Désir Cannibale: Kelly Sinnapah Mary’s Notebook of No Return

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Asian Diasporic Visual Cultures and the Americas Pub Date : 2019-04-11 DOI:10.1163/23523085-00501002
A. Gosine
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引用次数: 1

Abstract

This article considers the practice of Guadeloupe-based Indo-Caribbean artist Kelly Sinnapah Mary. Her ongoing project Notebook of No Return, as with her other works, conveys her complex subjectivity, forsaking both mournful and celebratory narratives of Indians living in the Caribbean after Indentureship, and foregrounding the fast-moving, ever-evolving, and rootless character of our existence. Sinnapah Mary creates visual images which both assert the presence of an underrepresented people and reveal the spaces in which pleasure and violence are simultaneously generated and entwined. I argue that Sinnapah Mary’s representation of the Indo-Caribbean body—in relationship to and continuous with those of animals, and as animalistic—provides a provocative and promising agenda for Indo-Caribbean life after Indentureship.
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dsamsir Cannibale: Kelly Sinnapah, Mary 's Notebook of No Return
这篇文章考虑了瓜德罗普岛的印度-加勒比艺术家凯莉·辛纳帕·玛丽的实践。与她的其他作品一样,她正在进行的项目《不归路的笔记本》传达了她复杂的主体性,放弃了对印第安人在《契约》之后生活在加勒比海的悲伤和庆祝叙事,并突出了我们存在的快速发展、不断演变和无根性。Sinnapah Mary创作的视觉图像既断言了代表性不足的人的存在,又揭示了快乐和暴力同时产生和交织的空间。我认为,辛纳帕·玛丽对印度-加勒比机构的代表——与动物的代表相联系,并与动物的象征相延续——为《契约》之后的印度-加勒比生活提供了一个挑衅性和充满希望的议程。
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Asian Diasporic Visual Cultures and the Americas
Asian Diasporic Visual Cultures and the Americas HUMANITIES, MULTIDISCIPLINARY-
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