IELTS Around the Globe
However, love should be the root of any marriage. Firstly, it is because love is such a strong bond between two persons who have their own lives, and become one. So, they can share each others sadness, happiness to overcome any difficulties in their daily lives. Moreover, love makes people grow up because they do not only have responsibility to themselves, but also to their partners as well. That is why marrying for love is always encouraged.Many test takers are unsure what is wrong with their essay, why they keep scoring Band 6.5 and how to take their writing to Band 8 level. Is that how you feel, too? Keep reading then, because we are just about to analyse a Band 6.5 essay and show you what to change in it, to get a Band 8 score in IELTS.
A history of sculpture as a library, or the library as an antimonumental architecture of spectatorial and readerly agency, would have to begin with the workers reading room of Aleksandr Rodchenkos Workers Club in Paris in 1925 and could lead up to many examples in the recent past, from Thomas Hirschhorns libraries in the Bataille Monument in Kassel, 2002, or his 24H Foucault in Paris, 2004, to the Martha Rosler Library in New York and Frankfurt in 2006. Indeed a great working by your prestigious end to educate the people. Please clear me something more that in question it was mentioned to share your knowledge and experience, I couldnt find that answer in the essay or I might have misunderstood the question statement. Plese clear me. Eichhorn follows the precedent of the provenance research that Haacke famously initiated in works such as ManetPROJEKT 74, or Seurats Les Poseuses (Small Version), 18881975, to trace the inextricable and inexhaustible histories of the documents of culture and barbarism in the first half of the twentieth century under the conditions of fascist and racist persecution.
She joined Texas A&M University in 1998 as accompanist for the Choral Activities Department, and joined the Department of Performance studies in 2000. Andrea has appeared on local and international stages, including performances in Germany, Austria, the Czech Republic, England and Ireland. Those are the great sample writtings there and very beneficial to whoever are willing to improve PERHAPS THE MOST HAUNTING and complex challenge to claims that sculpture could reconstitute emancipated models of experience in the public sphere was Pierre Huyghes After ALife Ahead, 2017, the artists contribution to Kasper Königs Skulptur Projekte Münster. This decennial, now in its fifth and probably final iteration, was staged in the protected zones of a middle-class town that can still sustain the myths of a potential abolition of social and spatial divisions in public space. Rather than building a new glass palace, Huyghe excavated a defunct entertainment venue, the towns former ice-skating and hockey rink.
In this way, an entire universe of the microscopic and macroscopic, mechanical and organic, real and virtual, shifts according to the frequencies of bodily movements and vital signs emerging from the setting at large, as if to compel spectators insight into the utter interdependence and continuous exchange between the normal and the pathological forms of contemporary everyday life. 9. Such a project seems to attempt to go beyond mere token commitments to proletarian audiences, aiming to define standards altogether different from what an aesthetic of participation and site specificity might have initially imagined, in their efforts to endow the discipline of object and monument production with the dimensions that Beuys once defined as social sculpture.
These vast biological systems, and the startling presence of live animals (not only bees but chimera peacocks, fish, algae), continue Huyghes interrogation of traditional conceptions of sculpture via such flora and fauna, most notoriously used in his project Untilled, 201112, for Documenta 13 in 2012, which featured the enchanting presence of two Podenco Ibicenco dogs and a beehive.
Abandoned due to its relatively modest size and its lack of media technologies, the arena was available for the artist to transform into the site of a fundamentally dystopian, if not apocalyptic, archaeology. Is it possible to improve my band score from 6. 5 to band 8 by reading this sample essays and practice writing same in one month? To turn the Band 7 sample essay into a Band 8 one would require further improvement in range and accuracy of grammar, greater clarity and better connection of ideas, and a wider range of appropriate, higher level vocabulary. Yet these practices also had to confront a number of newly emerging contradictionsfacing, as they did, both the extreme consequences of post-Duchampian de-skilling and various versions of a documentary factographic aesthetic.
B. Du Bois, who gathered on the Canadian side of Niagara Falls in 1905 to discuss the future politics of African American emancipation. Complementing the titles uncanny, deeply discomfiting phonetic reverberations, Bradford triggers a cathartic confrontation: between his protagonists bodily gestures of disobedience and the deep imprint of mass-cultural control left on all its subjects. It is precisely this glimpse of a collectively available possibility of resistance that Bradfords anonymous and unskilled performer allows (in stark contrast, again, to Imhofs chosen crew), and that transfers and intensifies the egalitarian radicality of Judson Church into an oppositional activism in the present. But these figures were robots, at least at first sight. The artist presented two humanoid modelsone upright, one splayed on the floordecomposed into stereometric cubic forms, uncannily cut from foam rubber rather than metal, literal software androids that could be seen as Minimalist revenants or isotypes for a neo-Productivist future.
Several mounds of earth and clay were subsequently formed into towerlike structures to house two populations of bees, which also contain sensors recording the movements and activities of the bee population itself. As in a common surveillance system, information is collected about the biospheres interlocking living and material elements; the sensors are connected by buried cables to a cancer-cell incubator, an obdurate form that appeared like an uncanny refrigeration unit resting on the banks of the massive pit. The data is processed using a set of algorithms that can accelerate or slow the multiplication of the cancer cells. These, in turn, trigger an app that spectators can download, displaying on ones phone screen mysterious geometric forms that move in response to the activity of the cancer cells. Another natural pattern likewise determines the opening of massive apertures in the roof, mechanized geometric panels that automatically open and close without any apparent logic.
But after some contemplation, certain features of Imhofs work alerted us to the particular delays and deformations, and major geopolitical differences, that have affected the European reception of post-Cagean performative strategies of the past fifty years. And one became even more aware of the degree to which the critical analysis of advanced forms of spectacularized consumption that now rule everyday collective perception differs between these generations. Until recently, it still seemed totally unthinkable for radical artists, from Asher to Fraser to Sehgal, to attempt to unify the spheres of art with the languages of corporate architecture, the fashion system, and industrial music productionyet all these fusions are obviously integral to Imhofs project. Colours show elements relating to each criterion that affect the Band Score of this sample IELTS essay. Hold mouse over highlighted words (or tap on mobile) to see the comments, suggestions and corrections.
5. In this case, the mutual infatuation of both spheres (the fashion and art industries) seems to have come to fruition, since Douglas is now also one of Balenciagas top models, while Imhof almost constantly presented herself in public during the Biennale sporting a Balenciaga baseball cap. If only we could return to Beuyss fucked-up fedora. 16. Götz Aly was one of the first historians to have foregrounded that not only violent racism but also extreme forms of criminal greed motivated the average German population of the 1930s in its destruction of Jewish households and businesses. See, for example, his chapter Die Nutzniesser des Mordens, in Aly, Volk ohne Mitte (Frankfurt: S. Fischer, 2015), 84115; and, more generally, his Hitlers Volksstaat: Raub, Rassenkrieg und nationaler Sozialismus (Frankfurt: S. Fischer, 2005). 8. However, there was an earlier reception of this lineage, of which the exhibition-catalogue authors seem to have been unaware. See, for example, my extensive discussion of décollage in my essay Formalism and Historicity, in Europe in the Seventies: Aspects of Recent Art, ed.
Yet the features that both sculpture and the book once shared have now, on their loss, become all the more prominent: Made with material supports derived from natural resources (paper, wood, stone, metal), they communicated in very specific languages to specific audiences in national, if not regional, idiomsaspiring to occupy prominent places in what was once called the public sphere. To exacerbate the chasm that separates the present from that recent past, we could cite the most cogent definition of sculpture from the 1970s one more time: The logic of sculpture, it would seem, is inseparable from the logic of the monument. By virtue of this logic, a sculpture is a commemorative representation. It sits in a particular place and speaks in a symbolical tongue about the meaning or use of that place. 1 We must dispel one received idea and that is that the spectacle is a fatalism, inherently alienating. The spectacle is a format, it is a way to do things. . . . The point is not as an artist to occupy the position of simply rejecting the spectacle or entertainment as bad; this is a form of escapism.
The secondand in many ways complementaryset of strategies operated on the level of linguistic, discursive, and architectural interventions, culminating in the critical deconstructive work of Michael Asher, Hans Haacke, and Lawrence Weiner. All these artists claimed that such performative actions could initiate immediate communicative relations between their practices and their spectators, and that they would thereby realize sculpture's ambition to generate conditions of simultaneous collective perception. This prospect seemed to justify an erasure of all the material, procedural, and perceptual distinctionsbetween subjects, objects, materials, and architectural and social spacesthat had defined sculpture until the mid-1960s. 15.
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Huyghe recognized that Smithson and Land art aimed to reposition
artistic practices outside the parameters of discursive and
institutional controli. e. , in total disregard of the museum and
galleryby situating the work in the no-mans-lands of abandoned
industrial sites, he has now powerfully foregrounded the
inevitable, simultaneous coexistence of these spatially,
materially, and temporally heterogeneous conditions within the
institutional parameters of the exhibition itself. The same
applies to Huyghes citations of Haackes approach: While for
Haacke systems theory could still marshal a critical and
rationalist Enlightenment culture in order to displace
transhistorical artistic myths by positivist truth value, Huyghes
dystopian displays of interconnected social, biological, and
physical systems appear as the technologically mediated stages on
which the imminent relapse of enlightenment into myth and
ecological catastrophe can be most dramatically performed.
In works ranging from, say, Haackes Visitors Profiles to Martha Roslers Monumental Garage Sale, both begun in the early 1970s, spectators/readers might have wondered why they were still encountering the persistence of artistic production, after they had presumably acquired communicative immediacy, shared perception, and autonomy from artistic conventions and skills, myths and mastery. More crucially, perhaps, spectators could have rightfully queried why these interventionseven at their most criticalat best reflected only on the mere remnants of public space and residual collective experience, instead of expanding their horizons to address the primacy of the new technological and ideological mediations that were actually controlling public social space at the time (as suggested by the work of Dara Birnbaum, herself a former Halprin disciple). Since the 1960s, two sets of artistic strategies have programmatically deconstructed this seemingly guaranteed objecthood of sculpture. Combining the various legacies of John Cage and Fluxus, and mediated by those of Anna Halprin and Merce Cunningham, the first strain displaced sculptural objects by substituting them with actual performing bodies (from Simone Forti and Yvonne Rainer to Judson Church, from Robert Morris and Bruce Nauman to Dan Graham).
Improving the Sample Essay to Achieve an IELTS Band 8
11 Thus it is not only historical distance that distinguishes Huyghe from the practices of the 1960s, but his reconfiguration of these earlier strategies into the dialectical counternarratives needed in the present, at the moment of sculptures inevitable submission to technologically mediated spectacle. If after reading these sample essays you are still missing something and cant write at Band 8 level, dont panic. We have a book that can help to improve your grammar and sentence formation, teach you how to connect your ideas better and give you a wide range of appropriate, higher level vocabulary. Go here to discover the IELTS Success Formula book. Its really wonderful piece of writing. Im new at this site but certainly going to be regular visitor. I am got to get at least 7 in each of 4 bands. So, no way but to stick to this helpful blog with plenty of resources. ALL SCULPTURE in the present seems to have acquired the condition of the book, to paraphrase Walter Pater: the status of total obsolescence, bordering on disappearance.
After this missed encounter with the recent sculptural past, one entered a second space with sampled, commercially produced videos that documented high-tech robotic figures, performing all the activities that contemporary technology suggests: marching, fighting, falling, and being beaten (one realized, with slightly bewildered amusement, that now even robots face a future of a daily routine of violently disciplinary, if not military, aggression). In the long and extremely contradictory iconography of mechanomorph figures in the twentieth-century avant-gardes, from Brancusi to de Chirico, Schlemmer to Bellmer, either machinic men had triumphantly announced the collectivization of the industrial workforce or tailors dummies had melancholically deplored the inevitably fetishistic features of reified patriarchal bourgeois subjectivity. Steyerls electronically enhanced robotic subjects added a whole new category to this collection of sculptural tropes, presenting the grotesquely proto-totalitarian figures of a future of digital desubjectivation. Hi Kabillan, you are probably asking about the sample essay in this post, that was rewritten from Band 6.
Anne Rorimer (Chicago: Art Institute of Chicago, 1977), 83111; and my later essay From Detail to Fragment: Décollage Affichiste, in October 56, High/Low: Art and Mass Culture (Spring 1991): 98110. This sense of inverted proportionsbetween the seeming banality of these objects of destroyed lives and the current apathy toward the urgency of critical analysis in the presentmight engage its readers in a continuing reflection not only on the histories of the victims of German Nazi persecution, but on the actual motivations for fascisms renewed resources and motivations. Here you can find IELTS Essay samples of Band 8, written by students and graded by an IELTS teacher. Certainly, money plays an important part in our lives. It is hard for any persons to accept a partner who does not have money or at least a job to take care of their future family. Hence, it is said, marry for money is right in some extent.
5 level to Band 8 to show you how it can be done. The essay was originally written by an IELTS test taker and then an ex-IELTS examiner went over it and analysed it, producing the content in this article. So if an IELTS examiner estimated the final samples score as Band 8, and he didnt say In my opinion needs to be replaced with something else, you can safely conclude that it wont affect your score in a bad way. Just note that this student first discusses the issue objectively, mentioning arguments other than their own opinion, and only then in the last body paragraph writes In my opinion. However, for your convenience, we have provided two versions of our APA 7 sample paper below: one instudent style and one inprofessionalstyle. AT FIRST GLANCE, Anne Imhofs project for this years Venice Biennalethe architectural design of the German pavilion and performance therein, titled Faustseems to have emerged from a reflection on these legacies.
IELTS Essay Samples of Band 8
Suspended between the Scylla of arts function as the speculative investment of global surplus value (and occasional philanthropic generosity) and the Charybdis of arts extremely limited social and political efficacythe paradox of the agitprop fusion of privileged artistic agency, on the one hand, and dispossessed audiences, on the otherBradfords separation of these contradictory spheres poses one contemporary answer to the inevitable fracturing of sculptures material and procedural homogeneity. However, love should be the root of any marriages. Firstly, it is because love is such a glue to connect two persons which have their own lives, become one. So, they can share each others the sadness, happiness to overcome any difficulties in daily lives. Moreover, love makes people growing up because they do not only have responsibility to themselves, but also to their partners as well. That is why marrying with love is always encouraged. These cartographic works appeal through their initially bewildering resuscitation of a long-overlooked, if not totally disavowed, neo-avant-garde procedurethe décollages of Jacques Villeglé and Raymond Hains.
And unlike the long list of postwar artists who have used live animals in their worksome of whom, like Haacke, deployed these strategies as scientistic investigations of biological systems, while others, like Kounellis, returned to a melancholic desire for a reconciliation of nature and cultureHuyghe deploys his strange animal husbandry to deregulate the relations between subjects, spaces, and systems, not only recording the violence with which the subjects mnemonic capacities have been destroyed by spectacle but charting how the melancholic gaze itself now returns that violence by converting its representations into a future altogether bereft of subjective The last, and possibly most compelling, element in Bradfords pavilion was his video projection Niagara, 2005, which shows, from behind, a young black man in bright yellow shorts ambling down a nondescript, dilapidated LA street in ostentatious nonchalance, either in an unconscious innervation of Marilyn Monroes walk in the famous scene of the works namesake 1953 film or in a brazen mockery of the scenes camp status among (black) gay men. But Niagara was also, of course, the name of the group of antisegregationists, including W. E.
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First of all, the artist strikingly reactivates and redefines concepts of site specificity, concretized in this work by the most detailed accounts of auctions of Jewish property in Kassel (especially that of the collection of one of its great cultural patrons, Alexander Fiorino) and Berlin. And additional shocks of insight are generated not only by the extensively documented loss of works of art but by the murderous mania with which even the most banal household items were listed and registered along with the pittances they achieved as lots for sale. While one might wonder whether the extremely enlarged projection of these documents endow Eichhorns work with an overbearing monumentality, one recognizes, on reflection,that it is precisely this intensity of mnemonic reconstruction that present-day generations might need most urgently, when they increasingly claim to have sufficiently studied the motivations for the politics of racism and fascism in the past.
Nor is the point just to incorporate spectacle, and occupy the
position of an artist saying, I will also just be an entertainer.
The point is to take spectacle as a format, and to use it if the
need presents itself. 12 2. Coherence and Cohesion
Analysis: Most linking expressions are appropriate but
two are not (see asterisk *). Coherence is concerned with the
effectiveness of what the essay is trying to communicate. The
essay is well structured each paragraph announces its topic
clearly [TS] and the introduction announces the opinion of the
writer. Sometimes the ideas are not entirely clear inside the
paragraphs (see NC). Also the writer has a tendency to be
repetitive.
Approximate score for Coherence and Cohesion:
Band 7. Thus Eichhorns work proves, on several levels, what a
sculptural intervention can still enact today, even if we have to
assume that the traditional forms of communication originating
from the public sphere have been destroyed.
It is precisely this acknowledgmentthat sculptural claims for a space of critical rationality outside the totalization of spectacle can no longer be sustainedthat defines Huyghes epistemology, once again departing from his rationalist Marxist predecessors of the 1960s. Thus he states: Andrea Imhoff holds the position of Instructional Assistant Professor in the Department of Performance Studies at Texas A&M University. She completed her early studies and undergraduate education in Performance and Accompanying in her nativeAustralia, and was awarded the Yamaha Piano Prize for solo performance at the culmination of these degrees. Her graduate degree was completed at the University of Illinois in Urbana-Champaign. As collaborative pianist, Andrea has focused on realizing intersections between art forms and stylistic interpretations, while eliding the musical disciplines of teaching, coaching and performance.
Huyghes variations on Land art strategies, and his deconstruction of sculptures universal base, the earth, never merely spectacularize their intervention in heretofore unimagined sites and scales. Indeed, even the artists destructive incisions into the surfaces of the Münster ice rink and its grounds nevertheless followed the rationalist principles of a mathematical puzzle suggested by Archimedes, the Stomachion, according to which a spatial form is fragmented and then reconstituted in varying permutations, as in a tangram. Digging deeply underneath cuts into the rinks floor while leaving other segments of the surface intact, the sculpted space revealed layers of groundwater, sand, and clay, some of them even traceable to the geologic deposits of the last prehistoric movements of glaciers in this Westphalian region.
We thus encounter, perhaps for the first time, not just a fetishization of objects and materials but the collective fetishization of an entire support system of communicative production. After ALife Ahead programmatically synthesizes seemingly incompatible strands of sculptural histories: Land art, in particular the work of Robert Smithson; Haackes systems-theory sculptures, developed in dialogue with Jack Burnham; the mid- to late-60s institutional critique of Yet, commenting on his relation to Smithson, Huyghe has stated, My interest was not in creating an object that escapes the exhibition frame only to merge with the landscape in its scale, but to do this more in a temporal sense. It would no longer be something in the middle of nowhere, no longer subject to this fascination of the Earth artists with the empty desert. My work would be precisely in-between the city and nature, in-between this place of meetings, signs, and corporations, which is the city, and nature.
8 At a moment of extreme global dislocation and universal homogeneity, if not outright identity, of architectures and publics, the very recollection of a moment when artists could convincingly claim to resist the emerging mass-cultural powersin aggressive gestures of defacement and protest against the growing dismemberment of public spacemust now appear as a mnemonic mecca. Bradfords works provide a map of that memory from the heart of LA, the globalized and decentered city par excellence, an irresistible charting of the past. But the extraordinary and seductive materiality of these works also seems to address the fact that paper, like painting itself, is of course the very material that is rapidly withering away from all advanced forms of communication in our dark digital age. Be it Bradfords large suspended ceiling, the reversed abyss of the cupola, the papered and tarred tangles of his fusion of Laocoön and Medusa, or the urban paupers posters, all generate a peculiar fascination with fragility from which one cannot easily withdraw.
Hello!13. Confronting the list of possible comparisonseven if brieflymight not only put the seeming eccentricity of Huyghes animal husbandry in context but allow us to recognize the specific differences he develops in the deployment of these live, performative, sculptural, yet nonhuman complements: Among these are Richard Serras exhibition of a live chicken and pigs at his first solo exhibition in Rome at Galleria La Salita in 1966; Haackes Live Airborne System, 1968; what is possibly the most notorious of works incorporating live animals, Kounelliss exhibition Senza Titolo (12 Cavalli) (Untitled [12 Horses])at Fabio Sargentinis Galleria LAttico in Rome in 1969; and, more recently, Bruce Naumans Mapping the Studio I (Fat Chance John Cage), 2001, which recorded the nightly invasion and movements of desert rats in Naumans rural studio, similarly posing an inherent critique of Cages historical optimism.
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