The article explains the situation of performance artists in Poland during the transition period before and after 1989. Then it focuses on the first large performance art festival in Poland after 1989, Real Time Story Telling. It was organized in Sopot and Gdańsk in 1991 by Galeria Działań and curated by the outstanding artist and art theorist Jan Świdziński. The article explains the idea of the festival and briefly describes the curatorial activity of the invited international performance artists. The article also outlines the international network of connections between performance art festivals, which depended on the personal relationships between artists who organized them. Finally, it shows how the festival influenced the introduction of Polish performance artists to the international circuit and how it influenced the development of the festival network in Poland.
文章介绍了 1989 年前后转型时期波兰行为艺术家的状况。然后，文章重点介绍了 1989 年后波兰举办的第一个大型行为艺术节--"实时讲故事"。它于 1991 年由 Galeria Działań 在索波特和格但斯克举办，由杰出的艺术家和艺术理论家 Jan Świdziński 策划。文章解释了艺术节的理念，并简要介绍了受邀国际表演艺术家的策展活动。文章还概述了行为艺术节之间的国际联系网络，这取决于组织这些艺术节的艺术家之间的个人关系。最后，文章介绍了该艺术节如何影响波兰表演艺术家进入国际舞台，以及如何影响波兰艺术节网络的发展。
{"title":"“Real Time Story Telling”: A Performance-Art Festival in the Context of International Networks during the Transitional Period in Poland before and after 1989","authors":"Małgorzata Kaźmierczak","doi":"10.1162/artm_a_00381","DOIUrl":"https://doi.org/10.1162/artm_a_00381","url":null,"abstract":"The article explains the situation of performance artists in Poland during the transition period before and after 1989. Then it focuses on the first large performance art festival in Poland after 1989, Real Time Story Telling. It was organized in Sopot and Gdańsk in 1991 by Galeria Działań and curated by the outstanding artist and art theorist Jan Świdziński. The article explains the idea of the festival and briefly describes the curatorial activity of the invited international performance artists. The article also outlines the international network of connections between performance art festivals, which depended on the personal relationships between artists who organized them. Finally, it shows how the festival influenced the introduction of Polish performance artists to the international circuit and how it influenced the development of the festival network in Poland.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"18 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141510000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article introduces the first translation of the text “Ñandutí: Crossroads of Two Worlds” by Josefina Plá, pioneer of Paraguayan art and literature. The text offers an overview of this figure's life and politics, in the context of the development of Paraguayan modernism in the 1950s and in the early years of General Alfredo Stroessner's military dictatorship (1954–1989). Particularly, I address her involvement in the First Week of Paraguayan Modern Art as co-founder of the Arte Nuevo group and the close relationship with peers like Olga Blinder and Livio Abramo. Plá's historical study of Ñandutí - lace is typically made by Guaranì women and emblematic of Paraguayan craft - bear particular relevance to the ambitions of Paraguayan modernists. Ñandutí has contested origins between the European and the Indigenous – identities that Paraguayan modernists sought to remap.
本文首次翻译了巴拉圭文学艺术先驱 Josefina Plá 的作品《两个世界的十字路口》：巴拉圭艺术和文学先驱 Josefina Plá 所著的《两个世界的十字路口》。文章从 20 世纪 50 年代巴拉圭现代主义的发展以及阿尔弗雷多-斯特罗斯纳将军军事独裁统治（1954-1989 年）初期的背景出发，概述了这位人物的生平和政治。尤其是她作为 Arte Nuevo 小组的共同创始人参与了巴拉圭现代艺术第一周的活动，并与奥尔加-布林德（Olga Blinder）和利维奥-阿布拉莫（Livio Abramo）等同行关系密切。Plá 对 Ñandutí 的历史研究--蕾丝通常由瓜拉尼妇女制作，是巴拉圭手工艺的象征--与巴拉圭现代主义者的抱负特别相关。Ñandutí在欧洲人和土著人之间有着有争议的起源--巴拉圭现代主义者试图重新塑造这种身份。
{"title":"Modern Art, Indigeneity, and Nationalism in Paraguay: An Introduction to Josefina Plá's “Ñandutí Crossroads of Two Worlds”","authors":"Sofia Gotti","doi":"10.1162/artm_a_00384","DOIUrl":"https://doi.org/10.1162/artm_a_00384","url":null,"abstract":"This article introduces the first translation of the text “Ñandutí: Crossroads of Two Worlds” by Josefina Plá, pioneer of Paraguayan art and literature. The text offers an overview of this figure's life and politics, in the context of the development of Paraguayan modernism in the 1950s and in the early years of General Alfredo Stroessner's military dictatorship (1954–1989). Particularly, I address her involvement in the First Week of Paraguayan Modern Art as co-founder of the Arte Nuevo group and the close relationship with peers like Olga Blinder and Livio Abramo. Plá's historical study of Ñandutí - lace is typically made by Guaranì women and emblematic of Paraguayan craft - bear particular relevance to the ambitions of Paraguayan modernists. Ñandutí has contested origins between the European and the Indigenous – identities that Paraguayan modernists sought to remap.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141510002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article introduces the first translation of the text “Ñandutí: Crossroads of Two Worlds” by Josefina Plá, pioneer of Paraguayan art and literature. The text offers an overview of this figure's life and politics, in the context of the development of Paraguayan modernism in the 1950s and in the early years of General Alfredo Stroessner's military dictatorship (1954–1989). Particularly, I address her involvement in the First Week of Paraguayan Modern Art as co-founder of the Arte Nuevo group and the close relationship with peers like Olga Blinder and Livio Abramo. Plá's historical study of Ñandutí - lace is typically made by Guaranì women and emblematic of Paraguayan craft - bear particular relevance to the ambitions of Paraguayan modernists. Ñandutí has contested origins between the European and the Indigenous – identities that Paraguayan modernists sought to remap.
本文首次翻译了巴拉圭文学艺术先驱 Josefina Plá 的作品《两个世界的十字路口》：巴拉圭艺术和文学先驱 Josefina Plá 所著的《两个世界的十字路口》。文章从 20 世纪 50 年代巴拉圭现代主义的发展以及阿尔弗雷多-斯特罗斯纳将军军事独裁统治（1954-1989 年）初期的背景出发，概述了这位人物的生平和政治。尤其是她作为 Arte Nuevo 小组的共同创始人参与了巴拉圭现代艺术第一周的活动，并与奥尔加-布林德（Olga Blinder）和利维奥-阿布拉莫（Livio Abramo）等同行关系密切。Plá 对 Ñandutí 的历史研究--蕾丝通常由瓜拉尼妇女制作，是巴拉圭手工艺的象征--与巴拉圭现代主义者的抱负特别相关。Ñandutí在欧洲人和土著人之间有着有争议的起源--巴拉圭现代主义者试图重新塑造这种身份。
{"title":"Ñandutí: Crossroads of Two Worlds: The Lineage and Magic of Ñandutí","authors":"Josefina Plá","doi":"10.1162/artm_a_00385","DOIUrl":"https://doi.org/10.1162/artm_a_00385","url":null,"abstract":"This article introduces the first translation of the text “Ñandutí: Crossroads of Two Worlds” by Josefina Plá, pioneer of Paraguayan art and literature. The text offers an overview of this figure's life and politics, in the context of the development of Paraguayan modernism in the 1950s and in the early years of General Alfredo Stroessner's military dictatorship (1954–1989). Particularly, I address her involvement in the First Week of Paraguayan Modern Art as co-founder of the Arte Nuevo group and the close relationship with peers like Olga Blinder and Livio Abramo. Plá's historical study of Ñandutí - lace is typically made by Guaranì women and emblematic of Paraguayan craft - bear particular relevance to the ambitions of Paraguayan modernists. Ñandutí has contested origins between the European and the Indigenous – identities that Paraguayan modernists sought to remap.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"35 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141510001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article explores the film theory written by the Japanese avant-garde artist Murayama Tomoyoshi (1901–1977). Murayama authored a robust yet understudied body of film writing, in the 1920s and 1930s. Although he had a prolific and stable activity related to film—in criticism, theory, screenplays, and even directing—he held an ambivalent opinion about the medium. For him, film could never fulfill art's political task due to what he saw as the ontological restrictions of the medium: its supposedly incorporeal and incessant display of images. However, he kept repeatedly returning to film, based on the fascination with a certain vitality that he saw in the moving image vis-à-vis other types of images such as photography. By reading his film essays in the larger context of his political engagements and his aesthetic theory, the article argues that the contradictions that animated Murayama's “problem with film”—his ambivalent attachment to the medium—reveal his adherences to the racial logics of the Japanese empire and offer a critical perspective on the broader political stakes of cinematic embodiment.
{"title":"The Problem with Film: Murayama Tomoyoshi's Variations on the Visible","authors":"André Keiji Kunigami","doi":"10.1162/artm_a_00382","DOIUrl":"https://doi.org/10.1162/artm_a_00382","url":null,"abstract":"The article explores the film theory written by the Japanese avant-garde artist Murayama Tomoyoshi (1901–1977). Murayama authored a robust yet understudied body of film writing, in the 1920s and 1930s. Although he had a prolific and stable activity related to film—in criticism, theory, screenplays, and even directing—he held an ambivalent opinion about the medium. For him, film could never fulfill art's political task due to what he saw as the ontological restrictions of the medium: its supposedly incorporeal and incessant display of images. However, he kept repeatedly returning to film, based on the fascination with a certain vitality that he saw in the moving image vis-à-vis other types of images such as photography. By reading his film essays in the larger context of his political engagements and his aesthetic theory, the article argues that the contradictions that animated Murayama's “problem with film”—his ambivalent attachment to the medium—reveal his adherences to the racial logics of the Japanese empire and offer a critical perspective on the broader political stakes of cinematic embodiment.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"30 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141510004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The rise of Duterte's authoritarian regime, and a series of violent dispersals to peasant-led mobilizations, prompted counter-mapping workshops in protest camps and rural communities. These workshops evolved out of the need to gather and visualize shared experiences and collective aspirations of the basic sectors-peasants, indigenous groups, and workers-who bear the brunt of oppression in a neocolonial society such as that of the Philippines. Additionally, these mapping sessions have become a potent method in exposing rights abuses, land grabbing, extractive industries, development aggression and other forms of violence perpetrated by centralized bodies. Moreover, the goal of the workshop is to find discursive ways for marginalized populations to assert their rights and author representations of their own lived environments.
{"title":"Militant Mappings: A Template Toolkit","authors":"Cian Dayrit","doi":"10.1162/artm_a_00387","DOIUrl":"https://doi.org/10.1162/artm_a_00387","url":null,"abstract":"The rise of Duterte's authoritarian regime, and a series of violent dispersals to peasant-led mobilizations, prompted counter-mapping workshops in protest camps and rural communities. These workshops evolved out of the need to gather and visualize shared experiences and collective aspirations of the basic sectors-peasants, indigenous groups, and workers-who bear the brunt of oppression in a neocolonial society such as that of the Philippines. Additionally, these mapping sessions have become a potent method in exposing rights abuses, land grabbing, extractive industries, development aggression and other forms of violence perpetrated by centralized bodies. Moreover, the goal of the workshop is to find discursive ways for marginalized populations to assert their rights and author representations of their own lived environments.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"2017 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141510003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses Filipa César's and Louis Henderson's digital film Sunstone (2018), situating it within a history of lenses and lighthouses in Portuguese conquest. It argues that Portugal has been overlooked as playing a key role in shaping the use and conceptual function of lenses in maritime conquest. In particular, the beaming of light from lenses has been overshadowed by the function of light collection in histories written about lens-based media.
{"title":"“We Need a Lighthouse Philosopher”: Filipa César and Louis Henderson's Sunstone (2018) and the Portuguese Genealogy of Lens-Based Media","authors":"Delinda Collier","doi":"10.1162/artm_a_00371","DOIUrl":"https://doi.org/10.1162/artm_a_00371","url":null,"abstract":"This article discusses Filipa César's and Louis Henderson's digital film Sunstone (2018), situating it within a history of lenses and lighthouses in Portuguese conquest. It argues that Portugal has been overlooked as playing a key role in shaping the use and conceptual function of lenses in maritime conquest. In particular, the beaming of light from lenses has been overshadowed by the function of light collection in histories written about lens-based media.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"28 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140603068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's, Metrics of Modernity: Art and Development in Postwar Turkey, (2022) offer candid appraisals of postcolonial modernism's exposure to colonial and nationalist institutions, Cold War cultural networks, and the hierarchical effects of canonical modernism. Reviewed together in this article, these books reveal the distinctive orientations of modernism in contiguous Syria, Lebanon and Turkey along with the methodological value of formalist methods to assert artistic agency. Through refractive readings of artworks and other materials, Lenssen, Maasri and Smith invert disciplinary anxieties about postcolonial art's political subjection, making a case for postcolonial art's perceptiveness to the instability and abstraction of the institutional forces to which they are subject.
在现代主义艺术史试探性地接受后殖民主义现代主义十年之后，一批新书正在利用这一学科接受度来研究该领域迄今为止被遮蔽的方面。安妮卡-伦森（Anneka Lenssen）的《美丽的躁动》（Beautiful Agitation：叙利亚的现代绘画与政治》（2020 年）、Zeina Maasri 的《大都会激进主义：贝鲁特全球六十年代的视觉政治》（2020 年）和 Sarah-Neel Smith 的《现代性的尺度》：战后土耳其的艺术与发展》（2022 年）对后殖民现代主义暴露于殖民和民族主义机构、冷战文化网络以及经典现代主义的等级效应进行了坦率的评价。本文一并评述的这几本书揭示了现代主义在毗邻的叙利亚、黎巴嫩和土耳其的独特取向，以及形式主义方法在主张艺术能动性方面的方法论价值。通过对艺术作品和其他材料的折射式解读，Lenssen、Maasri 和 Smith 颠覆了对后殖民艺术的政治主体性的学科焦虑，为后殖民艺术对其所受制于的制度力量的不稳定性和抽象性的感知力提供了论据。
{"title":"Abstract States: Modernism in Lebanon, Syria, and Turkey","authors":"Gemma Sharpe","doi":"10.1162/artm_r_00375","DOIUrl":"https://doi.org/10.1162/artm_r_00375","url":null,"abstract":"A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's, Metrics of Modernity: Art and Development in Postwar Turkey, (2022) offer candid appraisals of postcolonial modernism's exposure to colonial and nationalist institutions, Cold War cultural networks, and the hierarchical effects of canonical modernism. Reviewed together in this article, these books reveal the distinctive orientations of modernism in contiguous Syria, Lebanon and Turkey along with the methodological value of formalist methods to assert artistic agency. Through refractive readings of artworks and other materials, Lenssen, Maasri and Smith invert disciplinary anxieties about postcolonial art's political subjection, making a case for postcolonial art's perceptiveness to the instability and abstraction of the institutional forces to which they are subject.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"212 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140571843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between 1884–1885, Britain requested a contingent of boatmen – “voyageurs” – from Canada to assist transport troops and supplies through the Nile's system of cataracts (rapids). The expedition's cross section of participants included Egyptians, Sudanese, roughly one hundred indigenous subjects from Canada and subjects from across Britain's empire. Primary sources authored by four participants are central to understanding how the role of travelogues and their accompanying illustrations and photographs combine with discourses of imperialism to establish a foundational framework for the discursive practice of colonialism. Two authors – Louis Jackson's Our Gaughnawagas in Egypt (1885) and James D. Deer's The Canadian Voyageurs in Egypt (1885) – were members of the Mohawk community of Kahnawake near Montreal, Quebec. This visual essay is interested in the way in which indigeneity is produced through contact and exchange under conditions of imperial conquest. It intersperses maps, historical illustrations, photographs, fragments of musical transcription texts and travelogues that were produced in Canada, Britain, Egypt, and Sudan during the 19th and 20th centuries.
{"title":"As the Nile Flows or the Camel Walks","authors":"Dawit L. Petros, Black Athena Collective","doi":"10.1162/artm_a_00376","DOIUrl":"https://doi.org/10.1162/artm_a_00376","url":null,"abstract":"<p>Between 1884–1885, Britain requested a contingent of boatmen – “voyageurs” – from Canada to assist transport troops and supplies through the Nile's system of cataracts (rapids). The expedition's cross section of participants included Egyptians, Sudanese, roughly one hundred indigenous subjects from Canada and subjects from across Britain's empire. Primary sources authored by four participants are central to understanding how the role of travelogues and their accompanying illustrations and photographs combine with discourses of imperialism to establish a foundational framework for the discursive practice of colonialism. Two authors – Louis Jackson's <em>Our Gaughnawagas in Egypt</em> (1885) and James D. Deer's <em>The Canadian Voyageurs in Egypt</em> (1885) – were members of the Mohawk community of Kahnawake near Montreal, Quebec. This visual essay is interested in the way in which indigeneity is produced through contact and exchange under conditions of imperial conquest. It intersperses maps, historical illustrations, photographs, fragments of musical transcription texts and travelogues that were produced in Canada, Britain, Egypt, and Sudan during the 19<sup>th</sup> and 20<sup>th</sup> centuries.</p>","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"116 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140571938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Black Athena Collective, founded in 2015 by artists Heba Y. Amin and Dawit L. Petros, is a research and artistic laboratory for experimentation that engages political discourse and practices of spatial construction connected to the Red Sea region from Eritrea to Egypt through multidisciplinary perspectives, including geography, archaeology, and history.
Black Athena Collective 由艺术家 Heba Y. Amin 和 Dawit L. Petros 于 2015 年创立，是一个研究和艺术实验实验室，通过地理学、考古学和历史学等多学科视角，参与从厄立特里亚到埃及的红海地区的政治话语和空间建设实践。
{"title":"Contributors","authors":"","doi":"10.1162/artm_x_00379","DOIUrl":"https://doi.org/10.1162/artm_x_00379","url":null,"abstract":"<span><strong>Black Athena Collective</strong>, founded in 2015 by artists Heba Y. Amin and Dawit L. Petros, is a research and artistic laboratory for experimentation that engages political discourse and practices of spatial construction connected to the Red Sea region from Eritrea to Egypt through multidisciplinary perspectives, including geography, archaeology, and history.</span>","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"30 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140571844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Household casebearers are a genus of moths primarily distinguished by the spindle-shaped cases they carry and live in throughout their larval life. The cases, woven from household dust, typically comprise an array of materials from textile fibers to dead insect parts. As they thrive in domestic spaces in tropical climates, they are commonly viewed as a domestic pest. Anthropocentrism as such has led to a fundamental imbalance of knowledge concerning these creatures: we are more knowledgeable in their capacity for damage than we are in understanding how they live, even as we cohabit with them very closely, at home. In presenting a series of macro photography of their larval cases, this project invites readers to be attentive to the material and ecological entanglements on display on their intricate creations. The home is already a wilderness as household casebearers rebuild their houses from the dusty ruins of ours.
{"title":"Bags of Stories: Thinking with Household Casebearers in the Anthropocene","authors":"Tan Zi Hao","doi":"10.1162/artm_a_00364","DOIUrl":"https://doi.org/10.1162/artm_a_00364","url":null,"abstract":"Household casebearers are a genus of moths primarily distinguished by the spindle-shaped cases they carry and live in throughout their larval life. The cases, woven from household dust, typically comprise an array of materials from textile fibers to dead insect parts. As they thrive in domestic spaces in tropical climates, they are commonly viewed as a domestic pest. Anthropocentrism as such has led to a fundamental imbalance of knowledge concerning these creatures: we are more knowledgeable in their capacity for damage than we are in understanding how they live, even as we cohabit with them very closely, at home. In presenting a series of macro photography of their larval cases, this project invites readers to be attentive to the material and ecological entanglements on display on their intricate creations. The home is already a wilderness as household casebearers rebuild their houses from the dusty ruins of ours.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"9 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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