Pub Date : 2022-01-02DOI: 10.1080/09528822.2021.2016329
D. Gabriel
Abstract In the early 1990s, a pair of Korean reunification-themed art exhibitions in Japan took up the question of art’s capacity to contribute to national reconciliation, an issue that appeared crucial in light of the contemporaneous surge of rhetoric celebrating the end of the Cold War. The first of these events, which opened in 1992, brought together Minjung (literally ‘People’s’) artists from South Korea and artists with official ties to North Korea living in Japan. The second exhibition, which took place the following year, featured Minjung artists and North Korean artists. In failing to congeal as expressions of national homogeneity, the works on view prompted audiences to question what an aesthetics of reunification would or should look like. In contrast to spectacles of national unity, as state-sponsored reunification events often strive to project, these exhibitions suggested that engaging an aesthetics of reunification would entail vexatious encounters with artworks forged from within an enduring Cold War impasse.
{"title":"After the Fall","authors":"D. Gabriel","doi":"10.1080/09528822.2021.2016329","DOIUrl":"https://doi.org/10.1080/09528822.2021.2016329","url":null,"abstract":"Abstract In the early 1990s, a pair of Korean reunification-themed art exhibitions in Japan took up the question of art’s capacity to contribute to national reconciliation, an issue that appeared crucial in light of the contemporaneous surge of rhetoric celebrating the end of the Cold War. The first of these events, which opened in 1992, brought together Minjung (literally ‘People’s’) artists from South Korea and artists with official ties to North Korea living in Japan. The second exhibition, which took place the following year, featured Minjung artists and North Korean artists. In failing to congeal as expressions of national homogeneity, the works on view prompted audiences to question what an aesthetics of reunification would or should look like. In contrast to spectacles of national unity, as state-sponsored reunification events often strive to project, these exhibitions suggested that engaging an aesthetics of reunification would entail vexatious encounters with artworks forged from within an enduring Cold War impasse.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43952402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027668
Laia Manonelles Moner
Abstract Chen Zhen (1955 Shanghai−2000 Paris) emigrated to France in 1986. His work engages with the notion of ‘cultural homelessness’ and transcends the boundaries between the physical and the psychic. This idea of being in movement between different cultures links directly with the term ‘Transexperience’, coined by Chen Zhen, which refers to a new way of considering the emotions and experiences that emerge from the experience of the immigrant as he/she makes new cultural connections. He uses art as a form of cultural resistance, that is, an instrument to generate debate and critical thinking. This article explores the exhibition discourse of his first show in Spain Chen Zhen: In-Between (2014−2015), and its impact on the media. It examines the artist reception and draws on the notion of transculturalism to analyse recurrent post-Orientalist clichés.
{"title":"Chen Zhen, Transcultural Dialogues under Construction","authors":"Laia Manonelles Moner","doi":"10.1080/09528822.2022.2027668","DOIUrl":"https://doi.org/10.1080/09528822.2022.2027668","url":null,"abstract":"Abstract Chen Zhen (1955 Shanghai−2000 Paris) emigrated to France in 1986. His work engages with the notion of ‘cultural homelessness’ and transcends the boundaries between the physical and the psychic. This idea of being in movement between different cultures links directly with the term ‘Transexperience’, coined by Chen Zhen, which refers to a new way of considering the emotions and experiences that emerge from the experience of the immigrant as he/she makes new cultural connections. He uses art as a form of cultural resistance, that is, an instrument to generate debate and critical thinking. This article explores the exhibition discourse of his first show in Spain Chen Zhen: In-Between (2014−2015), and its impact on the media. It examines the artist reception and draws on the notion of transculturalism to analyse recurrent post-Orientalist clichés.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45306820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027670
Kathryn Brimblecombe-Fox
Abstract In 2008 visual artist Jon Cattapan was deployed to Timor-Leste as an official Australian war artist. The fact that the Australian soldiers were conducting peacekeeping activities in Timor-Leste meant Cattapan could accompany them on patrols outside military bases. While on night patrols Cattapan, like the soldiers, wore a night vision monocle. This article addresses how, in subsequent paintings, Cattapan’s saturation of night vision green paint speaks to broader issues of accelerating developments in contemporary militarised technology. Particular attention is paid to militarised technologies designed to augment or replace the capabilities of human vision. Jean Baudrillard’s ideas of the ‘violence of the global’ are used to interrogate how Cattapan’s paintings Night Patrols (Around Maliana) (2009) and Night Figures (Gleno) (2009) pose questions about current and future ramifications of perpetual war fought in physical and virtual spaces. This interrogation is conducted through close visual analyses of the two paintings.
{"title":"Night Vision, Ghosts and Data Proxies","authors":"Kathryn Brimblecombe-Fox","doi":"10.1080/09528822.2022.2027670","DOIUrl":"https://doi.org/10.1080/09528822.2022.2027670","url":null,"abstract":"Abstract In 2008 visual artist Jon Cattapan was deployed to Timor-Leste as an official Australian war artist. The fact that the Australian soldiers were conducting peacekeeping activities in Timor-Leste meant Cattapan could accompany them on patrols outside military bases. While on night patrols Cattapan, like the soldiers, wore a night vision monocle. This article addresses how, in subsequent paintings, Cattapan’s saturation of night vision green paint speaks to broader issues of accelerating developments in contemporary militarised technology. Particular attention is paid to militarised technologies designed to augment or replace the capabilities of human vision. Jean Baudrillard’s ideas of the ‘violence of the global’ are used to interrogate how Cattapan’s paintings Night Patrols (Around Maliana) (2009) and Night Figures (Gleno) (2009) pose questions about current and future ramifications of perpetual war fought in physical and virtual spaces. This interrogation is conducted through close visual analyses of the two paintings.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47753061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2020490
Jacob G Warren
Abstract From 1956 until 1963, nuclear weapons developed by Britain were being detonated in the mulga and saltbush plain of Maralinga, South Australia. A large tract of the Western Desert was bombed, burnt and radioactively contaminated. This article analyses how this history has been engaged with in the works of artist Jonathan Kumintjara Brown (Pitjantjatjara, 1960–1997) whose ancestral lands were directly impacted by the Maralinga nuclear testing program. Through close examination of selected works I show how Brown critically interrogated nuclear colonialism in Australia. Nuclear colonialism describes the claiming of politically peripheral land for nuclear mining, testing and development. The work of Brown is argued to be an example of nuclear aesthetics and is shown to redress the material, cultural and historical invisibility of radioactive contamination at Maralinga, revealing the impacts that it has had on the ecological, cultural and physiological health of the South Australian desert and its people.
{"title":"Nuclear Aesthetics against the Colonial Desert","authors":"Jacob G Warren","doi":"10.1080/09528822.2021.2020490","DOIUrl":"https://doi.org/10.1080/09528822.2021.2020490","url":null,"abstract":"Abstract From 1956 until 1963, nuclear weapons developed by Britain were being detonated in the mulga and saltbush plain of Maralinga, South Australia. A large tract of the Western Desert was bombed, burnt and radioactively contaminated. This article analyses how this history has been engaged with in the works of artist Jonathan Kumintjara Brown (Pitjantjatjara, 1960–1997) whose ancestral lands were directly impacted by the Maralinga nuclear testing program. Through close examination of selected works I show how Brown critically interrogated nuclear colonialism in Australia. Nuclear colonialism describes the claiming of politically peripheral land for nuclear mining, testing and development. The work of Brown is argued to be an example of nuclear aesthetics and is shown to redress the material, cultural and historical invisibility of radioactive contamination at Maralinga, revealing the impacts that it has had on the ecological, cultural and physiological health of the South Australian desert and its people.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47344507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2017197
V. K. Sheng
Abstract This article examines Yin Xiuzhen’s Portable Cities created since 2001. A range of miniature cities, constructed from restitched washed worn clothes, rise from unfolded suitcases. The discussion draws on Iris Marion Young’s conception of preservation—an important, but often overlooked dimension of care and cultivation in the formation of home and one’s sense of belonging. It investigates how Yin’s artistic practice of domestic preservation might make and remake oneself ‘at home’ in an ever-shifting urbanising and globalising world, bringing to the fore an iterative temporality of embodied inhabitation. Built upon recent feminist debates about affective labour, this article casts new light on women’s relation to home and domesticity and women’s status and contribution in the current stage of neoliberalism. It considers how Yin’s works might challenge normative accounts of social advancement, global capitalism and international migration which often push women aside, forging interpersonal intersubjective connections across cultural and geographical boundaries.
本文考察了尹秀珍2001年以来创作的“移动城市”。一系列的微型城市，由洗过的旧衣服拼接而成，从展开的行李箱中升起。讨论借鉴了Iris Marion Young的保护概念——这是一个重要的，但在家庭和归属感形成过程中经常被忽视的关心和培养的维度。它探讨了在一个不断变化的城市化和全球化的世界中，尹的家庭保护艺术实践如何塑造和重塑自己的“家”，将体现居住的迭代时间性展现出来。本文以最近女权主义者关于情感劳动的争论为基础，对女性与家庭和家庭生活的关系以及女性在新自由主义当前阶段的地位和贡献进行了新的阐释。它考虑了尹的作品如何挑战社会进步、全球资本主义和国际移民的规范描述，这些描述往往将女性推到一边，建立了跨越文化和地理界限的人际主体间联系。
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Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2016330
Jamie DiSarno
Abstract Doris Salcedo’s Atrabiliarios is a widely revered installation, one of the first to bring the artist to an international stage in the early 1990s. Yet virtually no critical account of her work provides a comprehensive and nuanced history of the context that instantiated it. This article presents an entirely new art historical investigation of Atrabiliarios read through the context of the Cold War in Colombia. I argue Salcedo’s installation can be understood as a critique of the logic of Cold War containment, alluding to US influence on the Colombian conflict. I argue that Salcedo is intentionally attempting to disrupt a safe distance between a perceived barbaric other of Colombia and the ‘civilised’ subjects of the global north. The artist manipulated the space of the exhibition so that, through her work, viewers are placed in close relation to the indices of those already met with violence and pervasive indifference.
{"title":"Containment in Doris Salcedo’s Atrabiliarios","authors":"Jamie DiSarno","doi":"10.1080/09528822.2021.2016330","DOIUrl":"https://doi.org/10.1080/09528822.2021.2016330","url":null,"abstract":"Abstract Doris Salcedo’s Atrabiliarios is a widely revered installation, one of the first to bring the artist to an international stage in the early 1990s. Yet virtually no critical account of her work provides a comprehensive and nuanced history of the context that instantiated it. This article presents an entirely new art historical investigation of Atrabiliarios read through the context of the Cold War in Colombia. I argue Salcedo’s installation can be understood as a critique of the logic of Cold War containment, alluding to US influence on the Colombian conflict. I argue that Salcedo is intentionally attempting to disrupt a safe distance between a perceived barbaric other of Colombia and the ‘civilised’ subjects of the global north. The artist manipulated the space of the exhibition so that, through her work, viewers are placed in close relation to the indices of those already met with violence and pervasive indifference.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43464343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2016331
Libby Miller
Abstract The bilingualism of The Battle of Algiers is one of the film’s most salient characteristics, yet it is mostly absent from the literature. The use of two languages within the film creates disjuncture in its textual fabric, disjuncture in places that do not always align with neat French/Algerian fault-lines. The alternating use of French and Algerian Arabic exists in productive tension with a unity of perspective that the film offers the viewer, revealing the difficulty of holding together and making narrative sense of the historical moment that constitutes its subject matter, the eponymous Battle of Algiers, at the time at which the film was produced, in the newly independent Algeria of the mid-1960s. The representation of the FLN’s unity and legitimacy as the sole representative of the will of the people paints over historical divisions, but the irrepressible force of the Algerian masses frequently de-centres the FLN, a fact revealed in the film’s linguistic make-up.
{"title":"The Remarkable Power of Language in The Battle of Algiers","authors":"Libby Miller","doi":"10.1080/09528822.2021.2016331","DOIUrl":"https://doi.org/10.1080/09528822.2021.2016331","url":null,"abstract":"Abstract The bilingualism of The Battle of Algiers is one of the film’s most salient characteristics, yet it is mostly absent from the literature. The use of two languages within the film creates disjuncture in its textual fabric, disjuncture in places that do not always align with neat French/Algerian fault-lines. The alternating use of French and Algerian Arabic exists in productive tension with a unity of perspective that the film offers the viewer, revealing the difficulty of holding together and making narrative sense of the historical moment that constitutes its subject matter, the eponymous Battle of Algiers, at the time at which the film was produced, in the newly independent Algeria of the mid-1960s. The representation of the FLN’s unity and legitimacy as the sole representative of the will of the people paints over historical divisions, but the irrepressible force of the Algerian masses frequently de-centres the FLN, a fact revealed in the film’s linguistic make-up.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44238860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2019954
Verónica Tello, Sebastián Valenzuela-Valdivia
Abstract From 1981 to 1990, the Australian art journal Art & Text and the affiliated Art & Criticism Monograph Series had a productive, if at times fragmented, relationship with a small but influential group of Chilean arts workers during the Pinochet regime (1973–1990). Initiated by the Australian-Chilean artist, Juan Dávila, this collaboration — including key figures such as Paul Taylor, Paul Foss, Nelly Richard, Patricio Marchant and Francisco Zegers − gave rise to multiple and significant essays, books and translations that contested the limits of Pinochet’s epistemological frontiers on the one hand, and Euro-North American centrist readings of the artworld on the other. This article returns to several archives across Australia and Chile to trace the simultaneous developments of southern thinking, and asks what can be learned about the co-production of epistemologies across two distinct Pacific locations. The almost instant anachronism of art criticism, especially that on the margins, has meant that Art & Text’s and the Art & Criticism Monograph Series’s history of supporting Chilean art writing during the dictatorship has not been effectively transmitted into the present. It is, by now, pretty much unknown or forgotten in both Australia and Chile − and elsewhere − awaiting the attention of a younger generation of art workers hoping to connect to these fragmented histories.
{"title":"A Partial History of South–South Art Criticism","authors":"Verónica Tello, Sebastián Valenzuela-Valdivia","doi":"10.1080/09528822.2021.2019954","DOIUrl":"https://doi.org/10.1080/09528822.2021.2019954","url":null,"abstract":"Abstract From 1981 to 1990, the Australian art journal Art & Text and the affiliated Art & Criticism Monograph Series had a productive, if at times fragmented, relationship with a small but influential group of Chilean arts workers during the Pinochet regime (1973–1990). Initiated by the Australian-Chilean artist, Juan Dávila, this collaboration — including key figures such as Paul Taylor, Paul Foss, Nelly Richard, Patricio Marchant and Francisco Zegers − gave rise to multiple and significant essays, books and translations that contested the limits of Pinochet’s epistemological frontiers on the one hand, and Euro-North American centrist readings of the artworld on the other. This article returns to several archives across Australia and Chile to trace the simultaneous developments of southern thinking, and asks what can be learned about the co-production of epistemologies across two distinct Pacific locations. The almost instant anachronism of art criticism, especially that on the margins, has meant that Art & Text’s and the Art & Criticism Monograph Series’s history of supporting Chilean art writing during the dictatorship has not been effectively transmitted into the present. It is, by now, pretty much unknown or forgotten in both Australia and Chile − and elsewhere − awaiting the attention of a younger generation of art workers hoping to connect to these fragmented histories.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49417902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2018817
Giulia Smith
Abstract This article reconsiders Frank Bowling’s figurative paintings from the early 1960s, emphasising the recurrence of intimate affects in this body of works. It argues that the representation of romantic entanglements is cardinal rather than marginal in this artist’s negotiation of both personal and pictorial freedoms. This becomes especially clear when Bowling’s early work is set against the backdrop of nativist anxieties about the growing visibility of interracial unions in postwar Britain. With this in mind, and in a nod to the growing literature on love and anti-racist resistance, the article presents affective relationships and their visual manifestations as charged sites for the renegotiation of unequal power relations. Not only does this analysis restore political substance to a series of paintings that is rarely considered by scholars of Bowling’s work, but points toward new ways of reassessing the field of mid-twentieth century modernism in terms of diasporic and intersectional phenomenologies of desire.
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Pub Date : 2021-09-03DOI: 10.1080/09528822.2021.2000137
Nadia Kamies
Abstract Respectability has been a significant feature of status in the Cape, shaped by racial dynamics that have their foundation in slavery and colonialism and later formalised in apartheid legislation. The issue of representation is central to the paper and draws on the work of Stuart Hall who suggests that the concept of representation plays a more active and creative role in how we think about the world and our place in it. Drawing on oral history and personal family photographs taken during apartheid, I postulate that, through acts of performance such as dressing up and sitting for photographs, people who were classified coloured, attempted to take control of the way they were represented. In so doing, they actively resisted their dehumanisation and racial subjugation. In this regard I argue that the photographs defy and resist the memories that we have of apartheid and testify to a will to freedom and humanity.
{"title":"Respectability – Armour Against Inferiority","authors":"Nadia Kamies","doi":"10.1080/09528822.2021.2000137","DOIUrl":"https://doi.org/10.1080/09528822.2021.2000137","url":null,"abstract":"Abstract Respectability has been a significant feature of status in the Cape, shaped by racial dynamics that have their foundation in slavery and colonialism and later formalised in apartheid legislation. The issue of representation is central to the paper and draws on the work of Stuart Hall who suggests that the concept of representation plays a more active and creative role in how we think about the world and our place in it. Drawing on oral history and personal family photographs taken during apartheid, I postulate that, through acts of performance such as dressing up and sitting for photographs, people who were classified coloured, attempted to take control of the way they were represented. In so doing, they actively resisted their dehumanisation and racial subjugation. In this regard I argue that the photographs defy and resist the memories that we have of apartheid and testify to a will to freedom and humanity.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43094416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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