Pub Date : 2022-04-01DOI: 10.1177/14704129221088300
Jade Nixon, Sefanit Habtom, E. Tuck
In this article, the authors describe their multi-year youth participatory action research project, Making Sense of Movements (MSOM), with Black and Indigenous high school students in Toronto. Youth co-researchers in MSOM designed a study on school pushout that reveals the pervasiveness of racism in schools and the inadequacy of responses to racist incidents by school personnel. School staff and teachers often treat racist incidents as isolated events that can be easily resolved. However, the authors situate Black and Indigenous students’ experiences of racism in their high schools within the ongoing legacies of settlement and slavery. Learning from Black and Indigenous feminist theories of rupture and refusal – see Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (1997); Simpson’s Mohawk Interruptus: Political Life across the Borders of Settler States (2014); and Tuck and Yang’s ‘Decolonization is not a metaphor’ (2012) – the authors invite readers to reframe the assumed ease and completeness of repair. They theorize racism and antiblackness as a rupture rather than an injury, which has important implications for school policy and how schools address racism. By moving beyond reparative frameworks, the authors engage rupture as a more meaningful starting place.
{"title":"Rupture, not injury: reframing repair for Black and Indigenous youth experiencing school pushout","authors":"Jade Nixon, Sefanit Habtom, E. Tuck","doi":"10.1177/14704129221088300","DOIUrl":"https://doi.org/10.1177/14704129221088300","url":null,"abstract":"In this article, the authors describe their multi-year youth participatory action research project, Making Sense of Movements (MSOM), with Black and Indigenous high school students in Toronto. Youth co-researchers in MSOM designed a study on school pushout that reveals the pervasiveness of racism in schools and the inadequacy of responses to racist incidents by school personnel. School staff and teachers often treat racist incidents as isolated events that can be easily resolved. However, the authors situate Black and Indigenous students’ experiences of racism in their high schools within the ongoing legacies of settlement and slavery. Learning from Black and Indigenous feminist theories of rupture and refusal – see Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (1997); Simpson’s Mohawk Interruptus: Political Life across the Borders of Settler States (2014); and Tuck and Yang’s ‘Decolonization is not a metaphor’ (2012) – the authors invite readers to reframe the assumed ease and completeness of repair. They theorize racism and antiblackness as a rupture rather than an injury, which has important implications for school policy and how schools address racism. By moving beyond reparative frameworks, the authors engage rupture as a more meaningful starting place.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085685","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: 10.1177/14704129221088295
Nataleah Hunter-Young
This article revisits the lynching photograph to consider the rhetorical and cultural practices that instructed the unseeing of white mobs for what it reveals about dematerializing representations of the state in social media imagery documenting anti-Black police brutality. To do this, the author draws on creative, curatorial, and architectural examples that bring the eye into confrontation with the state’s hidden hand – the rig that naturalizes the public’s first-person (shooter) perspective, the body-worn or (para)surveillance camera footage, obscuring contemporary lynching’s stately face from public view. The author reflects on the staging and circulation of lynching photography as well as the exhibition of representative artistic renderings; an example of transgressive spatial engagement at the recently opened National Memorial for Peace and Justice in Montgomery, Alabama; and then turning to Canada, the author offers a case study that considers the outer-national visual implications, concluding with example works by visual artists, Anique Jordan and Jalani Morgan, whose transgressive creative practices demonstrate disinvestments in repair.
{"title":"Transgressive frames","authors":"Nataleah Hunter-Young","doi":"10.1177/14704129221088295","DOIUrl":"https://doi.org/10.1177/14704129221088295","url":null,"abstract":"This article revisits the lynching photograph to consider the rhetorical and cultural practices that instructed the unseeing of white mobs for what it reveals about dematerializing representations of the state in social media imagery documenting anti-Black police brutality. To do this, the author draws on creative, curatorial, and architectural examples that bring the eye into confrontation with the state’s hidden hand – the rig that naturalizes the public’s first-person (shooter) perspective, the body-worn or (para)surveillance camera footage, obscuring contemporary lynching’s stately face from public view. The author reflects on the staging and circulation of lynching photography as well as the exhibition of representative artistic renderings; an example of transgressive spatial engagement at the recently opened National Memorial for Peace and Justice in Montgomery, Alabama; and then turning to Canada, the author offers a case study that considers the outer-national visual implications, concluding with example works by visual artists, Anique Jordan and Jalani Morgan, whose transgressive creative practices demonstrate disinvestments in repair.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43396727","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: 10.1177/14704129221088292
K. Strassler
Since the end of authoritarian rule in Indonesia in 1998 and the anti-Chinese violence that attended it, the artist FX Harsono has created a series of works addressing the name as a site of racialized state violence, cultural identity, erasure, recovery, and repair. Through an examination of Harsono’s works, this article asks: How can art put forward a reparative vision in a context of impunity, forgetting, and ongoing discrimination? How do the sonic and visual qualities of ethnic Chinese names register affective claims of resilience and survival against a backdrop of violence and loss? Rather than focus on exposing past harms or demanding redress, Harsono’s artworks render visible the quiet, partial, and persistent repair-work undertaken within the ethnic Chinese community in the aftermath of violence, and use these practices as an idiom for an art of repair addressed to the broader Indonesian community.
{"title":"The art of repair: naming violence in the work of FX Harsono","authors":"K. Strassler","doi":"10.1177/14704129221088292","DOIUrl":"https://doi.org/10.1177/14704129221088292","url":null,"abstract":"Since the end of authoritarian rule in Indonesia in 1998 and the anti-Chinese violence that attended it, the artist FX Harsono has created a series of works addressing the name as a site of racialized state violence, cultural identity, erasure, recovery, and repair. Through an examination of Harsono’s works, this article asks: How can art put forward a reparative vision in a context of impunity, forgetting, and ongoing discrimination? How do the sonic and visual qualities of ethnic Chinese names register affective claims of resilience and survival against a backdrop of violence and loss? Rather than focus on exposing past harms or demanding redress, Harsono’s artworks render visible the quiet, partial, and persistent repair-work undertaken within the ethnic Chinese community in the aftermath of violence, and use these practices as an idiom for an art of repair addressed to the broader Indonesian community.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41371831","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: 10.1177/14704129221097604
Yann K. Petit
Jennifer Bajorek’s Unfixed: Photography and Decolonial Imagination in West Africa introduces itself as telling ‘a history that has, in a sense, already been written – in photographs’ (p. 1). A respected translator of Jacques Derrida, Bajorek deconstructs the ever-changing lives of photographs in the cities of Dakar, Saint-Louis, Porto-Novo, and Cotonou to reconnect contemporary Senegalese and Beninese populations to an archive that few, if any, have delved into. Despite this lack of scholarship on the subject, Bajorek renders visible, even at times tangible, the socio-political changes photographers captured and catalyzed.
Jennifer Bajorek的《未固定:西非的摄影与非殖民化想象》将自己介绍为讲述“一段在某种意义上已经用照片写下来的历史”(第1页)。作为雅克·德里达(Jacques Derrida)的受人尊敬的翻译，Bajorek解构了达喀尔、圣路易、波尔图-诺沃和科托努等城市中不断变化的照片生活，将当代塞内加尔和贝宁人口重新连接到档案中，如果有的话，很少有人深入研究。尽管在这个问题上缺乏学术研究，巴约雷克还是让摄影师捕捉和催化的社会政治变化变得可见，甚至有时是有形的。
{"title":"Jennifer Bajorek, Unfixed: Photography and Decolonial Imagination in West Africa, reviewed by Yann Petit","authors":"Yann K. Petit","doi":"10.1177/14704129221097604","DOIUrl":"https://doi.org/10.1177/14704129221097604","url":null,"abstract":"Jennifer Bajorek’s Unfixed: Photography and Decolonial Imagination in West Africa introduces itself as telling ‘a history that has, in a sense, already been written – in photographs’ (p. 1). A respected translator of Jacques Derrida, Bajorek deconstructs the ever-changing lives of photographs in the cities of Dakar, Saint-Louis, Porto-Novo, and Cotonou to reconnect contemporary Senegalese and Beninese populations to an archive that few, if any, have delved into. Despite this lack of scholarship on the subject, Bajorek renders visible, even at times tangible, the socio-political changes photographers captured and catalyzed.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41443932","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: 10.1177/14704129221088302
J. Nguyễn
This article argues for the need to reflect on how contemporary artists use archival documents as a form of visual reparation. Artists Deanna Bowen, Krista Belle Stewart and Jacqueline Hoàng Nguyễn developed strategies for critically casting the past into the present in their own video work by relying on state-sanctioned archival images, specifically documents produced by and kept by the Canadian Broadcasting Company (CBC), once intended for a white audience. The author argues that these artists rely on their corporeal knowledge as, in photographic terminology, developer baths for re-processing latent historical images. The nexus of production labour and artistic research by self-identified BIPOC (Black, Indigenous, and People(s) of Colour) artists becomes a site for creative reparations and for a future world-making.
本文认为有必要反思当代艺术家如何利用档案文件作为一种视觉修复形式。艺术家迪安娜·鲍恩(Deanna Bowen)、克里斯塔·贝尔·斯图尔特(Krista Belle Stewart)和杰奎琳(Jacqueline Hoàng Nguyễn)通过国家批准的档案图像，特别是由加拿大广播公司(CBC)制作和保存的文件，制定了在自己的视频作品中批判性地将过去投射到现在的策略，这些文件曾经是为白人观众准备的。作者认为，这些艺术家依靠他们的身体知识，在摄影术语中，显影液对潜在的历史图像进行再处理。由自我认同的BIPOC(黑人、原住民和有色人种)艺术家创作的生产劳动和艺术研究的联系，成为创造性补偿和未来世界创造的场所。
{"title":"Re-processing archival images: artists as darkroom technicians","authors":"J. Nguyễn","doi":"10.1177/14704129221088302","DOIUrl":"https://doi.org/10.1177/14704129221088302","url":null,"abstract":"This article argues for the need to reflect on how contemporary artists use archival documents as a form of visual reparation. Artists Deanna Bowen, Krista Belle Stewart and Jacqueline Hoàng Nguyễn developed strategies for critically casting the past into the present in their own video work by relying on state-sanctioned archival images, specifically documents produced by and kept by the Canadian Broadcasting Company (CBC), once intended for a white audience. The author argues that these artists rely on their corporeal knowledge as, in photographic terminology, developer baths for re-processing latent historical images. The nexus of production labour and artistic research by self-identified BIPOC (Black, Indigenous, and People(s) of Colour) artists becomes a site for creative reparations and for a future world-making.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65413399","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: 10.1177/14704129221097605
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":null,"pages":null},"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.
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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":null,"pages":null},"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":null,"pages":null},"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.
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