Pub Date : 2022-04-01DOI: 10.1177/14704129221097605
Ghalya Saadawi
In 1934, facing German Nationalist Socialism and in keeping with his profound communist commitments on the fringes of the Third International, Bertolt Brecht developed a concise, minor method within a broader literary and political arsenal in the struggle of communism against fascism. It was, of course, closely connected to his legacy as Marxist revealer of apparatuses and demystifier of ideological aesthetic forms. Brecht prefaces his short piece ‘On Restoring the Truth’ (2017: 137), where this method is developed, with a warning and a call. In dark times where falsities are uttered and believed, ‘where deception and errors are encouraged’, a thinker is summoned to replace what he [sic] hears and reads, sentence by sentence, with the true version of those same sentences until he cannot but be in line with the truth. Such a critical counter-reading entails setting up selected phrases – in this instance, speeches by Goering and Hess that embody the language games used by the Nazi establishment to naturalize its claims and extermination techniques – in two aligned columns with a parallel, corrective column reading ‘restoration of the truth’. Because ‘context often gives sentences an illusion of correctness’, the process of deduction from phrase to phrase can be correct, but the sentences themselves are incorrect. Brecht therefore refines a montage predicated on picking out, filtering and placing correct sentences next to deceptions and manipulations (p. 137). By inverting the method of montaged lies used by the Nazis, the thinker learns to read the truth. Crucially, for Brecht, ‘the thinker does not act like this simply in order to establish that deception and errors are being perpetrated’; rather, it is a labour ‘to master the nature of the deception and of the errors’ (p. 137). Truth and knowledge are not identical.
{"title":"Matthew Fuller and Eyal Weizman, Investigative Aesthetics: Conflict and Commons in the Politics of Truth, reviewed by Ghalya Saadawi","authors":"Ghalya Saadawi","doi":"10.1177/14704129221097605","DOIUrl":"https://doi.org/10.1177/14704129221097605","url":null,"abstract":"In 1934, facing German Nationalist Socialism and in keeping with his profound communist commitments on the fringes of the Third International, Bertolt Brecht developed a concise, minor method within a broader literary and political arsenal in the struggle of communism against fascism. It was, of course, closely connected to his legacy as Marxist revealer of apparatuses and demystifier of ideological aesthetic forms. Brecht prefaces his short piece ‘On Restoring the Truth’ (2017: 137), where this method is developed, with a warning and a call. In dark times where falsities are uttered and believed, ‘where deception and errors are encouraged’, a thinker is summoned to replace what he [sic] hears and reads, sentence by sentence, with the true version of those same sentences until he cannot but be in line with the truth. Such a critical counter-reading entails setting up selected phrases – in this instance, speeches by Goering and Hess that embody the language games used by the Nazi establishment to naturalize its claims and extermination techniques – in two aligned columns with a parallel, corrective column reading ‘restoration of the truth’. Because ‘context often gives sentences an illusion of correctness’, the process of deduction from phrase to phrase can be correct, but the sentences themselves are incorrect. Brecht therefore refines a montage predicated on picking out, filtering and placing correct sentences next to deceptions and manipulations (p. 137). By inverting the method of montaged lies used by the Nazis, the thinker learns to read the truth. Crucially, for Brecht, ‘the thinker does not act like this simply in order to establish that deception and errors are being perpetrated’; rather, it is a labour ‘to master the nature of the deception and of the errors’ (p. 137). Truth and knowledge are not identical.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"238 - 246"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44820192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221096177
Maya Wilson-Sanchez
This article explores the Travesti Museum of Peru, a portable and conceptual artwork created by Giuseppe Campuzano that presents Peruvian history through queer, trans, and Indigenous perspectives. It argues that this project is reparative by way of bringing Andean genders and sexualities back into history as a form of anti-colonial and queer politics. This research uses Andean modes of analysis to describe the Travesti Museum as a trans-temporal archive and practice of travestismo in both its form and content. In this text, travesti performance is defined as a mnemonic strategy while situating the Travesti Museum within the contexts of Andean performance repertoires, discussions of class and race, as well as within the history of colonial refusal – arguing that Campuzano’s methods interrupt Western assumptions about the archive. It brings together the ideas of Campuzano and Bolivian sociologist Silvia Rivera Cusicanqui in an effort to highlight critical concepts from the Andes that are informed though embodied methods of thinking through history and resistance, resulting in a reading of radical Andean intimacy. The article concludes that the Travesti Museum can be used to analyze how the body relates to ideas of history, and as a tool to learn how we could write history starting with an embodiment of collective memory.
{"title":"Performing reparative history in the Andes: Travesti methods and Ch’ixi subjectivities","authors":"Maya Wilson-Sanchez","doi":"10.1177/14704129221096177","DOIUrl":"https://doi.org/10.1177/14704129221096177","url":null,"abstract":"This article explores the Travesti Museum of Peru, a portable and conceptual artwork created by Giuseppe Campuzano that presents Peruvian history through queer, trans, and Indigenous perspectives. It argues that this project is reparative by way of bringing Andean genders and sexualities back into history as a form of anti-colonial and queer politics. This research uses Andean modes of analysis to describe the Travesti Museum as a trans-temporal archive and practice of travestismo in both its form and content. In this text, travesti performance is defined as a mnemonic strategy while situating the Travesti Museum within the contexts of Andean performance repertoires, discussions of class and race, as well as within the history of colonial refusal – arguing that Campuzano’s methods interrupt Western assumptions about the archive. It brings together the ideas of Campuzano and Bolivian sociologist Silvia Rivera Cusicanqui in an effort to highlight critical concepts from the Andes that are informed though embodied methods of thinking through history and resistance, resulting in a reading of radical Andean intimacy. The article concludes that the Travesti Museum can be used to analyze how the body relates to ideas of history, and as a tool to learn how we could write history starting with an embodiment of collective memory.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"206 - 232"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45814849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221093638
A. Huard, Gabrielle Moser
This themed issue of Journal of Visual Culture examines the critical role that art and aesthetics play in processes of reparation. Invoking reparation in its multiple registers – as an act of repair, as the part that has been repaired, as a process of healing an injury, and as an act of justice – the articles and artist projects assembled in this issue move beyond the dominant juridical or financial definitions of reparations (definitions established by the colonial state, or by capitalist legal systems) to think and sense reparation as a singular verb: an active process oriented towards the future that does not lose sight of the ongoing ‘liveness’ of the colonial past.
{"title":"Editorial Introduction: Reparation and Visual Culture","authors":"A. Huard, Gabrielle Moser","doi":"10.1177/14704129221093638","DOIUrl":"https://doi.org/10.1177/14704129221093638","url":null,"abstract":"This themed issue of Journal of Visual Culture examines the critical role that art and aesthetics play in processes of reparation. Invoking reparation in its multiple registers – as an act of repair, as the part that has been repaired, as a process of healing an injury, and as an act of justice – the articles and artist projects assembled in this issue move beyond the dominant juridical or financial definitions of reparations (definitions established by the colonial state, or by capitalist legal systems) to think and sense reparation as a singular verb: an active process oriented towards the future that does not lose sight of the ongoing ‘liveness’ of the colonial past.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"3 - 16"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45343344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221088303
K. J. Brown
This article examines the fraught photographic afterlife of the Rwandan genocide as the notion of repair looms large in the imagination. The continuing work of mourning, within the boundary of the nation and beyond it, is negotiated through the terrain of the visual. Portraits do the heavy lifting of representation and narrative propulsion, but to what end? The author explores the difficult work of recovery in a photographic landscape.
{"title":"You and eye in the afterlife of images","authors":"K. J. Brown","doi":"10.1177/14704129221088303","DOIUrl":"https://doi.org/10.1177/14704129221088303","url":null,"abstract":"This article examines the fraught photographic afterlife of the Rwandan genocide as the notion of repair looms large in the imagination. The continuing work of mourning, within the boundary of the nation and beyond it, is negotiated through the terrain of the visual. Portraits do the heavy lifting of representation and narrative propulsion, but to what end? The author explores the difficult work of recovery in a photographic landscape.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"56 - 68"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47992711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221088296
Nishant Shahani
This article focuses on the vertical visioning of the bridge as a visual icon of the global city in urban planning, specifically the Bandra-Worli sea link in Mumbai. The author contends that the sea link, launched in 2019 as a way to connect the southern part of the city with its western suburbs, participates in aerial visual significations in which views from above partake in framing of the urban metropolis as an essential aspect of the nation-state’s global modernity aspirations. By analyzing the recurrence of the sea link through a variety of visual illustrations, he suggests that views of the sea link through omniscient perspectives tether urban experiments of modernity to forms of aspirational city planning that are deemed both axiomatic and necessary for urban dreams of development. He contends that ‘reparative’ work in visual culture assumes a task beyond the exposure of ‘unequal scenes’ if it is to grapple with the material contexts of urban repair and redistribution of resources. Rather than views from above or looking from below, the article theorizes a notion of reparation through the ontology of the edge – one that offers speculations of hope beyond the neoliberal logics of infrastructural futurity.
{"title":"Views from above and below: bridging scenes of difference","authors":"Nishant Shahani","doi":"10.1177/14704129221088296","DOIUrl":"https://doi.org/10.1177/14704129221088296","url":null,"abstract":"This article focuses on the vertical visioning of the bridge as a visual icon of the global city in urban planning, specifically the Bandra-Worli sea link in Mumbai. The author contends that the sea link, launched in 2019 as a way to connect the southern part of the city with its western suburbs, participates in aerial visual significations in which views from above partake in framing of the urban metropolis as an essential aspect of the nation-state’s global modernity aspirations. By analyzing the recurrence of the sea link through a variety of visual illustrations, he suggests that views of the sea link through omniscient perspectives tether urban experiments of modernity to forms of aspirational city planning that are deemed both axiomatic and necessary for urban dreams of development. He contends that ‘reparative’ work in visual culture assumes a task beyond the exposure of ‘unequal scenes’ if it is to grapple with the material contexts of urban repair and redistribution of resources. Rather than views from above or looking from below, the article theorizes a notion of reparation through the ontology of the edge – one that offers speculations of hope beyond the neoliberal logics of infrastructural futurity.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"36 - 55"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48019860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221092809
A. Azoulay
This ‘letter to my children’ is part of the author’s book in progress Algerian Letters: The Jewelers of the Ummah. Through her engagement with different addressees (her ancestors and children, scholars, political theorists and law-makers active in Algeria, France, and Palestine) and reflecting on the history of her paternal family life in Algeria, she questions the seemingly irreversible nature of the process through which, in less than a century, an offspring of an indigenous Algerian Jew could no longer find it possible to say ‘I’m Algerian.’ Her assumption is that the French colonization of Algeria in 1830, and forcing the Jews who lived there to become French citizens in 1870, marked the destruction of their world. Is this process reversible? What would such a reversal require? More than just a personal reckoning, family history, or an implied return, this inquiry interrogates the structures of colonial dispossession, charting processes of world-loss and asking what kind of repair – that is increasingly called ‘decolonization’ – is possible. Beyond the physical and emotional world loss of the Arab–Berber–Jews of North Africa, this series of letters prompted her inquiry into the role of both the colonizing powers in North Africa and the colonial (Israel) and post-colonial (France) nation-states and into how citizenship operates in preparing groups of people to detach themselves from objects to which they are attached and in which they are invested, and to be ready for migration and assimilation in a foreign, supposedly superior, culture and emancipation project.
{"title":"Lately, I have been talking with our ancestors","authors":"A. Azoulay","doi":"10.1177/14704129221092809","DOIUrl":"https://doi.org/10.1177/14704129221092809","url":null,"abstract":"This ‘letter to my children’ is part of the author’s book in progress Algerian Letters: The Jewelers of the Ummah. Through her engagement with different addressees (her ancestors and children, scholars, political theorists and law-makers active in Algeria, France, and Palestine) and reflecting on the history of her paternal family life in Algeria, she questions the seemingly irreversible nature of the process through which, in less than a century, an offspring of an indigenous Algerian Jew could no longer find it possible to say ‘I’m Algerian.’ Her assumption is that the French colonization of Algeria in 1830, and forcing the Jews who lived there to become French citizens in 1870, marked the destruction of their world. Is this process reversible? What would such a reversal require? More than just a personal reckoning, family history, or an implied return, this inquiry interrogates the structures of colonial dispossession, charting processes of world-loss and asking what kind of repair – that is increasingly called ‘decolonization’ – is possible. Beyond the physical and emotional world loss of the Arab–Berber–Jews of North Africa, this series of letters prompted her inquiry into the role of both the colonizing powers in North Africa and the colonial (Israel) and post-colonial (France) nation-states and into how citizenship operates in preparing groups of people to detach themselves from objects to which they are attached and in which they are invested, and to be ready for migration and assimilation in a foreign, supposedly superior, culture and emancipation project.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"17 - 35"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44395412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221088299
D. Robinson
This article considers the multiple ways in which public art interpellates viewers as settlers, Indigenous and non-human subjects. It could be argued that much public artwork in the late 20th and early 21st century has a ‘reparative’ function through its socially-engaged, community-specific and consciousness-raising aspects. To do so, however, would be to conflate the reparative with the recognition of injustice rather than understand it as the action of repair. The author asserts that for public art to engage in reparative work necessitates interrupting the normative forms and materialities of public art that interpellate the ‘public’ as settler subjects. How, he asks, might the reparative potential of public art be re-envisioned through a consideration of Indigenous and non-human publics?
{"title":"Reparative interpellation: public art’s Indigenous and non-human publics","authors":"D. Robinson","doi":"10.1177/14704129221088299","DOIUrl":"https://doi.org/10.1177/14704129221088299","url":null,"abstract":"This article considers the multiple ways in which public art interpellates viewers as settlers, Indigenous and non-human subjects. It could be argued that much public artwork in the late 20th and early 21st century has a ‘reparative’ function through its socially-engaged, community-specific and consciousness-raising aspects. To do so, however, would be to conflate the reparative with the recognition of injustice rather than understand it as the action of repair. The author asserts that for public art to engage in reparative work necessitates interrupting the normative forms and materialities of public art that interpellate the ‘public’ as settler subjects. How, he asks, might the reparative potential of public art be re-envisioned through a consideration of Indigenous and non-human publics?","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"69 - 84"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41368065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221088289
Susan Best
This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.
{"title":"Repair in Australian Indigenous art","authors":"Susan Best","doi":"10.1177/14704129221088289","DOIUrl":"https://doi.org/10.1177/14704129221088289","url":null,"abstract":"This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"190 - 205"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43831950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221097606
Emily B. Collins
Prophetic media theorist, playful analyst, technological optimist, ardent formalist, pop philosopher, amateur actor, interpreter of the world – much can be said about Canadian scholar Marshall McLuhan, whose prolific work throughout the 1950s and 60s formed the cornerstones of media theory and communications studies. McLuhan is widely known across a range of academic and mainstream spheres for his eclectic, influential and prescient texts, but has often been reduced to the oft-cited mantras and hollowed-out phrases that disseminated his thought – ‘the medium is the message’, ‘the global village’, and so forth. This is the central argument made by Alex Kitnick in his comprehensive study Distant Early Warning: Marshall McLuhan and the Transformation of the Avant-Garde, which seeks to approach these expressions, as well as McLuhan’s contributions to various discourses, from a different perspective. Kitnick maintains that he was as much a theorist of art as he was a media theorist, and that, through McLuhan’s lens, both theoretical fields are integral and complementary to one another, offering important insights into the role of the artist as researcher who deploys art as a means of cultural exploration and environmental change. Parsing the relationship between McLuhan and the arts of his time, Kitnick positions him in a symbiotic feedback loop in which the critic/artist work in steadfast collaboration: borrowing and blending style and form from each other, yielding consistently revised, hybridized, cutting-edge creative results.
{"title":"Alex Kitnick, Distant Early Warning: Marshall McLuhan and the Transformation of the Avant-Garde, reviewed by Emily Collins","authors":"Emily B. Collins","doi":"10.1177/14704129221097606","DOIUrl":"https://doi.org/10.1177/14704129221097606","url":null,"abstract":"Prophetic media theorist, playful analyst, technological optimist, ardent formalist, pop philosopher, amateur actor, interpreter of the world – much can be said about Canadian scholar Marshall McLuhan, whose prolific work throughout the 1950s and 60s formed the cornerstones of media theory and communications studies. McLuhan is widely known across a range of academic and mainstream spheres for his eclectic, influential and prescient texts, but has often been reduced to the oft-cited mantras and hollowed-out phrases that disseminated his thought – ‘the medium is the message’, ‘the global village’, and so forth. This is the central argument made by Alex Kitnick in his comprehensive study Distant Early Warning: Marshall McLuhan and the Transformation of the Avant-Garde, which seeks to approach these expressions, as well as McLuhan’s contributions to various discourses, from a different perspective. Kitnick maintains that he was as much a theorist of art as he was a media theorist, and that, through McLuhan’s lens, both theoretical fields are integral and complementary to one another, offering important insights into the role of the artist as researcher who deploys art as a means of cultural exploration and environmental change. Parsing the relationship between McLuhan and the arts of his time, Kitnick positions him in a symbiotic feedback loop in which the critic/artist work in steadfast collaboration: borrowing and blending style and form from each other, yielding consistently revised, hybridized, cutting-edge creative results.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"247 - 251"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46461912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221088305
Tanya Lukin Linklater
‘We wear one another’ is a performance for violin and dance by Tanya Lukin Linklater created in response to an Inuvialuit rain gut parka in 2019. The Inuvialuit rain gut parka, a cultural belonging, is conceptualized by the artist as a score for the performance, ‘We wear one another’.
{"title":"‘We wear one another’","authors":"Tanya Lukin Linklater","doi":"10.1177/14704129221088305","DOIUrl":"https://doi.org/10.1177/14704129221088305","url":null,"abstract":"‘We wear one another’ is a performance for violin and dance by Tanya Lukin Linklater created in response to an Inuvialuit rain gut parka in 2019. The Inuvialuit rain gut parka, a cultural belonging, is conceptualized by the artist as a score for the performance, ‘We wear one another’.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"85 - 89"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44143522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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