Biological matter becomes a medium for thinking with and through nonhuman perspectives, revealing entangled temporalities, rhythms, and ecologies that exceed conventional scales of perception. Through three case studies: Living Ashes II, Studies of Interbeing—Trance 1:1, and The Materialised Temporality of Dust, the paper interrogates how decomposition, infection, and microscopic life are translated into relational, multisensory experiences. In Living Ashes II, protocells and ash are staged as agents of emergent vitality; in Studies of Interbeing—Trance 1:1, SARS-CoV-2 is re-materialised through textile and performative practices, fostering intimacy and affective encounter; and in The Materialised Temporality of Dust, immersive VR and spatial sound render microbial and dust temporalities perceptible within architectural space. Across these projects, digital technologies function not as neutral instruments but as active mediators, shaping the conditions under which nonhuman agency, vibrancy, and unpredictability are apprehended. Collectively, these works demonstrate that exhibitions can operate as relational laboratories in which biological otherness is co-produced, negotiated and experienced. They foreground an ethic of care and attunement, emphasising the multispecies, temporal, and technological entanglements that redefine what it means to exhibit living and non-living matter in the digital age. Full article

(This article belongs to the Special Issue From Craft to Code and Back Again: Rethinking Art, Materiality and Exhibition Practices in the 21st Century)

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48 pages, 67728 KB

Open AccessArticle

Blind Spots: The Future of Art History and the Ecology of Early Modern Silver

by Helen Hills

Arts 2026, 15(5), 99; https://doi.org/10.3390/arts15050099 - 7 May 2026

This essay examines the visual culture of what might be termed “the ecology of silver” between 1492 and 1710 in relation to colonialism on both sides of the Atlantic, with particular attention to both its shiny allure and the blind spots that that [...] Read more.

This essay examines the visual culture of what might be termed “the ecology of silver” between 1492 and 1710 in relation to colonialism on both sides of the Atlantic, with particular attention to both its shiny allure and the blind spots that that shininess produces. It focuses on three inter-related areas: depictions of Potosí, the great silver mountain in viceregal Peru; silver’s shine in European elite material culture; and the deployment of silver in celebrating the Spanish monarchy in viceregal Sicily, part of its empire within Europe. Current scholarship on early modern silver bifurcates between historical, political, and anthropological studies of silver’s extraction in the Americas and colonialism on one hand and a celebratory art historical scholarship focused on high-end European silver goods on the other. Scholars have energetically examined its extraction, the global trade in bullion, the rise of capitalism that it fed, and the wars that it fomented and paid for, but they stop short of inquiring into the ends to which silver was deployed within Europe and Asia beyond the naming of the principal ports. Meanwhile, studies of silver in Europe are overwhelmingly tightly drawn and connoisseurial, often with no reference to where the silver came from, let alone the circumstances of its extraction, transport, or even its effects. This split is due partly to a prevalent notion that silver’s value is inherent, objective, and caused by “rarity”; and it is partly due to art history’s unswerving identification with the rich and powerful. Such approaches overlook silver’s remarkable material and alchemical qualities and ignore its capacity to turn grubby profit into charismatic sparkle, which simultaneously drove the ecological and environmental damage and exonerated its profiteers. Early modern silver linked environmental destruction, colonialism, genocide, and coloniality to high culture, making it a particularly relevant topic for art historical analysis in this context. But more than that silver entwined them in complex, convulsive, and transformative ways, turning imperialism, violence and exploitation into beauty, shimmer and cultural sophistication. Hence, this essay insists on the centrality of imperial issues in the Old World as in the New, underscoring colonial dynamics within metropolitan culture while critically examining the work of seduction of art. The paradoxical quality of shine is the lens through which is seen the relation between violent coloniality and the allure and ecology of early modern silver. Full article

(This article belongs to the Special Issue Rethinking Art History and Culture: Defining an Ecological Approach)

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19 pages, 4369 KB

Open AccessReview

A Systematic Review on the Evolving Aesthetics of NFT Art

by Xinge Kong and Reza Moayer Toroghi

Arts 2026, 15(5), 98; https://doi.org/10.3390/arts15050098 - 6 May 2026

Non-Fungible Tokens (NFTs) are unique digital assets stored on a blockchain that certify ownership of an item, giving rise to NFT art, where digital creations are tokenized to provide verifiable scarcity and provenance. To clarify the polarized debate surrounding this phenomenon, this paper [...] Read more.

Non-Fungible Tokens (NFTs) are unique digital assets stored on a blockchain that certify ownership of an item, giving rise to NFT art, where digital creations are tokenized to provide verifiable scarcity and provenance. To clarify the polarized debate surrounding this phenomenon, this paper conducts a systematic literature review of 18 academic articles (2020–2025) to synthesize the current state of research on its aesthetics. The review first maps the field’s methodological and typological landscape, and then presents three core thematic findings: the reconfiguration of value from intrinsic visual merit to social factors like community and identity; the evolution of the artist’s role from creator to system designer and community manager; and the adaptation of traditional art world frameworks. The study’s primary contribution is the articulation of a new theoretical framework, “decentralized aesthetics,” which posits that the value of NFT art is derived from the holistic, participatory experience it generates across perceptual, cognitive, emotional, and socio-cultural dimensions, rather than from its isolated visual properties. Finally, the paper identifies critical research gaps, such as a lack of longitudinal and cross-cultural studies, and proposes an agenda for future inquiry into digital creativity and ownership. Full article

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24 pages, 1038 KB

Open AccessArticle

Avant-Garde Poetry and the Tékhnē of Traditional Versification

by Evgenii Kazartsev and Nikita Kirichenko

Arts 2026, 15(5), 97; https://doi.org/10.3390/arts15050097 - 2 May 2026

This article offers a theoretically nuanced and empirically grounded investigation into the paradoxical afterlife of classical versification within the poetic practices of the Russian and Soviet avant-garde. Challenging the persistent historiographic narrative that equates avant-garde poetics with an unequivocal rupture from tradition, the [...] Read more.

This article offers a theoretically nuanced and empirically grounded investigation into the paradoxical afterlife of classical versification within the poetic practices of the Russian and Soviet avant-garde. Challenging the persistent historiographic narrative that equates avant-garde poetics with an unequivocal rupture from tradition, the study demonstrates that canonical metrical forms—most notably iambic tetrameter—continued to operate as structurally productive, albeit critically reconfigured, elements within experimental verse. Drawing on a broad corpus encompassing poetic manifestos, verse texts, and prose writings by Vladimir Maiakovskii, Ilia Sel’vinskii, Semen Kirsanov, and Nikolai Aseev, the authors combine close formal analysis with quantitative prosodic modeling, including linguistic and speech models derived from Kolmogorov–Taranovsky verse theory. The article argues that avant-garde poets did not simply negate inherited metrics but subjected them to a process of internal recomposition, shifting attention from meter as a fixed scheme to rhythm as a dynamic, semantically charged construct. While rhythmic innovation is shown to be consciously engineered in verse, the analysis of verse-like fragments in prose reveals persistent, unconscious attachments to “classical” rhythmic patterns, particularly the Pushkinian alternating rhythm. This tension between declarative rejection and latent continuity illuminates the avant-garde’s distinctive mode of negotiating tradition: not abolishing it, but instrumentalizing it within a broader project of total artistic reorganization. The study thus reframes avant-garde prosody as a site where innovation and inheritance coexist in a state of productive contradiction, reshaping our understanding of modernist poetic technique. Full article

(This article belongs to the Special Issue The European Avant-Garde(s) and Technologies: Unfinished Modernity and the Idea of Tékhnē—the One Hundred Years’ Revolution, 1850–1950)

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17 pages, 7276 KB

Open AccessArticle

WASTEland—Claudia Bosse’s Performative Activation of Haunted Landscapes as an Embodied Form of Planetary Thinking

by Martina Ruhsam

Arts 2026, 15(5), 96; https://doi.org/10.3390/arts15050096 - 2 May 2026

Gayatri Spivak suggests that we turn our attention to the planet rather than to the globe. While she recognizes the planet in the species of alterity, she considers the globe to be an abstract quantity linked with the desire for control through digital [...] Read more.

Gayatri Spivak suggests that we turn our attention to the planet rather than to the globe. While she recognizes the planet in the species of alterity, she considers the globe to be an abstract quantity linked with the desire for control through digital quantification methods. This article discusses Claudia Bosse’s choreographic approach of re-imagining the human being as a planetary subject by investigating her dance performance WASTEland (2025), which took place on a piece of fallow land near Vienna Central Station. The choreographer turned this wasteland into her artistic laboratory and workplace for seven months. Using a mixed-method approach—combining performance analysis and discourse analysis—and drawing from planetary thinking and new materialism, I analyze Bosse’s artistic research, which raises the question of the relationship of precarious landscapes and the precarity of the bodies that perform (on) them, exposed to their climatic and ecological conditions as well as to their uncontrollable inhabitants, both human and other-than-human. How can wasteland and building sites be artistically activated? Does working and dancing on/with wasteland signify a withdrawal from urgent political issues or does this physical exposure enable a shift of perspective in regard to political miseries? Full article

(This article belongs to the Special Issue Bodies on Edge in a Globalized World)

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17 pages, 2663 KB

Open AccessArticle

Towards an Ecological Synergy Between Art History and the Anthropology of Art

by Howard Morphy

Arts 2026, 15(5), 95; https://doi.org/10.3390/arts15050095 - 1 May 2026

An ecological approach in the broadest sense arguably places art in a context that is unconstrained by disciplinary categories. It is focused on the form of art in context and on all the variables that account for its making and the contexts of [...] Read more.

An ecological approach in the broadest sense arguably places art in a context that is unconstrained by disciplinary categories. It is focused on the form of art in context and on all the variables that account for its making and the contexts of its use at the time of its making. The argument of the paper is centred on a set of Yolŋu bark paintings exhibited in the Madayin exhibition that opened in the Hood Museum at Dartmouth College in New Hampshire in September 2022. In a period of 80 years Yolŋu art has moved from a moment of first contact to becoming a global contemporary phenomenon, while maintaining its cultural distinctiveness. Rather than using an ecological approach to examine Yolŋu culture, Yolŋu art as a mode of action exemplifies the ways in which the natural environment is integral to their sense of being in the world. Full article

(This article belongs to the Special Issue Rethinking Art History and Culture: Defining an Ecological Approach)

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20 pages, 4035 KB

Open AccessArticle

“Lit-Recycling”: The Avant-Garde Case of Alexei Kruchonykh

by Lyubov Khachaturian

Arts 2026, 15(5), 94; https://doi.org/10.3390/arts15050094 - 1 May 2026

This paper examines the technological dimension of “handwritten time” a distinctive mode of existence of the Russian Avant-garde. By the mid-1930s, the avant-garde’s stylistic confrontation with Socialist Realism had effectively expelled it from the contemporary literary process, artificially arresting its development—an instance of [...] Read more.

This paper examines the technological dimension of “handwritten time” a distinctive mode of existence of the Russian Avant-garde. By the mid-1930s, the avant-garde’s stylistic confrontation with Socialist Realism had effectively expelled it from the contemporary literary process, artificially arresting its development—an instance of “unfinished modernity.” The article offers a detailed analysis of the technology of self-archiving (“lit-recycling”) developed by Aleksei Kruchyonykh: a deliberately chosen strategy of uncensored writing oriented toward an implicit reader of the future. The conscious refusal to complete the conventional publishing cycle, together with the systematic archiving of materials, generated a new pragmatics of the Russian avant-garde, enabling continued work under conditions of total censorship. The study considers both the strengths of this pragmatics of self-isolation and its unavoidable costs, above all the rupture of author–reader communication. Drawing on workbooks and diary notebooks from the 1930s, it reconstructs an archiving technology that had fully matured by that decade: the balance between draft and fair copy, as well as the mechanisms of auto-communication and self-censorship. Each stage of textual work is shown to acquire a specific function within a single technological continuum. Special attention is paid to contemporary methods for reconstructing the avant-garde’s creative records. The article reconstructs successive versions of Kruchyonykh’s poems (“Irina in the Fog,” “Trash,” “All Dead Poets…,” “Mind You!,” “Grumbling,” etc.), and cites diaries and handwritten books. It also foregrounds Kruchyonykh’s “prophetic” texts—those marked by a premonition of the coming great war—which conclude his diary and creative notebooks of the 1930s. Full article

(This article belongs to the Special Issue The European Avant-Garde(s) and Technologies: Unfinished Modernity and the Idea of Tékhnē—the One Hundred Years’ Revolution, 1850–1950)

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13 pages, 4304 KB

Open AccessEssay

Art and AI—Benjamin’s ‘aura’ as a Locus of Resistance: Notes, Theses and Images

by Michael Szpakowski

Arts 2026, 15(5), 93; https://doi.org/10.3390/arts15050093 - 1 May 2026

I revisit Benjamin’s text ‘The Work of Art in the Age of Its Technological Reproducibility’ and find it both problematic and richly suggestive. Carefully reading it, both with and against, I search it for continuities and breaks with ‘reproducibility’ today and hence insights [...] Read more.

I revisit Benjamin’s text ‘The Work of Art in the Age of Its Technological Reproducibility’ and find it both problematic and richly suggestive. Carefully reading it, both with and against, I search it for continuities and breaks with ‘reproducibility’ today and hence insights into AI and its relationship to art. In so doing, I sketch some tentative conclusions about how such an investigation might assist us towards understanding what art is and isn’t, how the practice of art relates to our humanity and finally, though a thorough settling of accounts with AI and its boosters will require political change on a grand scale, how Benjamin’s ‘aura’ might offer a small but significant locus of resistance to the commodification and dehumanising drive currently occasioned by AI in the field of art. Full article

(This article belongs to the Special Issue From Craft to Code and Back Again: Rethinking Art, Materiality and Exhibition Practices in the 21st Century)

21 pages, 2051 KB

Open AccessArticle

Tools for Liberation: Labor, Gender, and the Factory Workbench in Early Soviet Culture

by Emma Simmons

Arts 2026, 15(5), 92; https://doi.org/10.3390/arts15050092 - 1 May 2026

Representations of industrial life have long been understood to be essential to the Soviet project, and this article analyzes the distinctive, but overlooked, functions of narratives and images of women workers at the factory workbench in the 1920s, and their ramifications for understanding [...] Read more.

Representations of industrial life have long been understood to be essential to the Soviet project, and this article analyzes the distinctive, but overlooked, functions of narratives and images of women workers at the factory workbench in the 1920s, and their ramifications for understanding Soviet paradigms of gender. Examining the place of mechanized labor in Aleksandra Kollontai’s theory of women’s emancipation in conjunction with the programs of labor theorist Aleksei Gastev demonstrates the establishment of mechanized labor and its tools as essential to utopian representations of Soviet social and gender relations beyond the factory. In this light, the article traces the establishment of the stanok, or factory workbench, as a metonym for new collective labor, and an interface with other nascent Soviet institutions and the new byt, or everyday life, in the mass illustrated periodical for urban women, Rabotnitsa (The Woman Worker), in the 1920s. Full article

(This article belongs to the Special Issue The European Avant-Garde(s) and Technologies: Unfinished Modernity and the Idea of Tékhnē—the One Hundred Years’ Revolution, 1850–1950)

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18 pages, 1067 KB

Open AccessArticle

Decoding Immersive Cinema: An Integrated Analysis of Narrative Framework and Audience NLP Data in Avatar: Fire and Ash

by Rocío Sosa-Fernández, Roi Méndez-Fernández and Ana Lorena Jiménez-Preciado

Arts 2026, 15(5), 91; https://doi.org/10.3390/arts15050091 - 1 May 2026

This study examines how immersive narrative resources, whether technological–sensory, narrative–structural, or contextual, are deployed in contemporary blockbuster cinema and to what extent audiences recognize and value them in their evaluations. Using Avatar: Fire and Ash as a case study, the research follows a [...] Read more.

This study examines how immersive narrative resources, whether technological–sensory, narrative–structural, or contextual, are deployed in contemporary blockbuster cinema and to what extent audiences recognize and value them in their evaluations. Using Avatar: Fire and Ash as a case study, the research follows a sequential mixed-methods design. In the first phase, a qualitative film analysis identifies eight types of cognitive immersion, drawing on established theoretical frameworks of narrative immersion. The second phase is quantitative and involves the computational analysis of 1133 valid reviews from Internet Movie Database (IMDb) through Natural Language Processing (NLP) techniques, including n-gram frequency analysis, Latent Dirichlet Allocation (LDA) topic modeling with 3 topics after perplexity minimization, and sentiment polarity analysis. The LDA model reveals three discursive clusters, experiential and emotional, technical and comparative, and critical, with the latter concentrated mostly in low-rated reviews. Text sentiment and numeric ratings show a moderate positive correlation (r = 0.53, p < 0.001), pointing to a general but imperfect alignment between the two modes of evaluation. Markers of content fatigue (nothing new, predictable, boring) appear in 25.1% of the reviews, yet a third of those are still rated 8 or higher. When cross-tabulating the immersion categories with audience language, phenomenological and affective dimensions such as Emotional Engagement (59.8%) and Haptic/Sensory Experience (59.1%) emerge as the most frequently discussed, while cinematographic techniques like Bracketing (2.6%) are barely mentioned. Taken together, the findings suggest that the franchise sustains its appeal through a form of embodied sensory engagement that operates largely independent of narrative novelty. Full article

(This article belongs to the Section Film and New Media)

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17 pages, 9809 KB

Open AccessArticle

Border Ghosts: Artistic Practices and Spectral Memories in Border Necropolitics

by Teruaki Yamaguchi

Arts 2026, 15(5), 90; https://doi.org/10.3390/arts15050090 - 1 May 2026

This paper examines the artistic project Border Ghosts (2018–2025) as a practice of material translation through which migrant presences—excluded from institutional records along the Mexico–United States border—become perceptible in artistic form. Situated within necropolitical regimes that produce structural vulnerability, the study draws on [...] Read more.

This paper examines the artistic project Border Ghosts (2018–2025) as a practice of material translation through which migrant presences—excluded from institutional records along the Mexico–United States border—become perceptible in artistic form. Situated within necropolitical regimes that produce structural vulnerability, the study draws on the work of Achille Mbembe, Ariadna Estévez, and Avery Gordon to consider how spectrality operates not as metaphor, but as a mediated mode of presence. Through brief interviews and three-dimensional recordings of bodies, objects, and temporary dwellings using 3D scanning and printing, the project transforms fragmentary traces into sculptural configurations that make precarious lives perceptible within exhibition space. The case studies show that even minimal testimonies, often absent from formal archives, can persist as material traces within aesthetic circulation. Rather than proposing a solution to structural violence, Border Ghosts approaches artistic practice as a way of engaging absence, mediation, and incompletion. In doing so, the project reflects on the limits of institutional recognition and on the conditions under which marginal lives may be encountered. Full article

(This article belongs to the Special Issue Arts and Refugees: Multidisciplinary Perspectives (Vol. 3)—the Global South)

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14 pages, 3087 KB

Open AccessArticle

Colorless Festivals—An Examination of Yasuo Kuniyoshi’s Two Postwar Lithographs

by Chao Chi Chiu

Arts 2026, 15(5), 89; https://doi.org/10.3390/arts15050089 - 30 Apr 2026

As a key figure among Japanese American artists, Yasuo Kuniyoshi attracted scholarly attention for his melancholic paintings produced during and shortly after the Second World War. Many of his works from this period portrayed somber figures in masks painted in muted color palettes. [...] Read more.

As a key figure among Japanese American artists, Yasuo Kuniyoshi attracted scholarly attention for his melancholic paintings produced during and shortly after the Second World War. Many of his works from this period portrayed somber figures in masks painted in muted color palettes. Kuniyoshi also placed his figures in bleak circus or carnival settings, imbuing these traditionally festive settings with an air of sadness. As many scholars argued, Yasuo’s solemn postwar paintings reflected the artist’s disillusionment with American society after he was labeled an “enemy alien” as a Japanese artist living in the U.S. during the Pacific War. While his postwar paintings have been extensively studied, his lithographic works remained overlooked due to their scarcity. This paper examines Kuniyoshi’s two postwar lithographs, Carnival and Mask, which follow the same carnival motifs as his late-life works, but represent a departure from his earlier artistic principles. Through the close analysis of the artist’s two lithographs and comparison to contemporary paintings, this paper argues that Kuniyoshi’s lithographs function as reflexive records of his paintings, serving as platforms for him to experiment with new artistic techniques and themes. Furthermore, examining the lithographs in the context of the artist’s full oeuvre, this paper will highlight how Kuniyoshi blurred the boundaries between artistic mediums, mirroring his broader efforts to navigate the challenges of postwar identity and artistic expression. Full article

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Open AccessArticle

Laughing with a Message: The Subtle Power of Cartoons in Ghana’s Public Discourse and Communication

by Alexander Angsongna

Arts 2026, 15(5), 88; https://doi.org/10.3390/arts15050088 - 28 Apr 2026

This study investigates the communicative power of editorial cartoons in Ghana’s public discourse, focusing on how they inform, critique, and influence sociopolitical narratives. Drawing on a dataset of cartoons by Tilapia—one of the country’s leading cartoonists—published between May 2024 and May 2025, the [...] Read more.

This study investigates the communicative power of editorial cartoons in Ghana’s public discourse, focusing on how they inform, critique, and influence sociopolitical narratives. Drawing on a dataset of cartoons by Tilapia—one of the country’s leading cartoonists—published between May 2024 and May 2025, the paper explores how cartoons address themes such as economic hardship, youth addiction, cultural values, environmental degradation, and political hypocrisy. The central question guiding this study is as follows: How do Tilapia’s editorial cartoons visually construct and critique key national issues—such as economic hardship, environmental degradation, youth addiction, and political hypocrisy—in Ghanaian public discourse? Guided by an integrated theoretical framework from semiotics, visual rhetoric, and critical metaphor theory, the analysis reveals how cartoons use humour, caricature, exaggeration, and symbolic imagery to simplify complex realities and foster civic reflection. The study highlights how cartoons serve not only to entertain but also to hold power to account, amplify public concerns, and promote sociopolitical engagement. Through detailed visual analysis of ten selected cartoons, the paper underscores their capacity to critique governance, expose contradictions, and reflect collective sentiment—especially during election cycles. Overall, the research affirms the evolving role of visual satire as a potent medium of resistance, cultural expression, and democratic participation in Ghana. By bridging visual culture and critical discourse, the paper contributes to broader understandings of the role of the media in shaping public perception and fostering informed citizenship. Full article

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11 pages, 568 KB

Open AccessArticle

Making Futures: Utopias, Projections and Bombs of the Avant-Garde

by Sascha Bru

Arts 2026, 15(5), 87; https://doi.org/10.3390/arts15050087 - 27 Apr 2026

This article explores how historic avant-garde works can be considered as aesthetic technologies or time machines conditioning an audience to experience the future differently. Rather than revisiting well-known Western scholars, it turns to perhaps lesser known “Cold War” theorists and critics: Polish art [...] Read more.

This article explores how historic avant-garde works can be considered as aesthetic technologies or time machines conditioning an audience to experience the future differently. Rather than revisiting well-known Western scholars, it turns to perhaps lesser known “Cold War” theorists and critics: Polish art scholar Andrzej Turowski, Yugoslavian–Croation literary scholar Aleksandar Flaker, and Russian–Estonian semiotician Juri Lotman. In rather different ways, these thinkers considered avant-garde works as artefacts that, in an audience’s phenomenological encounter with them, model and yield different experiences of the future. In the closing section of the article, Gerrit Rietveld’s model for the Rietveld Schröder House in Utrecht is discussed. Rietveld’s model reminds us that theoretical speculation should always be accompanied also by historical contextualization, in part because many of the historic avant-garde’s projected futures are now also futures anterior, the history of which might further shed light on the avant-garde’s actual futurity. Full article

(This article belongs to the Special Issue The European Avant-Garde(s) and Technologies: Unfinished Modernity and the Idea of Tékhnē—the One Hundred Years’ Revolution, 1850–1950)

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26 pages, 399 KB

Open AccessArticle

Anti-Art Poetics: Paul Celan’s “Meridian” Speech

by Shuwei Zhang

Arts 2026, 15(5), 86; https://doi.org/10.3390/arts15050086 - 22 Apr 2026

Paul Celan’s speech the “Meridian” addresses the fundamental question of how poetry can be possible in a world “after Auschwitz.” In contrast to the Platonic aesthetic system and classical art traditions, Celan draws upon Büchner’s concept of “Hostility to Art.” Amid the paradox [...] Read more.

Paul Celan’s speech the “Meridian” addresses the fundamental question of how poetry can be possible in a world “after Auschwitz.” In contrast to the Platonic aesthetic system and classical art traditions, Celan draws upon Büchner’s concept of “Hostility to Art.” Amid the paradox of “the impossibility of writing” and “the loneliest loneliness,” Celan embraces the mission of “struggling with the German language,” speaking through a wounded mouth to reclaim a lost home for art. He employs a “grayer language” that distrusts beauty and turns toward truth, approaching a “meridian” of language in a way both “art-less” and “art-free.” On this “meridian,” Celan engages in a secret dialogue of poetry and thought with Others such as Mallarmé, Adorno, Nietzsche, and Heidegger, seeking to return to a realm that is at once uncanny and oriented toward the human. Full article

(This article belongs to the Section Visual Arts)

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