Pub Date : 2019-07-19DOI: 10.1080/00043389.2019.1612540
Matthias Pauwels
This article reflects on some of the limitations and challenges of recent student protest movements in South Africa, with a specific focus on their activism on issues of cultural politics. It artic...
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Pub Date : 2019-07-19DOI: 10.1080/00043389.2019.1603892
Marijke Andrea Tymbios
Although not monuments in the traditional sense, modernist Afrikaans Protestant churches erected during the 20th century are reminders of the wealth of the Afrikaner people, the stringent union of ...
{"title":"A Double-Edged Sword: The Modernist Dutch Reformed Church of Op-die-Berg","authors":"Marijke Andrea Tymbios","doi":"10.1080/00043389.2019.1603892","DOIUrl":"https://doi.org/10.1080/00043389.2019.1603892","url":null,"abstract":"Although not monuments in the traditional sense, modernist Afrikaans Protestant churches erected during the 20th century are reminders of the wealth of the Afrikaner people, the stringent union of ...","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2019.1603892","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45989191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-04DOI: 10.1080/00043389.2019.1613747
S. Kappler, A. McKane
This article conceptualises the challenges that curators of the visual arts working in post-conflict contexts face in terms of doing justice to the competing narratives and representations of past ...
{"title":"“Post-conflict Curating”: The Arts and Politics of Belfast’s Peace Walls","authors":"S. Kappler, A. McKane","doi":"10.1080/00043389.2019.1613747","DOIUrl":"https://doi.org/10.1080/00043389.2019.1613747","url":null,"abstract":"This article conceptualises the challenges that curators of the visual arts working in post-conflict contexts face in terms of doing justice to the competing narratives and representations of past ...","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2019.1613747","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43363658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-04DOI: 10.1080/00043389.2019.1658052
Kim Miller, B. Schmahmann
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Pub Date : 2019-03-17DOI: 10.1080/00043389.2019.1580415
M. Clark
ABSTRACTHistorically framed as a “violent” medium, photography poses a series of ethical questions about what it means to look at vulnerable individuals. Yet, when it comes to photographs of the cl...
{"title":"Patients, Power and Representation: Clinical Photographs in Focus","authors":"M. Clark","doi":"10.1080/00043389.2019.1580415","DOIUrl":"https://doi.org/10.1080/00043389.2019.1580415","url":null,"abstract":"ABSTRACTHistorically framed as a “violent” medium, photography poses a series of ethical questions about what it means to look at vulnerable individuals. Yet, when it comes to photographs of the cl...","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2019.1580415","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46249046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/00043389.2019.1611023
Jenni Lauwrens
ABSTRACT Ecological art responds to environmental degradation and often aims to restore ecosystems through arts practice. Some ecological artists devote their practice to motivating people to protect small species, particularly by increasing awareness about the role these creatures play in local ecosystems. In this article, I discuss two South African ecological performance works that encouraged close attention, respect, and care for small species by fostering environmental values. I argue that it is through walking, dialogue, and embodied participation that sensorially engaged participants developed deeper understandings of the fragile relationship between humans and non-human animals. By combining aesthetic and educational components, both animal-endorsing performances encouraged an openness and attentiveness towards the environment in the people who participated in the events.
{"title":"Take a Hike: Fostering Environmental Values by Walking with Ecological Art","authors":"Jenni Lauwrens","doi":"10.1080/00043389.2019.1611023","DOIUrl":"https://doi.org/10.1080/00043389.2019.1611023","url":null,"abstract":"ABSTRACT Ecological art responds to environmental degradation and often aims to restore ecosystems through arts practice. Some ecological artists devote their practice to motivating people to protect small species, particularly by increasing awareness about the role these creatures play in local ecosystems. In this article, I discuss two South African ecological performance works that encouraged close attention, respect, and care for small species by fostering environmental values. I argue that it is through walking, dialogue, and embodied participation that sensorially engaged participants developed deeper understandings of the fragile relationship between humans and non-human animals. By combining aesthetic and educational components, both animal-endorsing performances encouraged an openness and attentiveness towards the environment in the people who participated in the events.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2019.1611023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45033795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/00043389.2018.1558535
Michelle Stewart
ABSTRACT The “Big Man” phenomenon is often associated with the African dictator. However, with the rise of modern “strongman” leaders such as Trump, Putin, and Xi, it is not surprising that the notion of the Big Man has come to represent a global condition, one that not only characterises African dictatorship but that also has a precedent in Western tradition. A potent visual and conceptual fictional archetype for the Big Man can be found in Alfred Jarry's Père Ubu, the central character for his play Ubu Roi (1896). While the tyrannical Père Ubu is an evocation of the European psyche of the late 19th century, he is equally compelling today as an archetype and symbol of the contemporary tyrant. This article seeks to investigate this claim by engaging with works by Robert Hodgins and William Kentridge inspired by Père Ubu. The Jarry-inspired Ubu theme is well known throughout Hodgins's and Kentridge's work. However, this article asserts the relevance of their work featuring this theme, given the evocation of an archetypal tyrant figure that has global significance and is pertinent to notions of tyranny in Africa (including South Africa).
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Pub Date : 2019-01-02DOI: 10.1080/00043389.2019.1619972
Pamela Allara
ABSTRACT This essay traces the artistic collaborations between William Kentridge and two Johannesburg-based printmaking studios: Artist Proof Studio (APS) and the David Krut Print Workshop (DKW). It is intentionally descriptive, in order to document the process of collaboration between the artist and master printers in the making of a series of composite prints based on Kentridge’s 2016 Tiber River frieze, Triumphs and Laments. Although video documentation exists of the rehearsals of Kentridge’s performance works, little attention has been paid to the nature of his collaborations in the making of his prints. Whereas artists will often make a plate and then leave the printing entirely up to the master printers, in this instance, the technical and aesthetic complexity of each of the ten prints in the Triumphs and Laments series required intensive interaction between artist and printer. Although the two studios have different missions—APS trains and educates printmakers and DKW prints the work of the gallery’s artists—both are committed to the creative processes involved in artistic collaboration. The premise that printmaking is a collaborative medium is thus confirmed. Finally, all of the prints’ subjects are taken from different sections of the frieze, but the content of each echoes Kentridge’s assertion that “it’s not just to say history is problematic and complicated, but that inside one person’s triumph is someone else’s disaster” (in Triumphs and Laments: William Kentridge. Edited by Carlos Basualdo. Cologne: Walter Koenig, 2018, 51).
摘要本文追溯了William Kentridge与约翰内斯堡两家版画工作室的艺术合作：Artist Proof Studio（APS）和David Krut Print Workshop（DKW）。它是有意描述的，目的是记录艺术家和印刷大师在制作一系列基于Kentridge 2016年台伯河雕带、Triumphs和Laments的合成版画时的合作过程。尽管有Kentridge表演作品排练的视频文件，但很少有人关注他在版画制作中的合作性质。艺术家通常会制作一个印版，然后将印刷工作完全交给印刷大师，而在这种情况下，《胜利与哀歌》系列中的十幅版画的技术和美学复杂性都需要艺术家和印刷大师之间的密切互动。尽管这两个工作室有着不同的使命——APS培训和教育版画家，DKW印刷画廊艺术家的作品——但他们都致力于艺术合作中的创作过程。版画是一种协作媒介的前提就这样得到了证实。最后，所有版画的主题都取自雕带的不同部分，但每幅作品的内容都呼应了肯里奇的断言，即“这不仅仅是说历史是有问题和复杂的，而是说一个人的胜利背后是另一个人的灾难”（见《胜利与哀歌：威廉·肯里奇》，卡洛斯·巴苏亚多编辑。科隆：沃尔特·柯尼希，2018，51）。
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Pub Date : 2019-01-02DOI: 10.1080/00043389.2018.1464732
Karen von Veh
ABSTRACT There is a saying attributed to Winston Churchill that goes, “History is written by the victors,” indicating that all histories are subjective and biased in some way. This was certainly true for South Africa under the Nationalist regime where the exploits of Afrikaner colonialism were glorified, and the majority of the population were mere “bit players” at best and vilified as savages at worst. Such traumatic histories have been interrogated by Penny Siopis in her “History Paintings” made in the early post-apartheid era which consider the residual effects of a dominant patriarchal and colonial discourse on the lives of black women in South Africa. Like Siopis, Paul Emmanuel and Diane Victor engage with the biased nature of history and memory in the light of post-apartheid dispensation in South Africa and the continuing after effects of our fraught past. This article considers the way these three artists engage with the inherent fragility and bias of memory through the materials they employ as much as the content of their works. I consider selected works by these artists and investigate how they engage with the politics of memory to expose fabrications and redress lacunae in the continuum of contested South African histories. I suggest that their works demonstrate how memories have been manipulated in service to a dominant ideology; in other words, they expose the “politics” of memory by using reconstituted/reworked memories to revisit and restore histories that might otherwise be lost.
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