Abstract Exploring two major books on the visual and performance histories of the ongoing and historical AIDS crisis in the US and beyond—Brian Getnick's edited volume Final Transmission and Avram Finkelstein's firsthand account, After Silence—this review asks how we have come to contemplate and understand the intensities, losses, and absences of the AIDS catastrophe. Drawing on theories on death, dying, and the cultural expressions around them, the review puts pressure on the particular offerings of these two very different books, ultimately pulling out passionate moments of vulnerability and self-reflexivity in each book as the most effective and powerful ruminations on global crises such as the AIDS pandemic.
{"title":"Chronological Dyslexia: Remembering/Representing/Performing Aids","authors":"Amelia Jones","doi":"10.1162/artm_r_00339","DOIUrl":"https://doi.org/10.1162/artm_r_00339","url":null,"abstract":"Abstract Exploring two major books on the visual and performance histories of the ongoing and historical AIDS crisis in the US and beyond—Brian Getnick's edited volume Final Transmission and Avram Finkelstein's firsthand account, After Silence—this review asks how we have come to contemplate and understand the intensities, losses, and absences of the AIDS catastrophe. Drawing on theories on death, dying, and the cultural expressions around them, the review puts pressure on the particular offerings of these two very different books, ultimately pulling out passionate moments of vulnerability and self-reflexivity in each book as the most effective and powerful ruminations on global crises such as the AIDS pandemic.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"92-105"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46416701","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}
Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.
{"title":"The Abstract and the Concrete in Modern Art","authors":"Tomás Maldonado","doi":"10.1162/artm_a_00343","DOIUrl":"https://doi.org/10.1162/artm_a_00343","url":null,"abstract":"Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"135-142"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42967214","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}
Abstract This article reviews two recent books on Chinese contemporary art, Sasha Welland's Experimental Beijing (2018) and Jenny Lin's Above Sea (2019), concerned with the sociopolitical contexts of the 1990s–2000s' globalizing Beijing and Shanghai respectively. By examining the two authors' respective methodologies—Welland's ethnographical field research and Lin's urban cultural research—, this article interprets how these two books shed light on the role of tensions in the intersectional global-local spaces of Chinese contemporary art. It argues that this field of art history necessitates the employment of non-art historical methodologies, as shown by the two books, in order to locate and make visible the intangible tensions hovering in the art's global-local spaces.
{"title":"Grounding the Global: Pathways to Elucidating Tensions in Chinese Contemporary Art","authors":"Kathy Yim-king Mak","doi":"10.1162/artm_r_00340","DOIUrl":"https://doi.org/10.1162/artm_r_00340","url":null,"abstract":"Abstract This article reviews two recent books on Chinese contemporary art, Sasha Welland's Experimental Beijing (2018) and Jenny Lin's Above Sea (2019), concerned with the sociopolitical contexts of the 1990s–2000s' globalizing Beijing and Shanghai respectively. By examining the two authors' respective methodologies—Welland's ethnographical field research and Lin's urban cultural research—, this article interprets how these two books shed light on the role of tensions in the intersectional global-local spaces of Chinese contemporary art. It argues that this field of art history necessitates the employment of non-art historical methodologies, as shown by the two books, in order to locate and make visible the intangible tensions hovering in the art's global-local spaces.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"106-120"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45639386","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}
Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.
摘要:本介绍性研究分析了阿根廷短期团体Asociación Arte Concreto-Invención(混凝土艺术发明协会，简称AACI)的两个关键文本。这篇文章于1946年发表在该协会官方刊物的同一期上，他们共同提出了“共面”理论，这是AACI对抽象和具体绘画史的关键贡献。马尔多纳多的文本提供了共面谱系的历史重建，作为现代主义对平面和构成问题的研究的高潮，Hlito的文本概述了对马克思主义唯物主义和辩证法的理解，这些理解支撑了现代主义的特殊任务。
{"title":"Notes Toward a Materialist Aesthetics","authors":"Alfredo Hlito","doi":"10.1162/artm_a_00344","DOIUrl":"https://doi.org/10.1162/artm_a_00344","url":null,"abstract":"Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"143-146"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47898082","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}
M. Juneja, Gao Minglu, Chaitanya Sambrani, N. Taylor, Ming Tiampo
Abstract The book, The Asian Modern, by John Clark (with an Introduction by the Manila-based critic and curator, Patrick Flores) seeks to construct a “cross-Asian” account through a detailed historical and empirical focus on 30 artists spanning Southeast, East, and South Asia, as well as Australia. At the core of the book is the premise that the given place, “Asia,” is the locus for a critique of the normative account of modernism tethered to another locale, identified by Clark as “Euramerica.” These focused geographic arenas provide the basis for novel itineraries, dynamic dispersals, and alternative sightlines that reject the conventional frame of the nation. Given the ambitious scale and scope of Clark's project, the ARTMargins editors invited five historians of modern and contemporary art in Asia—Monica Juneja, Ming Tiampo, Nora Taylor, Gao Minglu, and Chaitanya Sambrani—to critically reflect upon the methodological and scholarly implications of his undertaking for the narratives of art history in Asia and beyond. Their responses point up both the limits and merits of The Asian Modern, and address important themes and debates in approaches to global art history, more broadly.
摘要约翰·克拉克（John Clark）的《亚洲现代》（The Asian Modern）一书（马尼拉评论家兼策展人帕特里克·弗洛雷斯（Patrick Flores）介绍）试图通过对横跨东南亚、东亚、南亚以及澳大利亚的30位艺术家的详细历史和经验关注，构建一个“跨亚洲”的叙述。这本书的核心是这样一个前提，即给定的地方“亚洲”是批判与另一个地方（克拉克将其确定为“欧洲-美洲”）相关的现代主义规范性描述的场所。这些集中的地理舞台为拒绝传统国家框架的新颖路线、动态分散和替代视线提供了基础。考虑到克拉克项目的宏大规模和范围，ARTMargins的编辑邀请了五位亚洲现代和当代艺术历史学家——Monica Juneja、Ming Tiampo、Nora Taylor、高明璐和Chaitanya Sambrani——批判性地反思他对亚洲及其他地区艺术史叙事的方法论和学术意义。他们的回答指出了《亚洲现代》的局限性和优点，并更广泛地阐述了全球艺术史方法中的重要主题和辩论。
{"title":"Roundtable on John Clark's The Asian Modern","authors":"M. Juneja, Gao Minglu, Chaitanya Sambrani, N. Taylor, Ming Tiampo","doi":"10.1162/artm_a_00335","DOIUrl":"https://doi.org/10.1162/artm_a_00335","url":null,"abstract":"Abstract The book, The Asian Modern, by John Clark (with an Introduction by the Manila-based critic and curator, Patrick Flores) seeks to construct a “cross-Asian” account through a detailed historical and empirical focus on 30 artists spanning Southeast, East, and South Asia, as well as Australia. At the core of the book is the premise that the given place, “Asia,” is the locus for a critique of the normative account of modernism tethered to another locale, identified by Clark as “Euramerica.” These focused geographic arenas provide the basis for novel itineraries, dynamic dispersals, and alternative sightlines that reject the conventional frame of the nation. Given the ambitious scale and scope of Clark's project, the ARTMargins editors invited five historians of modern and contemporary art in Asia—Monica Juneja, Ming Tiampo, Nora Taylor, Gao Minglu, and Chaitanya Sambrani—to critically reflect upon the methodological and scholarly implications of his undertaking for the narratives of art history in Asia and beyond. Their responses point up both the limits and merits of The Asian Modern, and address important themes and debates in approaches to global art history, more broadly.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"8-25"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45695514","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}
Abstract In his transdisciplinary practice, artist, writer, and translator Barbad Golshiri interprets from his viewpoint located in Iran the iconic pieces of the European art history, including paintings by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. Inserting his own artistically inscribed body into the material milieus of these artists, Golshiri activates the present via transfer of the past onto the future, in an attempt to differentiate the script of history. Deleuzian approach of repetition as a means of differencing instigates this interrogation of Golshiri's Malevich cycle, comprising Quod (2010), which references Malevich's Black Square (1915); Cura; the Rise and Fall of Aplasticism, (2013), restaging in Moscow and Tehran the Last Futurist Exhibition of Paintings 0.10 (Petrograd, 1915); and post-performance object “.” (2013); as well as a series of QR code actions that continue the process of dematerialization of Black Square via social mediation. In their coded language, these works speak truth to power.
摘要在他的跨学科实践中，艺术家、作家和翻译家Barbad Golshiri从伊朗的角度解读了欧洲艺术史上的标志性作品，包括Jan van Eyck、Jacques Louis David和Kazimir Malevich的画作。Golshiri将自己艺术化的身体插入这些艺术家的物质环境中，通过将过去转移到未来来激活现在，试图区分历史的脚本。德勒兹将重复作为一种差异手段的方法引发了对戈尔希里的马列维奇循环的质疑，该循环包括Quod（2010），该循环引用了马列维奇的《黑广场》（1915）；Cura；《Aplastism的兴衰》（2013），在莫斯科和德黑兰重新举办了最后一届未来主义绘画展0.10（彼得格勒，1915）；以及业绩后目标“。”（2013年）；以及通过社会调解继续黑广场非物质化进程的一系列二维码行动。用他们的编码语言，这些作品向权力说出了真相。
{"title":"Barbad Golshiri's Acts of Alterity","authors":"Sandra Skurvida","doi":"10.1162/artm_a_00338","DOIUrl":"https://doi.org/10.1162/artm_a_00338","url":null,"abstract":"Abstract In his transdisciplinary practice, artist, writer, and translator Barbad Golshiri interprets from his viewpoint located in Iran the iconic pieces of the European art history, including paintings by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. Inserting his own artistically inscribed body into the material milieus of these artists, Golshiri activates the present via transfer of the past onto the future, in an attempt to differentiate the script of history. Deleuzian approach of repetition as a means of differencing instigates this interrogation of Golshiri's Malevich cycle, comprising Quod (2010), which references Malevich's Black Square (1915); Cura; the Rise and Fall of Aplasticism, (2013), restaging in Moscow and Tehran the Last Futurist Exhibition of Paintings 0.10 (Petrograd, 1915); and post-performance object “.” (2013); as well as a series of QR code actions that continue the process of dematerialization of Black Square via social mediation. In their coded language, these works speak truth to power.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"73-91"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47291347","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}
Abstract The repression of memory as a result of trauma from war and social divisions is often an experience that obscures or intensifies personal histories. This is especially true between generations. The Memory Zero project is an attempt to bridge this gap through drawn impressions from intergenerational family stories collaged with image and text searches to locate their approximate times and places. Together this creates, hopefully, a fuller historical and affective context. For this, I drew from family stories and histories in England and Poland before and after World War l. In this way the personal and historical approximations merge into their own continuum, greater than their parts.
{"title":"Memory Zero","authors":"Sean Smuda","doi":"10.1162/artm_a_00341","DOIUrl":"https://doi.org/10.1162/artm_a_00341","url":null,"abstract":"Abstract The repression of memory as a result of trauma from war and social divisions is often an experience that obscures or intensifies personal histories. This is especially true between generations. The Memory Zero project is an attempt to bridge this gap through drawn impressions from intergenerational family stories collaged with image and text searches to locate their approximate times and places. Together this creates, hopefully, a fuller historical and affective context. For this, I drew from family stories and histories in England and Poland before and after World War l. In this way the personal and historical approximations merge into their own continuum, greater than their parts.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"121-126"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41608668","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}
Abstract This article examines the contemporary photographic representations of Yugoslav modernist architecture and its ruins that serve as a counterpoint to the 2019 MoMA exhibition, Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, a project that brought socialist architectural modernism to international visibility. In particular, I focus on Boris Kralj's photo-diary My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's photo-essay There's Nothing Here! (2020) to explore the ruins of Yugoslav socialist modernity not only as an object of aesthetic fascination, but also as an emotionally and politically charged site of collective nostalgia and politicized mourning in the postsocialist now. While Kralj documents the vanishing remains of socialism in millennial Belgrade to recollect a diasporic, increasingly non-normative and “queer” Yugoslav identity, Ugrešić and Konjikušić foreground the ruins of Yugoslav anti-fascist monuments as a traumatic void—a discursive silence about the effects of racialized, ethno-nationalist violence in EU's new borderlands. I argue that both projects stage architectural photography as a situated and contextual practice by inscribing affective attachments and politically oppositional meanings into the postsocialist architectural palimpsest.
{"title":"Yugoslavia with Strings Attached: Boris Kralj's My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's There's Nothing Here (2020)","authors":"Vlad Beronja","doi":"10.1162/artm_a_00337","DOIUrl":"https://doi.org/10.1162/artm_a_00337","url":null,"abstract":"Abstract This article examines the contemporary photographic representations of Yugoslav modernist architecture and its ruins that serve as a counterpoint to the 2019 MoMA exhibition, Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, a project that brought socialist architectural modernism to international visibility. In particular, I focus on Boris Kralj's photo-diary My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's photo-essay There's Nothing Here! (2020) to explore the ruins of Yugoslav socialist modernity not only as an object of aesthetic fascination, but also as an emotionally and politically charged site of collective nostalgia and politicized mourning in the postsocialist now. While Kralj documents the vanishing remains of socialism in millennial Belgrade to recollect a diasporic, increasingly non-normative and “queer” Yugoslav identity, Ugrešić and Konjikušić foreground the ruins of Yugoslav anti-fascist monuments as a traumatic void—a discursive silence about the effects of racialized, ethno-nationalist violence in EU's new borderlands. I argue that both projects stage architectural photography as a situated and contextual practice by inscribing affective attachments and politically oppositional meanings into the postsocialist architectural palimpsest.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"51-72"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46327320","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}
Abstract This article examines Brazilian artist Rosângela Rennó's books 2005–510117385–5 and A01 [COD.19.1.1.43] – A27 [S | COD.23], which engage with photographs stolen from public collections in Rio de Janeiro. Both books triggered a conversation about institutional precarity and its effects on national memory and cultural heritage—one that took place a few years before the 2018 fire at Rio de Janeiro's Museu Nacional, which destroyed much of its invaluable archive of twenty million items and was understood as a national tragedy. It discusses Rennó's books in light of 1960s and 1970s Latin American Conceptualisms, arguing that they propose new ways of understanding the secret files of the 1964–85 dictatorship—a still unresolved issue in Brazil. Tackling the dynamics of public museums, private collections, and incentive laws and activating the generative potential of circulation, Rennó's work provides both a commentary on the role of institutions and national memory and at the same time a warning against the unregulated circulation of the neoliberal market. Ultimately, it offers a critique of the archive's potential to be coopted to authoritarian ends and a model for a public, circulating counter-archive of collective memories.
{"title":"Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship","authors":"Marina Bedran","doi":"10.1162/artm_a_00336","DOIUrl":"https://doi.org/10.1162/artm_a_00336","url":null,"abstract":"Abstract This article examines Brazilian artist Rosângela Rennó's books 2005–510117385–5 and A01 [COD.19.1.1.43] – A27 [S | COD.23], which engage with photographs stolen from public collections in Rio de Janeiro. Both books triggered a conversation about institutional precarity and its effects on national memory and cultural heritage—one that took place a few years before the 2018 fire at Rio de Janeiro's Museu Nacional, which destroyed much of its invaluable archive of twenty million items and was understood as a national tragedy. It discusses Rennó's books in light of 1960s and 1970s Latin American Conceptualisms, arguing that they propose new ways of understanding the secret files of the 1964–85 dictatorship—a still unresolved issue in Brazil. Tackling the dynamics of public museums, private collections, and incentive laws and activating the generative potential of circulation, Rennó's work provides both a commentary on the role of institutions and national memory and at the same time a warning against the unregulated circulation of the neoliberal market. Ultimately, it offers a critique of the archive's potential to be coopted to authoritarian ends and a model for a public, circulating counter-archive of collective memories.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"26-50"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46514182","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：