Abstract Weiss and Camnitzer discuss his ideas about the transformative potential of art in education; his experiences in and thoughts about Cuba and Cuban art; his “Uruguayan Torture” series of prints, and his thoughts about productive anarchy.
{"title":"“None of the Art Stuff Makes Sense Anymore”: An Interview with Luis Camnitzer","authors":"R. Weiss","doi":"10.1162/artm_a_00290","DOIUrl":"https://doi.org/10.1162/artm_a_00290","url":null,"abstract":"Abstract Weiss and Camnitzer discuss his ideas about the transformative potential of art in education; his experiences in and thoughts about Cuba and Cuban art; his “Uruguayan Torture” series of prints, and his thoughts about productive anarchy.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"7-28"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47505030","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 artistic practice of the Polish-born Ewa Partum can be divided chronologically into Polish (1965–1982), West Berlin (1982–89) and transnational / global (from 1989) periods. This essay focuses on the specificity of the conceptual art developed by Partum and her self-historicization as a conceptual artist. At the same time, it regards the local and global historicization of conceptual art as fragmentary and contradicting processes. The study examines local genealogy of Partum's conceptual strategies as part of a localized reflection on the geopolitics of knowledge; it considers a specific position of cultural production that is characteristic of Central and Eastern European neo-avant-gardes. It examines Partum's model of conceptual art in relation to Polish and Western practices. It is argued that Western conceptualism was only a point of reference for Partum's art. Works such as Presence / Absence or Luncheon on the Grass realized by Partum in years 1965–1972 formed a basis from which the artist responded to knowledge of the transnational conceptual movement that was disseminated through Mail Art and Fluxus networks. Analysis reveals Partum's model of conceptual art to be contrapuntal, as it is not subordinate to either its western inflection or local (Polish) cannons and protocols.
{"title":"If You Want to Say Something—Speak in the Language of the Language: Ewa Partum's Model of Conceptual Art","authors":"Karolina Majewska-Güde","doi":"10.1162/artm_a_00293","DOIUrl":"https://doi.org/10.1162/artm_a_00293","url":null,"abstract":"Abstract The artistic practice of the Polish-born Ewa Partum can be divided chronologically into Polish (1965–1982), West Berlin (1982–89) and transnational / global (from 1989) periods. This essay focuses on the specificity of the conceptual art developed by Partum and her self-historicization as a conceptual artist. At the same time, it regards the local and global historicization of conceptual art as fragmentary and contradicting processes. The study examines local genealogy of Partum's conceptual strategies as part of a localized reflection on the geopolitics of knowledge; it considers a specific position of cultural production that is characteristic of Central and Eastern European neo-avant-gardes. It examines Partum's model of conceptual art in relation to Polish and Western practices. It is argued that Western conceptualism was only a point of reference for Partum's art. Works such as Presence / Absence or Luncheon on the Grass realized by Partum in years 1965–1972 formed a basis from which the artist responded to knowledge of the transnational conceptual movement that was disseminated through Mail Art and Fluxus networks. Analysis reveals Partum's model of conceptual art to be contrapuntal, as it is not subordinate to either its western inflection or local (Polish) cannons and protocols.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"73-92"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47287707","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}
Bruno Moreschi, Christopher Bratton, Dalida María Benfield, Gabriel Pereira, Guilherme Falcão
Abstract _rt Movement(s) is an artist research project intended as a text object that materially represents the complex, relational articulation of art and history with particular emphases on the contingent relationships made by movements of different kinds: geographical migration of artists, displacement of art objects, performances, institutions/festivals, and theories/theorists. _rt Movement(s) challenges the linear developmental approach of normative art history, and its nationalist, racialized, and ethnocentric assumptions. Instead, the project argues through diverse sources, including texts, images, graphs and other visualizations for the essentially translocal and transhistorical character of works of art.
{"title":"_rt movements","authors":"Bruno Moreschi, Christopher Bratton, Dalida María Benfield, Gabriel Pereira, Guilherme Falcão","doi":"10.1162/artm_a_00294","DOIUrl":"https://doi.org/10.1162/artm_a_00294","url":null,"abstract":"Abstract _rt Movement(s) is an artist research project intended as a text object that materially represents the complex, relational articulation of art and history with particular emphases on the contingent relationships made by movements of different kinds: geographical migration of artists, displacement of art objects, performances, institutions/festivals, and theories/theorists. _rt Movement(s) challenges the linear developmental approach of normative art history, and its nationalist, racialized, and ethnocentric assumptions. Instead, the project argues through diverse sources, including texts, images, graphs and other visualizations for the essentially translocal and transhistorical character of works of art.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"93-104"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44279565","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}
In the oldest Austro-Hungarian sugar refinement plant opened in mid 18thcentury in Rijeka, today Croatia, a series of “idealized” landscapes pained by unknown artisans include depictions of slaves. The so-called Vedute ideate are a rare depiction of the racialized slave labor in the Austro-Hungarian Empire that points to the invisible labor, which enabled industrial production of sugar and made visible the relation of the Austro-Hungarian Empire, together with the peripheral port town of Rijeka, to the global flow of capital and the history of colonialism. By drawing on Catherine Baker’s recently published “Race in Yugoslavia” we look at how representation of slavery did not receive critical assessment while the resentment for the racialization across ethnic lines, in relation to Europe proper where the inhabitants ex-Yugoslavia are themselves racialized as the European other, perseveres. With the repurposing of the industrial building in the framework of European Capital of Culture project, Rijeka 2020 – Port of Diversity, the Vedute ideate will be publicly displayed as part of the Museum of the City of Rijeka display but it is uncertain whether the museum will recognize colonialism as a constituent part of Rijeka’s industrialization and development.
{"title":"A Room with a landscape: Vedute from the Palace of\u0000 the Privileged Company of Trieste and Rijeka","authors":"Fokus Grupa","doi":"10.1162/artm_a_00287","DOIUrl":"https://doi.org/10.1162/artm_a_00287","url":null,"abstract":"\u0000 In the oldest Austro-Hungarian sugar refinement plant opened in mid 18thcentury in Rijeka, today Croatia, a series of “idealized” landscapes pained by unknown artisans include depictions of slaves. The so-called Vedute ideate are a rare depiction of the racialized slave labor in the Austro-Hungarian Empire that points to the invisible labor, which enabled industrial production of sugar and made visible the relation of the Austro-Hungarian Empire, together with the peripheral port town of Rijeka, to the global flow of capital and the history of colonialism. By drawing on Catherine Baker’s recently published “Race in Yugoslavia” we look at how representation of slavery did not receive critical assessment while the resentment for the racialization across ethnic lines, in relation to Europe proper where the inhabitants ex-Yugoslavia are themselves racialized as the European other, perseveres. With the repurposing of the industrial building in the framework of European Capital of Culture project, Rijeka 2020 – Port of Diversity, the Vedute ideate will be publicly displayed as part of the Museum of the City of Rijeka display but it is uncertain whether the museum will recognize colonialism as a constituent part of Rijeka’s industrialization and development.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48588406","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 essay inquires about the historical condition of representation in our present while invoking the modern experience of the sublime and landscape as the medium of that experience. Can the sublime as the experience of the subject confronted with the very limits of representation be extended to our late capitalist conditions of mediatized representations? What constitutes “a landscape” as the site of the experience of the sublime in late capitalism? The essay addresses these questions through a renewed discussion of Walter Benjamin’s “The Work of Art in the Age of Technological Reproducibility” (1936) by focusing on the discussion of the aura and the decay of the aura in relation to landscape. In the wake of the failure of a transformative praxis to bring about a new social order, the technologically hyper-mediated engagement of man with nature under the conditions of extreme alienation and reification results in the production of the aesthetics of destruction experienced as “supreme pleasure”. In the age of the atomic bomb and technological hyper-mediation, the singularity of the moment of the experience of the sublime is multiply reproduced. The essay ends with an analysis of Werner Herzog’s 1992 film Lessons of Darkness as an example of rendering cinematically the aura’s survival under the conditions of its decay in the burning oil fields of Kuwait. Capitalism’s “desert of the real”, as the vast desert in Kuwait in Herzog’s film, is precisely the landscape in relation to which the subject attempts to represent that which evades representation (the event, nature, capitalism, and so on).
本文通过援引现代的崇高体验和作为这种体验媒介的景观体验，探讨了我们当下表现的历史条件。作为主体面对表征极限的体验的崇高，能否扩展到我们晚期资本主义的中介表征条件？作为资本主义晚期崇高体验的场所，什么构成了“景观”？本文通过对沃尔特·本雅明（Walter Benjamin）1936年的《技术再现性时代的艺术作品》（The Work of Art in The Age of Technological Reproductibility）的重新讨论来解决这些问题，重点讨论了与景观相关的光环和光环的衰减。在变革性实践未能带来新的社会秩序之后，在极端异化和物化的条件下，人与自然的技术超中介接触导致了作为“最高快感”体验的破坏美学的产生。在原子弹和技术超中介的时代，崇高体验的奇异时刻被成倍地复制。文章最后分析了维尔纳·赫尔佐格1992年的电影《黑暗的教训》，作为一个例子，以电影的方式呈现了光环在科威特燃烧的油田中腐烂的条件下的生存。资本主义的“真实的沙漠”，就像赫尔佐格电影中科威特的广阔沙漠一样，正是主体试图表现的逃避表现的景观（事件、自然、资本主义等等）。
{"title":"Landscape and Its Double: The Technological Sublime","authors":"Angela Harutyunyan","doi":"10.1162/artm_a_00286","DOIUrl":"https://doi.org/10.1162/artm_a_00286","url":null,"abstract":"\u0000 The essay inquires about the historical condition of representation in our present while invoking the modern experience of the sublime and landscape as the medium of that experience. Can the sublime as the experience of the subject confronted with the very limits of representation be extended to our late capitalist conditions of mediatized representations? What constitutes “a landscape” as the site of the experience of the sublime in late capitalism? The essay addresses these questions through a renewed discussion of Walter Benjamin’s “The Work of Art in the Age of Technological Reproducibility” (1936) by focusing on the discussion of the aura and the decay of the aura in relation to landscape. In the wake of the failure of a transformative praxis to bring about a new social order, the technologically hyper-mediated engagement of man with nature under the conditions of extreme alienation and reification results in the production of the aesthetics of destruction experienced as “supreme pleasure”. In the age of the atomic bomb and technological hyper-mediation, the singularity of the moment of the experience of the sublime is multiply reproduced. The essay ends with an analysis of Werner Herzog’s 1992 film Lessons of Darkness as an example of rendering cinematically the aura’s survival under the conditions of its decay in the burning oil fields of Kuwait. Capitalism’s “desert of the real”, as the vast desert in Kuwait in Herzog’s film, is precisely the landscape in relation to which the subject attempts to represent that which evades representation (the event, nature, capitalism, and so on).","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47330323","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}
“Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.
{"title":"Reframing Landscape","authors":"W. Mitchell","doi":"10.1162/artm_a_00281","DOIUrl":"https://doi.org/10.1162/artm_a_00281","url":null,"abstract":"\u0000 “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46762728","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 introduction to Masao Matsuda’s essay, “The City as Landscape,” provides an outline of the essay’s role in the emergence of a radical discourse of landscape, known as fūkei-ron in Japan. In addition to illuminating crucial aspects of the political and discursive context of Matsuda’s writings, the introduction orients contemporary readers to this essay’s contributions to an expansion of the global imaginaries and aesthetic genealogies of the radical left.
松田正雄（Masao Matsuda）的文章《作为风景的城市》（The City as Landscape）的引言概述了这篇文章在日本被称为fúkei ron的激进风景话语出现中的作用。除了阐明松田作品的政治和话语背景的关键方面外，引言还向当代读者介绍了这篇文章对激进左翼的全球想象和美学谱系的扩展所做的贡献。
{"title":"Introduction to “City as Landscape” (1970) by Matsuda\u0000 Masao (1933–2020)","authors":"Franz Prichard","doi":"10.1162/artm_a_00284","DOIUrl":"https://doi.org/10.1162/artm_a_00284","url":null,"abstract":"\u0000 This introduction to Masao Matsuda’s essay, “The City as Landscape,” provides an outline of the essay’s role in the emergence of a radical discourse of landscape, known as fūkei-ron in Japan. In addition to illuminating crucial aspects of the political and discursive context of Matsuda’s writings, the introduction orients contemporary readers to this essay’s contributions to an expansion of the global imaginaries and aesthetic genealogies of the radical left.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42531062","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}
In the 1960s, Japanese artists and filmmakers directed their fury against the sterile urban landscapes which surrounded them. The “Theory of Landscape,” developed by Matsuda Masao as well as many other filmmakers, artists, and writers, posited that our lived landscape is an expression of dominant political power. This article uses the lens of Landscape Theory to analyze three Japanese political avant-garde films from the late 1960s and early 1970s, all of which mark frustration and anger through a reworking of the mundane urban environment that surrounds them: Wakamatsu Koji’s Go, Go Second Time Virgin (1969), Oshima Nagisa’s The Man Who Left His Will on Film (1970), and Terayama Shuji’s Throw Away Your Books, Rally in the Streets (1971). These three films, whose narratives are fundamentally integrated with the discourse of Landscape Theory, use forms of violence to create gaps and fissures within the coldly modernized Tokyo landscape. While the forms of violence they use might differ, Wakamatsu, Oshima, and Terayama’s films critique and interrupt their cityscape, rendering the violence inherent in its concrete walls and buildings explicit.
在20世纪60年代，日本艺术家和电影制作人将他们的愤怒指向了他们周围贫瘠的城市景观。松田正雄(Matsuda Masao)以及其他许多电影制作人、艺术家和作家提出的“景观理论”(Theory of Landscape)认为，我们生活的景观是主导政治权力的一种表达。本文运用景观理论的视角分析了20世纪60年代末和70年代初的三部日本政治先锋派电影，它们都是通过对周围世俗城市环境的改造来表现沮丧和愤怒的:若松浩二的《去吧，第二次处女》(1969)，大岛渚的《在电影上留下遗嘱的人》(1970)，寺山修二的《扔掉你的书，街头集会》(1971)。这三部电影的叙事基本上与景观论的话语相结合，用暴力的形式在冷漠的现代化的东京景观中制造裂缝和裂缝。虽然他们使用的暴力形式可能有所不同，但若松、大岛和寺山的电影批评并打断了他们的城市景观，将混凝土墙和建筑中固有的暴力表现得淋漓尽致。
{"title":"Fury and the Landscape Film: Three Men Who Left Their Will on\u0000 Concrete","authors":"Julia Alekseyeva","doi":"10.1162/ARTM_A_00283","DOIUrl":"https://doi.org/10.1162/ARTM_A_00283","url":null,"abstract":"\u0000 In the 1960s, Japanese artists and filmmakers directed their fury against the sterile urban landscapes which surrounded them. The “Theory of Landscape,” developed by Matsuda Masao as well as many other filmmakers, artists, and writers, posited that our lived landscape is an expression of dominant political power. This article uses the lens of Landscape Theory to analyze three Japanese political avant-garde films from the late 1960s and early 1970s, all of which mark frustration and anger through a reworking of the mundane urban environment that surrounds them: Wakamatsu Koji’s Go, Go Second Time Virgin (1969), Oshima Nagisa’s The Man Who Left His Will on Film (1970), and Terayama Shuji’s Throw Away Your Books, Rally in the Streets (1971). These three films, whose narratives are fundamentally integrated with the discourse of Landscape Theory, use forms of violence to create gaps and fissures within the coldly modernized Tokyo landscape. While the forms of violence they use might differ, Wakamatsu, Oshima, and Terayama’s films critique and interrupt their cityscape, rendering the violence inherent in its concrete walls and buildings explicit.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42598620","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}
In 1844, the year of Marx's Philosophical and Economic Manuscripts, J.M.W. Turner presented Rain, Steam, and Speed: The Great Western Railway, the first landscape painting to both articulate the ontological shifts brought about by new modes of extraction and production, but also to suggest concomitant transformation in perception. In this way, it collapsed the dialectical relation between perceiving subject and external landscape, suggesting the reciprocal relationship of reification. In 2013, the contemporary artist and filmmaker Zachary Formwalt produced a piece entitled Projective Geometry in which he read from Chapter 25 of Marx's Capital, the chapter on “So-called Primitive Accumulation.” This voice-over accompanies footage—each shot organized in rigorous single point perspective—of the railroad built by England, France, and Belgium extending from the Ivory Coast to the Cape. Formwalt also unearthed documents from archives in those Imperialist nation states and former/present empires casually mentioning the now unruly, now obedient, yet always “pesky” local African labor that lost life to the enterprise of transportation of local resource extraction to which they were utterly disposable. This essay will describe and analyze both works of art crossing Modernism, aka the culture wing of Modernity (itself a polite term for the ontological shifts brought about by the capitalist mode of production) through the theoretical matrix of Marx, Luxemburg, Sohn-Rethel, and Courtauld.
{"title":"Militant Landscape: Notes on Counter-Figuration from Early Modern\u0000 Genre Formation to Contemporary Practices, or, Landscape after the Failure of\u0000 Representation","authors":"Jaleh Mansoor","doi":"10.1162/artm_a_00282","DOIUrl":"https://doi.org/10.1162/artm_a_00282","url":null,"abstract":"\u0000 In 1844, the year of Marx's Philosophical and Economic Manuscripts, J.M.W. Turner presented Rain, Steam, and Speed: The Great Western Railway, the first landscape painting to both articulate the ontological shifts brought about by new modes of extraction and production, but also to suggest concomitant transformation in perception. In this way, it collapsed the dialectical relation between perceiving subject and external landscape, suggesting the reciprocal relationship of reification. In 2013, the contemporary artist and filmmaker Zachary Formwalt produced a piece entitled Projective Geometry in which he read from Chapter 25 of Marx's Capital, the chapter on “So-called Primitive Accumulation.” This voice-over accompanies footage—each shot organized in rigorous single point perspective—of the railroad built by England, France, and Belgium extending from the Ivory Coast to the Cape. Formwalt also unearthed documents from archives in those Imperialist nation states and former/present empires casually mentioning the now unruly, now obedient, yet always “pesky” local African labor that lost life to the enterprise of transportation of local resource extraction to which they were utterly disposable. This essay will describe and analyze both works of art crossing Modernism, aka the culture wing of Modernity (itself a polite term for the ontological shifts brought about by the capitalist mode of production) through the theoretical matrix of Marx, Luxemburg, Sohn-Rethel, and Courtauld.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48835749","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}
Chad Elias' 2018 book Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon attempts to deal with the question of post-civil war representation, image-making and contemporary art from the perspective of memory studies in Lebanon. Dealing with a particular group of artists working since the 1990's in installation, video, film, and performance, the book attempts to create a relation between their artistic propositions and narratives on the one hand, and the post-war reckoning with the missing and disappeared, the history of former Leftist combatants, neglected space programs, reconstruction and urban space, on the other. The book has a series of shortcomings and structural, theoretical blind spots that this review essay attempts to redress. For instance, Posthumous Images has no framework for the notions of communities of witnessing, collective memory, or post-war amnesia that seems to underpin its claims, as they seem to figure only nominally. In these theoretical omissions, the essay argues, the book adopts and furthers the ideology human rights as this relates to the politics of remembrance, as well as to Lebanon's neoliberal post-war realities. Moreover, it lacks a rigorous art historical frame to study the given artworks formally, or theoretically, leaving the book open to a post-historical method that disavows a critical, social history of art needed for an analysis of post-civil war and post-Cold war art forms in Lebanon and beyond.
{"title":"A Book Review in the Form of a Polemic Chad Elias's Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon and the Old New World Order","authors":"Ghalya Saadawi","doi":"10.1162/artm_a_00273","DOIUrl":"https://doi.org/10.1162/artm_a_00273","url":null,"abstract":"Chad Elias' 2018 book Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon attempts to deal with the question of post-civil war representation, image-making and contemporary art from the perspective of memory studies in Lebanon. Dealing with a particular group of artists working since the 1990's in installation, video, film, and performance, the book attempts to create a relation between their artistic propositions and narratives on the one hand, and the post-war reckoning with the missing and disappeared, the history of former Leftist combatants, neglected space programs, reconstruction and urban space, on the other. The book has a series of shortcomings and structural, theoretical blind spots that this review essay attempts to redress. For instance, Posthumous Images has no framework for the notions of communities of witnessing, collective memory, or post-war amnesia that seems to underpin its claims, as they seem to figure only nominally. In these theoretical omissions, the essay argues, the book adopts and furthers the ideology human rights as this relates to the politics of remembrance, as well as to Lebanon's neoliberal post-war realities. Moreover, it lacks a rigorous art historical frame to study the given artworks formally, or theoretically, leaving the book open to a post-historical method that disavows a critical, social history of art needed for an analysis of post-civil war and post-Cold war art forms in Lebanon and beyond.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"9 1","pages":"69-86"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45487492","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：