[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-192721-en":3,"doc-seo-192721-105":31,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":28,"seo_description":14,"update_tm":29,"read_time":30},192721,2336475104736,"วิน","https://ap-avatar.wpscdn.com/avatar/22000c4c5e0e5b17e70?x-image-process=image/resize,m_fixed,w_180,h_180&k=1786591360781797222",2,"Literature","Protection No Longer Assured - The Sublime","Protection No Longer Assured revisits the notion of the sublime through delightfully terrifying contemporary art, framing awe, terror, wonder, and overwhelm as a Western conceptual lineage from Longinus to the Romantics and beyond. Across 63 artworks by 30 artists, the exhibition moves through body, environment, and matter, contrasting volcanic and cosmic immensities with Cold War imagery, mushroom-cloud aesthetics, AI-generated scenes, and post-natural creatures. Technology and disinformation amplify the stakes of destruction, making war feel close and intimate.","COLE CCIONSO LO  \nENGLISH  \nESPANOL  \n# COLE CCIONSO LO\n\nPROTECTIONNO LONGERASSURED  \nPROTECTIONNOLONGERASSURED  \nHow does it feel to stand on the edge of an abyss?Gazinginto the vastness,an adrenaline rush of mixed emotions takeshold,as awe,excitement and wonder are intensified by sheerterror.This paradoxical experience of being at once over-whelmed and exalted has a special place in Western thought:the concept of the sublime.  \nSome 2000 years ago,the Greek rhetorician Longinusset out a theory of the sublime in his treatise,Peri Hypsous.Rediscovered during the Italian Renaissance,then developedby countless thinkers including Nicolas Boileau,EdmundBurke and Immanuel Kant,sublimity has a colourful history.Now,overuse threatens to render the concept void,withanything from cupcakes to massage oil susceptible to a\\#sublime tag.  \nIn a present-day shaped by disruptive technologies anddisinformation,armed conflict and environmental collapse,Protection No Longer Assured revisits the sublime notion ofdelightful horror through a selection of 63 artworks by 30artists,across media including sculpture,painting,sound andAl art.Wit and reflection come together in this stroll alongthe brink,through a landscape of mushroom clouds,Al-gen-erated artworks and post-natural creatures in which waritself has become a TikTok duet.  \nIn the mean time we walk'd upon the very brink,ina literal sense,of Destruction;one Stumble,and bothLife and Carcass had been at once destroy'd.The senseof all this produc'd different motions in me,viz.a de-lightful Horror,a terrible Joy,and at the same time,Iwas infinitely pleas'd,I trembled.  \nJohn DennisJournal entry from a visit to the Alps in 1688  \n个EN  \n# ROMANTICISMREBOOTED\n\nImmeasurability and power are two ingredients long associat-ed with the sublime.The Romantics looked to their surround-ings for examples,with volcanoes,mountain ranges,vastseas or star-filled skies common instances of the sublime innature.In Protection No Longer Assured,contemporary art-ists offer new journeys into the relationship between,body,environment and matter.  \nRinus Van de Velde ironizes on the legacy of Romanti-cism with Luckily I didn't feel much (2019),a parody of Cas-par David Friedrich's iconic Wanderer above the Sea of Fog(c.1818),while Santiago Talavera borrows lines from LordByron's Darkness(1816)for the title of his ravaged landscape,Happy were those who dwelt within the eye of the volcanoes(2019.)  \nRinus Van de Velde  \nLuckily I didn't feel much,2019Pencil on paper  \n18.2×11.4  \nBodies themselves become landscape in the works of San-dra Vasquez de la Horra,who traces human figures as cur-vaceous geographies of waterways,caves and multicolouredstrata.In La Liberacion del mito(2022),experiences of po-litical resistance fuse with mystical reflection on the body'schakras or energy centres.Ancient knowledge also feeds intoworks such as This was the first color(2020)and This wasthe first gloom(2020)by Jorge Rios,allegorical first eventswhose suggested narratives draw on creationist myths.  \nJorge RiosThis was the first color,2020  \nOil on canvas243.8×304.8cm  \nGhostly figures invade Ruby Swinney's soft landscape,Uninvited guests(2020)while Mika Rottenberg managesto squeeze the universe onto a nail in the kinetic work,  \nFinger(2019).In David Altmejd's sculpture Pyramid (2019),meanwhile,organic processes of transformation shape acontemporary gothic hybrid of businessman and hound.  \ny  \nDavid AltmejdPyramid,2019  \nExpanded polyurethane foam,re-sin,epoxy clay,epoxy gel,quartz,synthetic hair,  \n“...the hour will come  \nWhen all these splendours bursting on my sight  \nShall stand unveiled,and to my ravished sense  \nUnlock the glories of the world unknown.”  \nAnna Laetitia Barbauld  \nA Summer Evening's Meditation(1773)  \nL  \nRuby Swinney  \nUninvited Guests,2020  \nOil on drafting paper  \n29.7×42 cm  \nY  \nMika RottenbergFinger,2019  \nArtificial finger and mechanicsystem2×2×10 cm  \n个EN  \n# THE SHADOVOF THE\n\nMUSHROOMCLOUD  \nWhile Romant","cbCaiequ1ZhKv2Bl","https://ap.wps.com/l/cbCaiequ1ZhKv2Bl","pdf",5560753,3,1,16,"English","en",105,"# COLE CCIONSO LO\n## ROMANTICISMREBOOTED\n## THE SHADOVOF THE MUSHROOMCLOUD\n## ATOMIC CTANTSPSYCHEDELIA","[{\"question\":\"What concept does the exhibition use to structure its artworks?\",\"answer\":\"The exhibition centers on the sublime, revisiting how awe and terror have been theorized and reinterpreted from antiquity through later philosophical and artistic traditions.\"},{\"question\":\"How does the exhibition connect Romanticism to contemporary art?\",\"answer\":\"It contrasts the Romantics’ sublime examples from nature with contemporary artists’ new journeys into relationships between body, environment, and matter, including ironic or reworked references to Romantic imagery.\"},{\"question\":\"What role do atomic and post-war themes play in the exhibition?\",\"answer\":\"Atomic and post-World War II imaginaries are presented as deeply shaping modern perceptions of the sublime, using mushroom-cloud imagery, Cold War aesthetics, and reflections on normalized militarization.\"}]","Protection No Longer Assured - The Sublime | 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concept does the exhibition use to structure its artworks?","Question",{"text":75,"@type":76},"The exhibition centers on the sublime, revisiting how awe and terror have been theorized and reinterpreted from antiquity through later philosophical and artistic traditions.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"How does the exhibition connect Romanticism to contemporary art?",{"text":80,"@type":76},"It contrasts the Romantics’ sublime examples from nature with contemporary artists’ new journeys into relationships between body, environment, and matter, including ironic or reworked references to Romantic imagery.",{"name":82,"@type":73,"acceptedAnswer":83},"What role do atomic and post-war themes play in the exhibition?",{"text":84,"@type":76},"Atomic and post-World War II imaginaries are presented as deeply shaping modern perceptions of the sublime, using mushroom-cloud imagery, Cold War aesthetics, and reflections on normalized 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