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":"35 1","pages":"689 - 708"},"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":"35 1","pages":"751 - 763"},"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":"35 1","pages":"709 - 731"},"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.
{"title":"Decolonising Love","authors":"Giulia Smith","doi":"10.1080/09528822.2021.2018817","DOIUrl":"https://doi.org/10.1080/09528822.2021.2018817","url":null,"abstract":"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.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"645 - 666"},"PeriodicalIF":0.2,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45860362","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 : 2021-09-03DOI: 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":"35 1","pages":"517 - 539"},"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}
Pub Date : 2021-09-03DOI: 10.1080/09528822.2021.2000135
Hammam Aldouri
Abstract Since the 1970s, the incorporation of European critical theory into the academic discipline of art history within the Anglophone context has become an established scholarly convention. This article aims to attend to one example of this institutionalised referencing practice: Michel Foucault’s notion of the ‘author function’ as explicated in the famous essay, ‘What is an Author?’ From Craig Owen’s attempt to develop a ‘materialist cultural practice’ to Caroline Jones’s recent exploration of the ‘artist-function’ in the reception of Robert Smithson’s work, Foucault’s concept has proved to be a rich source for art historians. That being said, the deployment of ‘author function’ has, as I will show, come at the price of a more careful examination of Foucault’s essay – one that does not permit the seamless reproduction, via a citational practice, of a concept from one study to the next.
{"title":"A Critique of the ‘Author Function’ Concept in Art History","authors":"Hammam Aldouri","doi":"10.1080/09528822.2021.2000135","DOIUrl":"https://doi.org/10.1080/09528822.2021.2000135","url":null,"abstract":"Abstract Since the 1970s, the incorporation of European critical theory into the academic discipline of art history within the Anglophone context has become an established scholarly convention. This article aims to attend to one example of this institutionalised referencing practice: Michel Foucault’s notion of the ‘author function’ as explicated in the famous essay, ‘What is an Author?’ From Craig Owen’s attempt to develop a ‘materialist cultural practice’ to Caroline Jones’s recent exploration of the ‘artist-function’ in the reception of Robert Smithson’s work, Foucault’s concept has proved to be a rich source for art historians. That being said, the deployment of ‘author function’ has, as I will show, come at the price of a more careful examination of Foucault’s essay – one that does not permit the seamless reproduction, via a citational practice, of a concept from one study to the next.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"591 - 604"},"PeriodicalIF":0.2,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45191886","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 : 2021-09-03DOI: 10.1080/09528822.2021.1982187
A. Kearney
Abstract Contemporary South African artist Usha Seejarim interrogates everyday social practices though using quotidian objects and documentary style videography to create her artworks. Through an analysis of the manner in which Seejarim engages with the everyday, this article explores the ways in which her artworks challenge gendered and racialised identity constructions in contemporary South Africa. I begin by showing how Seejarim draws attention to aspects of everyday activities that often go unnoticed and unquestioned. I then argue that her use of domestic objects to create sculptures challenges hegemonic constructions of feminine identity. This is followed by a discussion of how, through her video works Seejarim exposes the ways in which daily experience in South Africa continues to be marred by apartheid legacies of segregation. I conclude that Seejarim’s artworks can be understood as agents of social transformation because of how they enable audiences to think differently about the everyday.
{"title":"Beyond the Everyday","authors":"A. Kearney","doi":"10.1080/09528822.2021.1982187","DOIUrl":"https://doi.org/10.1080/09528822.2021.1982187","url":null,"abstract":"Abstract Contemporary South African artist Usha Seejarim interrogates everyday social practices though using quotidian objects and documentary style videography to create her artworks. Through an analysis of the manner in which Seejarim engages with the everyday, this article explores the ways in which her artworks challenge gendered and racialised identity constructions in contemporary South Africa. I begin by showing how Seejarim draws attention to aspects of everyday activities that often go unnoticed and unquestioned. I then argue that her use of domestic objects to create sculptures challenges hegemonic constructions of feminine identity. This is followed by a discussion of how, through her video works Seejarim exposes the ways in which daily experience in South Africa continues to be marred by apartheid legacies of segregation. I conclude that Seejarim’s artworks can be understood as agents of social transformation because of how they enable audiences to think differently about the everyday.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"540 - 553"},"PeriodicalIF":0.2,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47684207","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 : 2021-09-03DOI: 10.1080/09528822.2021.1985250
C. Lionis
Abstract The emphasis on precarity and conflict in contemporary art has meant that artists from sites of crisis are frequently framed as ‘local informants’, expected to perform cultural capital by narrating experiences of marginality and political conflict. This has meant that in contrast to the sphere of popular culture where marginalised groups are expected to engage humour to ‘perform’ their identity (eg POC, female, queer stand-up comedians), performances of ‘sincerity’, ‘authenticity’ and truth remain central to intercultural encounters in contemporary art. Framed by discussion of how humour in contemporary art differs to ‘everyday’ visual forms (memes, graffiti etc), this article considers how humour is used as a political strategy by artists from diverse sites of crisis: Greece, Palestine and Indigenous Australia. Analysing the work of artists Khaled Hourani, Richard Bell, and Kostis Stafylakis, it demonstrates how humour in contemporary art contributes to three forms of cultural resilience: ‘authenticity’, ‘enactment’, and ‘placemaking’.
{"title":"Humour and the Commodification of Suffering","authors":"C. Lionis","doi":"10.1080/09528822.2021.1985250","DOIUrl":"https://doi.org/10.1080/09528822.2021.1985250","url":null,"abstract":"Abstract The emphasis on precarity and conflict in contemporary art has meant that artists from sites of crisis are frequently framed as ‘local informants’, expected to perform cultural capital by narrating experiences of marginality and political conflict. This has meant that in contrast to the sphere of popular culture where marginalised groups are expected to engage humour to ‘perform’ their identity (eg POC, female, queer stand-up comedians), performances of ‘sincerity’, ‘authenticity’ and truth remain central to intercultural encounters in contemporary art. Framed by discussion of how humour in contemporary art differs to ‘everyday’ visual forms (memes, graffiti etc), this article considers how humour is used as a political strategy by artists from diverse sites of crisis: Greece, Palestine and Indigenous Australia. Analysing the work of artists Khaled Hourani, Richard Bell, and Kostis Stafylakis, it demonstrates how humour in contemporary art contributes to three forms of cultural resilience: ‘authenticity’, ‘enactment’, and ‘placemaking’.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"605 - 623"},"PeriodicalIF":0.2,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42749239","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 : 2021-09-03DOI: 10.1080/09528822.2021.2016332
Nadia Kamies was awarded a doctorate in Historical and Heritage Studies from the University of Pretoria in April 2019 for her thesis that examined the notion of colouredness and concomitant issues of shame and respectability. Practices of Freedom: Representation and Identity in Families Classified ‘Coloured’ during Apartheid was published in Alternation Journal (University of KwaZulu-Natal) in 2019. She is currently a post-doctoral fellow in the Department of Historical and Heritage Studies, University of Pretoria.
{"title":"Contributors","authors":"","doi":"10.1080/09528822.2021.2016332","DOIUrl":"https://doi.org/10.1080/09528822.2021.2016332","url":null,"abstract":"Nadia Kamies was awarded a doctorate in Historical and Heritage Studies from the University of Pretoria in April 2019 for her thesis that examined the notion of colouredness and concomitant issues of shame and respectability. Practices of Freedom: Representation and Identity in Families Classified ‘Coloured’ during Apartheid was published in Alternation Journal (University of KwaZulu-Natal) in 2019. She is currently a post-doctoral fellow in the Department of Historical and Heritage Studies, University of Pretoria.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"643 - 644"},"PeriodicalIF":0.2,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49355744","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 : 2021-09-03DOI: 10.1080/09528822.2021.2014771
Marie Meyerding
Abstract This article examines Candice Breitz's recorded performances and negotiations of the representation of women and gender dynamics in her video art, looking in particular at her work Extra (2011). Showing that Breitz has addressed the representation of women throughout her oeuvre, this article argues that the works Factum and Extra mark a turning point in Breitz's practice due to their collaborative nature. In Extra, Breitz intervenes in scenes of Generations, the most-watched soap opera in South Africa at the time. Using her body as a tool of metalepsis, Breitz disrupts the seamless fictional narratives, questioning gender-related power structures and modes of identity representation displayed in the show. Findings from studies about gender-stereotyping in Generations raise further concerns about the responsibility of the mass media and artists in relation to representation. This article concludes that Breitz succeeds in making her spectators critically examine their own viewing habits by combining performance and video art as two relatively new and highly politically charged artistic media, especially in the context of South Africa.
{"title":"Performing Gender in Video Art","authors":"Marie Meyerding","doi":"10.1080/09528822.2021.2014771","DOIUrl":"https://doi.org/10.1080/09528822.2021.2014771","url":null,"abstract":"Abstract This article examines Candice Breitz's recorded performances and negotiations of the representation of women and gender dynamics in her video art, looking in particular at her work Extra (2011). Showing that Breitz has addressed the representation of women throughout her oeuvre, this article argues that the works Factum and Extra mark a turning point in Breitz's practice due to their collaborative nature. In Extra, Breitz intervenes in scenes of Generations, the most-watched soap opera in South Africa at the time. Using her body as a tool of metalepsis, Breitz disrupts the seamless fictional narratives, questioning gender-related power structures and modes of identity representation displayed in the show. Findings from studies about gender-stereotyping in Generations raise further concerns about the responsibility of the mass media and artists in relation to representation. This article concludes that Breitz succeeds in making her spectators critically examine their own viewing habits by combining performance and video art as two relatively new and highly politically charged artistic media, especially in the context of South Africa.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"554 - 568"},"PeriodicalIF":0.2,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41552038","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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