Pub Date : 2024-06-10DOI: 10.1177/14704129231221697
Mieke Bal
This article is the English translation of the ‘inaugural lesson’ that began Professor Mieke Bal’s year as professor of the ‘European Chair’ at the Collège de France. How, asks Bal, to overcome Europe as Babel (where no one understands the other), Europe as nostalgia (regretting lost time and idealizing the past), the pessimism close to despair of Europe as apocalypse? While she refuses to offer a positive, practical answer, Bal does propose an approach to some of the major issues at stake in the ongoing invention of Europe. Here she dreams of ‘Europe in the plural’, the ongoing invention of Europe as a semiosphere that, by way of its multiple differences, encourages mutual curiosity and debate, interaction, interculturality, and sharing between cultures and languages. This is the ground, proposes Bal, for that cultural ideal of Europe in the plural. It is also the ground from which spring Bal’s lectures at the Collège de France, which are to be presented in a series of articles forthcoming in Journal of Visual Culture.
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Pub Date : 2024-06-10DOI: 10.1177/14704129231218186
Amanda Cachia
In this article, the author argues how the conceptual curatorial work of Lucy Lippard imbued similar qualities to those that are embodied in the curatorial work of the ‘aesthetics of the undeliverable’. The aesthetics of the undeliverable is a new genre of disability curating that centers the realities of disability and access within curatorial and artistic practice, alongside exhibition design. The line that runs through both styles of curatorial practice, that is, Lippard’s work, and the aesthetics of the undeliverable, is political intent, where the behind-the-scenes labor of the curator is revealed. Specifically, in Lippard’s projects, errors, gaps, and professional time-frames were revealed, whilst the aesthetics of the undeliverable points out inequities towards disabled artists and audiences, yet insisting on time-lines that defy normative frameworks. The author examines these generative comparisons through Lippard’s ‘numbers’ exhibitions curated in the 1960s–1970s, alongside a case study of the exhibition, Undeliverable, curated by artist Carmen Papalia, which was held at Tangled Art + Disability Gallery in Toronto, followed by the Robert McLaughlin Gallery in Oshawa, Ontario in 2021. In doing this, she aims to show how the aesthetics of the undeliverable is a form of institutional critique within disability arts and culture that has its roots in the proponents of conceptual art of the 1960s and Lippard, to which crip curating is aligned through its oppositional handling of curatorial norms. This dovetails powerfully with a call by Disability Studies scholars to move towards crip methodology, and this article will show how crip curation and the aesthetics of the undeliverable heeds this call.
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Pub Date : 2024-05-07DOI: 10.1177/14704129241238380
Berin Golonu
This article looks at three contemporary photo-based projects that reference Istanbul’s visual histories and document its endangered ecologies. These works take a critical approach to cultural heritage practices in contrast to official discourses that serve state power or justify capital accumulation. Osman Bozkurt’s Scenes, Ali Taptık’s Topographic Nostalgia, and Cemre Yeşil and Maria Sturm’s For Birds’ Sake focus on the relationships between the human and non-human elements of urban geographies. Their projects conceive of heritage as a practice that combines ecological concerns with preserving the cultural remnants of the urban past. Whether critiquing the aesthetic conventions of the picturesque, evoking an affective engagement with the viewer, or conjuring memories of displaced populations, these artists explore different visual approaches to embodying and remembering urban space and place. Taking a cue from their works, this article contemplates the possibility of envisioning heritage futures that can protect Istanbul’s biodiversity while being inclusive of cultural difference.
本文探讨了三个以照片为基础的当代项目，这些项目参考了伊斯坦布尔的视觉历史并记录了其濒危生态。这些作品以批判的态度对待文化遗产实践，与服务于国家权力或为资本积累辩护的官方话语形成鲜明对比。Osman Bozkurt 的 "场景"、Ali Taptık 的 "地形怀旧 "以及 Cemre Yeşil 和 Maria Sturm 的 "为了鸟儿的缘故 "都关注城市地理中人类和非人类元素之间的关系。他们的项目将遗产视为一种实践，将对生态的关注与保护城市过去的文化遗迹相结合。无论是批判风景如画的美学惯例，唤起观众的情感参与，还是勾起流离失所者的记忆，这些艺术家都在探索以不同的视觉方式来体现和记忆城市空间和地点。本文以他们的作品为线索，探讨了设想遗产未来的可能性，这种遗产未来既能保护伊斯坦布尔的生物多样性，又能包容文化差异。
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Pub Date : 2024-04-10DOI: 10.1177/14704129241227832
Jasbir K. Puar
Jasbir K. Puar and Dima Srouji build upon their respective work in architecture, visual art and decolonial theory to produce a collaborative examination of colonial pathologies for Sharjah Art Biennial 15, 2023. Srouji’s architecture and art practice encompass a variety of mediums that allow her to explore notions of heritage and public space in Palestine and the region. Puar is a writer and scholar whose current work focuses on settler colonial violence, disability and debility in Palestine. Their collaborative installations integrate understandings of space and planning with the contemporary politics of resistance in the context of Palestine and the surrounding region. At Sharjah Art Biennial 15, Puar and Srouji present ‘Revolutionary Enclosures (Until the Apricots)’ (2023), a series of household items that respond to the material conditions of lockdown, interweaving the artists’ experiences of COVID-19 quarantine in Palestine and their memories of the Second Intifada (2000–2005), a major Palestinian uprising against Israel. The project reframes everyday objects emblematic of the trauma of enclosure for Palestinians as transformative matter and reservoirs of affective practices of resilience, community and caregiving: hoarded cans of tuna form the constituent parts of a radiator signifying warmth; resin apricots evoke the exchange of sustenance among neighbours; shrapnel becomes decorative wallpaper motifs; a stairwell used as shelter from air raids transforms into a communal reading space. Exploring the collective rhythms and materialities of these conditions, Srouji and Puar conjure the everyday making and remaking of the commons through and against the constraints of siege and containment. The conversation published here took place between March and September 2023, and thus predates the latest phase in the catastrophic violence that has historically defined Israel’s relationship to Palestine and the Palestinians. Triggered by an unprecedented and shocking attack by Hamas on 7 October, Israel’s genocidal military campaign in Gaza is not an anomaly, but in line with and part and parcel of the systematic ethnic cleansing of the Palestinians and the Apartheid system that the settler colonial state of Israel has relied on for its sustenance since 1948. The questions asked here by Maasri and Toukan, as well as the artworks discussed by Jasbir and Srouji, probe aspects of this very condition that has brought us to the unabashed genocidal violence we are now all witness to today.
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Pub Date : 2024-02-22DOI: 10.1177/14704129241227847
Mazen Kerbaj, Jana Traboulsi, Zeina Maasri, Hanan Toukan
In this visual essay, Mazen Kerbaj and Jana Traboulsi bear witness to the genocidal violence that has been unfolding in Gaza since 7 October 2023. From Berlin and Lebanon, respectively, Kerbaj and Traboulsi have been chronicling and responding to the harrowing day-to-day news and testimonies from Gaza. Their drawings raise fundamental questions about what it is to bear witness to genocide as it unfolds, about the politics of seeing as an act of solidarity against imposed invisibility and about racialized sight – the eye that refuses to see what is hiding in plain sight.
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Pub Date : 2023-04-01DOI: 10.1177/14704129231173797
David Riley, DeForrest Brown, Madison Moore, Alexander G. Weheliye
This conversation is excerpted from a panel which followed Black Vibrations, a performance by DeForrest Brown Jr. and madison moore at the Institute for Contemporary Art at VCU (ICA at VCU, Richmond, Virginia) on 25 March 2022. Black Vibrations was the first of the ICA’s Test Pattern series, inspired by the legacy of visionary public-access TV programs and alternative video movements in the US. The series invites artists to turn the ICA auditorium into an experimental production studio for week-long residencies, during which they collaborate with members of the local community to create a live performance and internet broadcast. Black Vibrations considered the history of Detroit techno, and the potential of ‘vibrational technologies’ as an instrument and a weapon. madison moore presented a DJ set as a performative lecture, while Deforrest Brown Jr. performed live using tablets and other haptic technology, building upon his work as a cultural theorist and his musical output under the moniker Speaker Music. The performance transformed the ICA’s auditorium into a club environment, complete with subwoofers, dancefloor, hazers, and flashing lights. Video projections pulled from the archives of the Detroit Historical Society – b-roll of assembly lines, auto trades shows, and early ‘80s computer classes – as well as late-night footage from WGPR Detroit, America’s first Black-owned TV station, which helped to launch techno with the popular programs The Scene and The New Dance Show. Following the performance, DeForrest and madison were joined by scholar Alexander Ghedi Weheliye for a discussion about techno: its Black and working class origins, its connection to Queer dance music innovators, and the connection between protest and the dancefloor.
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Pub Date : 2023-04-01DOI: 10.1177/14704129221146494
Mirjam Brusius, T. Rico
This article critically engages with photographs, the institutions that archive and curate them, and the uses to which they are put in the work of heritage preservation, with particular attention paid to the ways in which these have been mobilized in Middle Eastern heritage debates. Photographs, often depicting uninhabited rather than populated heritage landscapes, in effect weaponize heritage preservation, ignoring the fact that individuals and communities have always had their own ways of preserving and engaging with the material past. The authors therefore seek to reconsider the disciplinary genealogies embedded in a photographic archive shaped by instruments of Western ideology and power – archaeological fieldwork, surveys and museum-building – to question the uncritical use of photography for the assessment of heritage significance, the construction of heritage value and management of heritage assemblages today. They argue that identifying and creating counter-archives is necessary to contribute to more inclusive narratives fostering heritage justice, including a deeper engagement with archaeology’s long-standing entanglements with exploitative labour.
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Pub Date : 2023-04-01DOI: 10.1177/14704129231170524
Henry Powell
As an academic and artist working at the intersection between architecture, visual culture and digital technology, Laura Kurgan presents an intriguing socio-historic account of the development of satellite imagery, GPS navigation and the spatial revolution ushered in by these technologies. Today, maps dominate our social landscape. They are incorporated into nearly every piece of digital hardware from Smart watches to Smart phones to computers and tablets to the dashboards of millions of vehicles worldwide. Getting lost has never been so difficult. Yet, for Kurgan, the notion of the map is far more expansive and ideological than this might suggest. She notes that ‘the spaces that maps try to describe can be ideal, psychological, virtual, immaterial, or imaginary – and they are never just physical’ (p. 16). Thus, it is through the optics of satellite imagery (specifically those images derived from a militaristic or logistic worldview) that Kurgan examines how we might critically examine the complex relations between ‘technologies of spatial representation’ and the ‘space they represent, beyond simply representing them’ (p. 13).
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Pub Date : 2023-04-01DOI: 10.1177/14704129231170523
Kyle Sossamon
In proposing ‘to write the history of a modernity that, in forever reinventing prehistory, constantly invents itself’, Maria Stavrinaki set herself the goal of ‘immersing’ herself in the ‘structuring themes’ and ‘revelatory moments’ constitutive of Modernism’s own complicated historicity (p. 17). An historicity constituted by contradictory polarities that have refused to yield to clean dialectical sublations: progress and regression, doubt and certainty, deceleration and acceleration, the longue durée and histoire événementielle, and so on (p. 18). Speaking art-historically, this historicity has unearthed the significance of some hitherto neglected or misunderstood element, which henceforth provided a putative skeleton key for unlocking the hidden motivations and problems of our shared and disorienting aesthetic past in the West. Conversely, Stavrinaki’s text marks a singular occurrence in recent attempts to grapple with the complicated temporal structure of prehistory and its ab/uses in artistic, art-historical, and theoretical production (see Foster, 2020; Rasula, 2020).
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Pub Date : 2023-04-01DOI: 10.1177/14704129231170525
Alice Tremea
The V&A is one of the few museums in the UK with a dedicated hall for fashion exhibitions. This unnamed, circular room may not be as expansive as other stages in the same museum, but it makes up for its lack of square footage with an also circular mezzanine. This space has recently hosted shows about Mary Quant and Dior, and recently presented Africa Fashion curated by Christine Checinska. The exhibition focuses on notable designers from the continent, traditional and new techniques, the importance of fashion in 20th-century African and diasporic cultural politics, and contemporary trends. Checinska’s curatorial voice is evident throughout, especially when she criticizes the lack of African self-representation in the V&A museum until very recently (Checinska, 2022a). The exhibition covers a respectable seven decades, taking the independence movements of the 1950s–1960s as a starting point. Africa Fashion is a celebration of freedom that rejects European colonial standards by some of the most brilliant and capable designers in contemporary fashion and art. It is not only a long overdue effort in decolonialism by the V&A, but also a beautifully curated exhibition on a par with the shows of Western designers the museum has presented.
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