Pub Date : 2023-10-23DOI: 10.1080/09528822.2023.2251858
Marco Musillo
AbstractIn exploring displays in European and North-American museums with regards to Chinese arts, this article discusses how cultural hierarchies from Western hegemonies structure the concept of global art. Here the main focus is on the Meat-Shaped-Stone, carved in Beijing during the late Qing dynasty, and on its travelling trajectory through the international stage. By considering how Western cultural institutions shape practices and languages of incorporation of the other, this article looks at the appearance and disappearance of objects, in the context of the creation of narratives of virtuous national identities, and imaginaries of political salvation through art.Keywords: Marco MusilloChinese artcultural marketingcuratorial practicesEast-West encountersedible objectsglobal tourismMeat-Shaped Stonenational museumsSu ShiTripadvisor Notes1 ‘Stimulation and Reanimation: Cultural and Artistic Exchanges between Asia and Europe’, Conference, 28–30 October 2015, National Palace Museum, Taiwan2 The Cuiyu Baicai, which stands on a cloisonné flowerpot, was probably a dowry gift for Guangxu Emperor’s (光緒帝, r 1875–1908) Consort Jin (瑾妃,1873–1924): it symbolises purity, and through the locust and the katydid presents blessings for having many children.3 This event marked the beginning of an exchange of cultural treasures by Taiwan and Japan that, in 2016, resulted in the Taiwanese exhibition of Japanese artefacts titled: ‘Japanese Art at Its Finest: Masterpieces from The Tokyo and Kyushu National Museums’ (日本美術之最: 東京, 九州國立博物館精品展). The catalogue, with the same title, was published in Chinese and Japanese by the National Palace Museum and curated by Ho Chuan-Hsing and Lin Tieng-Jen.4 As an indication of its importance, in Tokyo the Jadeite-cabbage was housed in the Honkan (本館), the space dedicated to the main display of Japanese art.5 See the catalogue: Jay Xu and Li He, eds, Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei. Masterworks of the Song, Yuan, Ming and Qing Dynasties, Asian Art Museum of San Francisco, San Francisco, California, 20166 On such a reduction, see Wanda J Orlikowski and Susan V Scott, ‘What Happens When Evaluation Goes Online? Exploring Apparatuses of Valuation in the Travel Sector’, Organization Science, vol 25, no 3, 2014, p 8697 Ibid, p 8708 ‘Mi aspettavo di più!’, Tripadvisor review of National Palace Museum, Taipei, 8 September 2016, https://www.tripadvisor.it/Attraction_Review-g13806879-d321216-Reviews-or20-National_Palace_Museum-Shilin_Taipei.html, accessed 9 September 20219 See for example ‘A Fervor to Glimpse “China’s Mona Lisa”’, New York Times, 10 January 2015, https://www.nytimes.com/2015/10/01/world/asia/chinas-mona-lisa-draws-long-lines-and-heightened-fervor-for-culture.html10 See Qin Shao, ‘Exhibiting the Modern: The Creation of the First Chinese Museum, 1905–1930’, The China Quarterly, vol 179, 2004, p 691; Jung-jen Tsai, ‘The Construction of Chinese National Identity and the Design of Nationa
{"title":"Impossible Stillness","authors":"Marco Musillo","doi":"10.1080/09528822.2023.2251858","DOIUrl":"https://doi.org/10.1080/09528822.2023.2251858","url":null,"abstract":"AbstractIn exploring displays in European and North-American museums with regards to Chinese arts, this article discusses how cultural hierarchies from Western hegemonies structure the concept of global art. Here the main focus is on the Meat-Shaped-Stone, carved in Beijing during the late Qing dynasty, and on its travelling trajectory through the international stage. By considering how Western cultural institutions shape practices and languages of incorporation of the other, this article looks at the appearance and disappearance of objects, in the context of the creation of narratives of virtuous national identities, and imaginaries of political salvation through art.Keywords: Marco MusilloChinese artcultural marketingcuratorial practicesEast-West encountersedible objectsglobal tourismMeat-Shaped Stonenational museumsSu ShiTripadvisor Notes1 ‘Stimulation and Reanimation: Cultural and Artistic Exchanges between Asia and Europe’, Conference, 28–30 October 2015, National Palace Museum, Taiwan2 The Cuiyu Baicai, which stands on a cloisonné flowerpot, was probably a dowry gift for Guangxu Emperor’s (光緒帝, r 1875–1908) Consort Jin (瑾妃,1873–1924): it symbolises purity, and through the locust and the katydid presents blessings for having many children.3 This event marked the beginning of an exchange of cultural treasures by Taiwan and Japan that, in 2016, resulted in the Taiwanese exhibition of Japanese artefacts titled: ‘Japanese Art at Its Finest: Masterpieces from The Tokyo and Kyushu National Museums’ (日本美術之最: 東京, 九州國立博物館精品展). The catalogue, with the same title, was published in Chinese and Japanese by the National Palace Museum and curated by Ho Chuan-Hsing and Lin Tieng-Jen.4 As an indication of its importance, in Tokyo the Jadeite-cabbage was housed in the Honkan (本館), the space dedicated to the main display of Japanese art.5 See the catalogue: Jay Xu and Li He, eds, Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei. Masterworks of the Song, Yuan, Ming and Qing Dynasties, Asian Art Museum of San Francisco, San Francisco, California, 20166 On such a reduction, see Wanda J Orlikowski and Susan V Scott, ‘What Happens When Evaluation Goes Online? Exploring Apparatuses of Valuation in the Travel Sector’, Organization Science, vol 25, no 3, 2014, p 8697 Ibid, p 8708 ‘Mi aspettavo di più!’, Tripadvisor review of National Palace Museum, Taipei, 8 September 2016, https://www.tripadvisor.it/Attraction_Review-g13806879-d321216-Reviews-or20-National_Palace_Museum-Shilin_Taipei.html, accessed 9 September 20219 See for example ‘A Fervor to Glimpse “China’s Mona Lisa”’, New York Times, 10 January 2015, https://www.nytimes.com/2015/10/01/world/asia/chinas-mona-lisa-draws-long-lines-and-heightened-fervor-for-culture.html10 See Qin Shao, ‘Exhibiting the Modern: The Creation of the First Chinese Museum, 1905–1930’, The China Quarterly, vol 179, 2004, p 691; Jung-jen Tsai, ‘The Construction of Chinese National Identity and the Design of Nationa","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135405667","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 : 2023-10-23DOI: 10.1080/09528822.2023.2254068
Prakruti Ramesh
AbstractThis article explores some ways in which even positive publicity may entail the censorship of the persons and things being publicised. It focuses on the case of the nationally celebrated Indian artist Mario Miranda, some of whose productions reflected his attachment to his home-state, Goa. Since the 2000s, a fraction of his oeuvre has been used as a means of branding and individuating the region for a tourist clientele. I discuss the disjuncture between a limited repertoire of displayed images and a much larger archive of the artist’s work. As Miranda’s illustrations are made ever more widely available in the form of souvenirs and ‘public art’, the images themselves are bowdlerised and their political content evacuated. This repertoire of Miranda’s work, created in the likeness of the tourism industry against which he fulminated, has the retroactive effect of authoring the author and circumscribing the extent to which he is known.Keywords: Prakruti RameshMario MirandaGoapublic arttourism industrypublicitycensorshiplatent archivesactualised repertoiresauthorshipcommodificationIndia Notes1 The images are ‘familiar’ in a double sense. Firstly, they constitute a ‘family of images’, in that they appear related to each other in style and content. Secondly, at least to some of their viewers, the images look familiar, in that they have been seen before in print publications.2 Under orders from the central government in New Delhi, the Indian military forcibly expelled the Portuguese colonial administration in 1961. This event is officially commemorated as Goa’s ‘Liberation’, but it is described by some commentators, and remembered by some of those who identify as Goan, as the commencement of India’s ‘Annexation’ or ‘Occupation’ of Goa. While noting that ‘Liberation’ is contested nomenclature, this article continues the use of the term as a proper noun because it is currently the most common way to designate the inaugural moment of ‘decolonisation’ in Goa. It is, however, beyond the scope of this article to reflect on whether the events of 1961 truly index Goa’s liberation from colonial subjection. For more extensive comments, see Prakruti Ramesh, ‘Public Monuments, Palliative Solutions: Political Geographies of Memory in Goa, India', History and Anthropology, 2023, DOI: 10.1080/02757206.2023.22203433 Noel B Salazar and Yujie Zhu, ‘Heritage and Tourism’, in Lynn Meskell, ed, Global Heritage: A Reader, Wiley-Blackwell, West Sussex, 2015, p 2414 Raminder Kaur and William Mazzarella, eds, Censorship in South Asia: Cultural Regulation from Sedition to Seduction, Indiana University Press, Bloomington, 2009, p 95 A large corpus of literature investigates how heritage projects perpetuate selective and problematic modes of remembering the ‘lost’ past. See, for example, Edward M Bruner, ‘Tourism in Ghana: The Representation of Slavery and the Return of the Black Diaspora’, American Anthropologist, vol 98, no 2, 1996, pp 290–304; Katharina Schramm, ‘Slave Ro
{"title":"The Buried Appraisals of Popular Art","authors":"Prakruti Ramesh","doi":"10.1080/09528822.2023.2254068","DOIUrl":"https://doi.org/10.1080/09528822.2023.2254068","url":null,"abstract":"AbstractThis article explores some ways in which even positive publicity may entail the censorship of the persons and things being publicised. It focuses on the case of the nationally celebrated Indian artist Mario Miranda, some of whose productions reflected his attachment to his home-state, Goa. Since the 2000s, a fraction of his oeuvre has been used as a means of branding and individuating the region for a tourist clientele. I discuss the disjuncture between a limited repertoire of displayed images and a much larger archive of the artist’s work. As Miranda’s illustrations are made ever more widely available in the form of souvenirs and ‘public art’, the images themselves are bowdlerised and their political content evacuated. This repertoire of Miranda’s work, created in the likeness of the tourism industry against which he fulminated, has the retroactive effect of authoring the author and circumscribing the extent to which he is known.Keywords: Prakruti RameshMario MirandaGoapublic arttourism industrypublicitycensorshiplatent archivesactualised repertoiresauthorshipcommodificationIndia Notes1 The images are ‘familiar’ in a double sense. Firstly, they constitute a ‘family of images’, in that they appear related to each other in style and content. Secondly, at least to some of their viewers, the images look familiar, in that they have been seen before in print publications.2 Under orders from the central government in New Delhi, the Indian military forcibly expelled the Portuguese colonial administration in 1961. This event is officially commemorated as Goa’s ‘Liberation’, but it is described by some commentators, and remembered by some of those who identify as Goan, as the commencement of India’s ‘Annexation’ or ‘Occupation’ of Goa. While noting that ‘Liberation’ is contested nomenclature, this article continues the use of the term as a proper noun because it is currently the most common way to designate the inaugural moment of ‘decolonisation’ in Goa. It is, however, beyond the scope of this article to reflect on whether the events of 1961 truly index Goa’s liberation from colonial subjection. For more extensive comments, see Prakruti Ramesh, ‘Public Monuments, Palliative Solutions: Political Geographies of Memory in Goa, India', History and Anthropology, 2023, DOI: 10.1080/02757206.2023.22203433 Noel B Salazar and Yujie Zhu, ‘Heritage and Tourism’, in Lynn Meskell, ed, Global Heritage: A Reader, Wiley-Blackwell, West Sussex, 2015, p 2414 Raminder Kaur and William Mazzarella, eds, Censorship in South Asia: Cultural Regulation from Sedition to Seduction, Indiana University Press, Bloomington, 2009, p 95 A large corpus of literature investigates how heritage projects perpetuate selective and problematic modes of remembering the ‘lost’ past. See, for example, Edward M Bruner, ‘Tourism in Ghana: The Representation of Slavery and the Return of the Black Diaspora’, American Anthropologist, vol 98, no 2, 1996, pp 290–304; Katharina Schramm, ‘Slave Ro","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135367950","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 : 2023-10-04DOI: 10.1080/09528822.2023.2248777
Manuela Ciotti
We live at the con fl uence of planetary concerns about disappearing eco-systems and the development of practices for the ethical upkeep, display and at times restitution of the visual-material worlds violently sequestered through colonial conquest. The inquiry of this special issue is situated on the cusp of these only-apparently-competing trends and offers a capacious analytic for the fragile human and nonhuman actors caught in between them that strive to navigate this age. This analytic consists of collect ables : it stands for an eclectic catalogue of humans and non-humans that have experienced processes of dispersion, destruction, morphing, and rejuvenation engendered by the histories of several empires, migration as well as decolonisation. The choice of collect ables is certainly no celebration of an ableist ethos: rather, it acknowledges the multiple required to effectively capture the affective bind between individuals and communities and visual-material worlds. Through collect ables , this special issue aims to queer established notions around collections, collectors and collectables – and dispel the mystique around them – to foreground other epistemes and avenues of inquiry. This intervention is shaped by the contributors ’ diverse positionalities, disciplinary backgrounds, practice (the issue includes both scholars and visual artists), entanglements across the global south and global north, and a theoretical prism that falls outside logics of symbolic and physical conquest that have largely dominated the study of collecting in the geocultural areas under analysis. Concerning these, the collect ables analysed here fi nd their origins in wide-ranging processes such as the Dutch colonisation of South-East Asia, the Transatlantic slave trade, the labour and trade migration from South Asia to Australia, and the Partition of India, to name just a few.
{"title":"Make No Mystique!","authors":"Manuela Ciotti","doi":"10.1080/09528822.2023.2248777","DOIUrl":"https://doi.org/10.1080/09528822.2023.2248777","url":null,"abstract":"We live at the con fl uence of planetary concerns about disappearing eco-systems and the development of practices for the ethical upkeep, display and at times restitution of the visual-material worlds violently sequestered through colonial conquest. The inquiry of this special issue is situated on the cusp of these only-apparently-competing trends and offers a capacious analytic for the fragile human and nonhuman actors caught in between them that strive to navigate this age. This analytic consists of collect ables : it stands for an eclectic catalogue of humans and non-humans that have experienced processes of dispersion, destruction, morphing, and rejuvenation engendered by the histories of several empires, migration as well as decolonisation. The choice of collect ables is certainly no celebration of an ableist ethos: rather, it acknowledges the multiple required to effectively capture the affective bind between individuals and communities and visual-material worlds. Through collect ables , this special issue aims to queer established notions around collections, collectors and collectables – and dispel the mystique around them – to foreground other epistemes and avenues of inquiry. This intervention is shaped by the contributors ’ diverse positionalities, disciplinary backgrounds, practice (the issue includes both scholars and visual artists), entanglements across the global south and global north, and a theoretical prism that falls outside logics of symbolic and physical conquest that have largely dominated the study of collecting in the geocultural areas under analysis. Concerning these, the collect ables analysed here fi nd their origins in wide-ranging processes such as the Dutch colonisation of South-East Asia, the Transatlantic slave trade, the labour and trade migration from South Asia to Australia, and the Partition of India, to name just a few.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135592541","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 : 2023-10-03DOI: 10.1080/09528822.2023.2252690
Roberto Conduru
AbstractFrom Luiz Alphonsus’s Rio de Janeiro Police Museum photographic series, this article discusses the complex framing of artifacts used in Brazilian religious communities linked to belief systems in some African regions, which exist between the social limbo and the Brazilian art canon. After briefly reviewing how random sets of objects violently and unsystematically seized by the Police were considered criminal evidence, museum items, or national heritage from the late-nineteenth century to mid-twentieth century, we analyse texts published by Raymundo Nina Rodrigues, Manuel Querino, Mário Barata, and Arthur Ramos, who pioneered the artistic dimension of Afro-Brazilian religious artifacts based on European artistic principles. Concluding, we focus on how, under varied processes of institutionalisation, these artifacts still undergo different conceptual frameworks, being presented as criminal evidence or artworks, historical documents, or anthropological records, but are also at the center of disputes regarding their institutional relocation, shared custody, and sociocultural framing.Keywords: Afro-Brazilian sacred artAfro-Brazilian art historiography‘Magia Negra’ (Black Magic) CollectionMuseu da Polícia Civil do Estado do Rio de JaneiroLuiz AlphonsusRaimundo Nina RodriguesManuel QuerinoMário BarataArthur Ramos‘Liberte Nosso Sagrado’ (Free Our Sacred) campaign Notes1 Yvonne Maggie, Medo do feitiço: relações entre magia e poder no Brasil, Arquivo Nacional, Rio de Janeiro, 1992, p 261; Roberto Conduru, ed, Relicário multicor. A Coleção de Cultos Afro-Brasileiros do Museu da Polícia Civil do Estado do Rio de Janeiro, Centro Cultural Municipal José Bonifácio, Rio de Janeiro, 2008; Alexandre Fernandes Corrêa, O museu mefistofélico e a distabuzação da magia: análise do tombamento do primeiro patrimônio etnográfico do Brasil, EDUFMA, São Luís, 2009; Amy Buono, ‘Historicity, Achronicity, and the Materiality of Cultures in Colonial Brazil’, Getty Research Journal 7, 2015, pp 29–312 Luis Alphonsus, https://www.luizalphonsus.com.br/, accessed 11 April 20233 Heloisa Buarque de Hollanda and Alberto M Carlos, ed, Patrulhas Ideológicas. Marca reg. Arte e engajamento em debate, Brasiliense, São Paulo, 19804 Conceitual Caboclo, 1980–2019, Exposição Cartografia Poética, Galeria BNDES, https://www.luizalphonsus.com.br/exposicoes?pgid=k5zmuhzz-d06f955b-3bc7-49f2-878e-92f77c6baa795 Daniela Name, Conceitual e caboclo, https://www.luizalphonsus.com.br/conceitual-e-caboclo (translated by author)6 Ibid7 Francisco Bittencourt, ‘A geração tranca-ruas’, Jornal do Brasil, 9 May 19708 Elena Shtromberg, Art Systems: Brazil and the 1970s, The University of Texas Press, Austin, 20169 Luiz Alphonsus, Bares Cariocas, Funarte, Rio de Janeiro, 198010 E-book Bares Cariocas, https://www.luizalphonsus.com.br/e-book-bares-cariocas, accessed 11 April 202311 Yvonne Maggie, Patrícia Monte-Mór and Marcia Contins, Arte ou magia negra?, Funarte, Rio de Janeiro, 197912 Yvonne Maggie, Medo d
《第一共和国的宗教与政治》，UFS出版社，sao cristovao, Edufal, maceio, 2012;Vilson Caetano de Sousa junior, corujebo: candomble和海关警察(1938 - 1976)，Edufba，萨尔瓦多，201816 Rita Amaral，“sao保罗大学考古和民族学博物馆的非裔巴西宗教文化人种学收藏”，考古和民族学博物馆杂志70,2000，第255 - 270页;詹姆斯·平托的‘Religiö如果Kultobjekte afrikanischer Sklaven在Brasilien’,在Ethnologisches德意志航空博物馆,艾德,亚马逊—Forscher Abenteurer奥得吗?: Expeditionen Brasilien 1800—1914年,Staatliche Museen祖茂堂柏林—Preussischer Kulturbesitz /柏林点燃出版社,2002,页56—6517对便宜的黑,‘艺术’,34周的杂志,1718年2月16—17 May 1941, pp亚历山大•费尔南德斯科雷亚Mefistotélico:文化意义的博物馆收藏的黑魔法的里约热内卢,巴西第一民族遗产(1938年),CNPq,巴西,里约热内卢,2006,p - 3719非裔巴西人阿瑟·瓦尔,‘宗教艺术在媒体。一些开创性的记录，1904 - 1932,19&20，第13卷，第1期，2018年1月- 6月Arthur Valle，“对马孔巴的闪电战”:军警镇压宗教艺术自由州在1941年里约热内卢’在40°会议上,委员会在艺术史40,2021年,页126—127 http://www.cbha.art.br/coloquios/2020/anais/pdf/Arthur%20Valle.pdf21约翰河,Livaria加尼叶,艾德,宗教的河,报纸新闻的编辑,190622年1月,Eliete Marochi,‘一个一个在巴西好时代’,‘不可能’在Chirley dominguez和马塞洛•阿尔维斯,版本,写的城市:joao do里约热内卢，Univali, itajai, 2005, p . 7323 do里约热内卢，1906,op cit;艾蒂安·巴西，“巴西黑人的拜物教”，巴西历史和地理研究所杂志LXXIV，第二部分，1911,195 - 260页;卡洛斯·阿尔贝托nobrega da Cunha，《马孔巴的奥秘》，先锋，c 1927;阿曼多·麦哲伦科雷亚,里约的滋味,国家级媒体,里约热内卢,193624瓦莱在媒体非裔巴西人神圣的‘艺术’,2018,op cit25艾蒂安•巴西1936 1911 http://www.dezenovevinte.net/obras/av_asab_files/fig17.jpg26, op cit,麦哲伦科雷亚,罗伯特op cit, http://www.dezenovevinte.net/obras/av_asab_files/fig36.jpg27 Conduru‘咒图:葛氏的巫术’,在马塞洛田地,她Berbara罗伯特Conduru及维拉比阿特丽斯)、eds、艺术史。《埃斯库多》(escudos, Art - Uerj)，里约热内卢de Janeiro, 2011, pp 270 - 28428塞西莉亚·梅雷莱斯(塞西莉亚·梅雷莱斯)，巴图克，桑巴和马孔巴。《手势与节奏研究》，1926 - 1934，马丁斯·丰特斯，sao保罗，2003;Conduru, 2011, op cit29维亚相关‘Kahnweiler’s教训’,在维亚相关绘画的车型,麻省理工学院出版社,北京,1990年,页65—9730卡尔·爱因斯坦Negerplastik出版社给Weissen机械舞,莱比锡,191531 Daryle·威廉姆斯在巴西的文化战争:第一维加斯达勒姆,1930—1945年,杜克大学出版社,200132年国家历史艺术遗产研究所(IPHAN), http://portal.iphan.gov.br/, 202333年4月12日通过的蜻蜓,http://portal.iphan.gov。
{"title":"Between the Social Limbo and the Art Canon","authors":"Roberto Conduru","doi":"10.1080/09528822.2023.2252690","DOIUrl":"https://doi.org/10.1080/09528822.2023.2252690","url":null,"abstract":"AbstractFrom Luiz Alphonsus’s Rio de Janeiro Police Museum photographic series, this article discusses the complex framing of artifacts used in Brazilian religious communities linked to belief systems in some African regions, which exist between the social limbo and the Brazilian art canon. After briefly reviewing how random sets of objects violently and unsystematically seized by the Police were considered criminal evidence, museum items, or national heritage from the late-nineteenth century to mid-twentieth century, we analyse texts published by Raymundo Nina Rodrigues, Manuel Querino, Mário Barata, and Arthur Ramos, who pioneered the artistic dimension of Afro-Brazilian religious artifacts based on European artistic principles. Concluding, we focus on how, under varied processes of institutionalisation, these artifacts still undergo different conceptual frameworks, being presented as criminal evidence or artworks, historical documents, or anthropological records, but are also at the center of disputes regarding their institutional relocation, shared custody, and sociocultural framing.Keywords: Afro-Brazilian sacred artAfro-Brazilian art historiography‘Magia Negra’ (Black Magic) CollectionMuseu da Polícia Civil do Estado do Rio de JaneiroLuiz AlphonsusRaimundo Nina RodriguesManuel QuerinoMário BarataArthur Ramos‘Liberte Nosso Sagrado’ (Free Our Sacred) campaign Notes1 Yvonne Maggie, Medo do feitiço: relações entre magia e poder no Brasil, Arquivo Nacional, Rio de Janeiro, 1992, p 261; Roberto Conduru, ed, Relicário multicor. A Coleção de Cultos Afro-Brasileiros do Museu da Polícia Civil do Estado do Rio de Janeiro, Centro Cultural Municipal José Bonifácio, Rio de Janeiro, 2008; Alexandre Fernandes Corrêa, O museu mefistofélico e a distabuzação da magia: análise do tombamento do primeiro patrimônio etnográfico do Brasil, EDUFMA, São Luís, 2009; Amy Buono, ‘Historicity, Achronicity, and the Materiality of Cultures in Colonial Brazil’, Getty Research Journal 7, 2015, pp 29–312 Luis Alphonsus, https://www.luizalphonsus.com.br/, accessed 11 April 20233 Heloisa Buarque de Hollanda and Alberto M Carlos, ed, Patrulhas Ideológicas. Marca reg. Arte e engajamento em debate, Brasiliense, São Paulo, 19804 Conceitual Caboclo, 1980–2019, Exposição Cartografia Poética, Galeria BNDES, https://www.luizalphonsus.com.br/exposicoes?pgid=k5zmuhzz-d06f955b-3bc7-49f2-878e-92f77c6baa795 Daniela Name, Conceitual e caboclo, https://www.luizalphonsus.com.br/conceitual-e-caboclo (translated by author)6 Ibid7 Francisco Bittencourt, ‘A geração tranca-ruas’, Jornal do Brasil, 9 May 19708 Elena Shtromberg, Art Systems: Brazil and the 1970s, The University of Texas Press, Austin, 20169 Luiz Alphonsus, Bares Cariocas, Funarte, Rio de Janeiro, 198010 E-book Bares Cariocas, https://www.luizalphonsus.com.br/e-book-bares-cariocas, accessed 11 April 202311 Yvonne Maggie, Patrícia Monte-Mór and Marcia Contins, Arte ou magia negra?, Funarte, Rio de Janeiro, 197912 Yvonne Maggie, Medo d","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135695564","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 : 2023-08-22DOI: 10.1080/09528822.2023.2229168
A. Kabir
This article argues that the development of highly patterned ‘African print’ textiles known as Dutch Wax print, which bring together designs from Indonesian batik, Indian ornamental protocols and West African chromatics with European fabric finishing techniques (often transferred from paper-making), is also the story of how Dutch mercantilism shaped commodities and taste across continents and cultures. I combine a symptomatic reading of the archives and design work at the Helmond headquarters of Vlisco, the most prestigious producer of Dutch wax, with an investigation into the relationship between mercantilism, religious wars and ornamentalism in the Low Countries. A thanatal, hallucinatory transoceanic design history emerges, attesting to Europe’s fraught relationship to African and Asian material culture. It asks us to read the textiles on which design coagulates as the very ground for the (re)ordered inscription of violence, guilt, trauma and material excess which the disorderly cornucopia of the design archive keeps generating.
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Pub Date : 2023-02-03DOI: 10.1080/09528822.2022.2150409
Published in Third Text (Vol. 36, No. 6, 2022)
发表于第三篇(第三十六卷第六期，2022年)
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Pub Date : 2023-01-02DOI: 10.1080/09528822.2023.2195757
F Nesrin Yarar Aksoy
Socialist realist and political films which expressed oppositional views to the economic and political environment were produced in Turkey during the 1960s and 1970s. The political turmoil and the transformation in the political economy as a result of the 1980 military coup have deepened the crisis of Turkish cinema that began in the 1970s. As with the country, that entered a new period in the 1990s, Turkish cinema has also found itself in a new political discourse. The same years have coincided with a time when film theory was undergoing fundamental transformations. This study aims to discuss the change in the political discourse of Turkish cinema from the 1960s to the 1990s within the framework of socio-political, socio-economical transformation and film theory. In the 1990s, while social theory moved from class politics to identity politics, the political discourse of Turkish cinema has also transformed into themes such as ethnicity, sexual freedom, the individual, miscommunication, and multiculturalism.
{"title":"Transformation of Political Discourse in Turkish Cinema from the 1960s to the 1990s","authors":"F Nesrin Yarar Aksoy","doi":"10.1080/09528822.2023.2195757","DOIUrl":"https://doi.org/10.1080/09528822.2023.2195757","url":null,"abstract":"Socialist realist and political films which expressed oppositional views to the economic and political environment were produced in Turkey during the 1960s and 1970s. The political turmoil and the transformation in the political economy as a result of the 1980 military coup have deepened the crisis of Turkish cinema that began in the 1970s. As with the country, that entered a new period in the 1990s, Turkish cinema has also found itself in a new political discourse. The same years have coincided with a time when film theory was undergoing fundamental transformations. This study aims to discuss the change in the political discourse of Turkish cinema from the 1960s to the 1990s within the framework of socio-political, socio-economical transformation and film theory. In the 1990s, while social theory moved from class politics to identity politics, the political discourse of Turkish cinema has also transformed into themes such as ethnicity, sexual freedom, the individual, miscommunication, and multiculturalism.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135754745","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 : 2023-01-02DOI: 10.1080/09528822.2023.2211468
Katarzyna Falęcka
Abstract This article examines how photographs of women taken by Marc Garanger during his army service in Algeria (1960–1962) have become sites of multiple, often competing mnemonic projections. At the height of the Algerian War of Independence, Garanger produced nearly two thousand identity photographs of those displaced by the French army from villages to detention camps. The photographs of women are some of the most cited images from the war, having been popularised through Garanger’s own photobooks. They are either read as strictly exploitative or, following Garanger’s narrative, as bearing witness to Algerian suffering. The article departs from attempts to fix the ‘true’ meaning of these images and examines their afterlives, while reflecting upon the hyper-visibility of women as images. It discusses newly recovered archival material, alongside Garanger’s decision to return to Algeria in 2004, revealing inconsistencies in Garanger’s carefully crafted narrative and reflecting upon the speculative futures of these contested images.
{"title":"Woman as Battleground","authors":"Katarzyna Falęcka","doi":"10.1080/09528822.2023.2211468","DOIUrl":"https://doi.org/10.1080/09528822.2023.2211468","url":null,"abstract":"Abstract This article examines how photographs of women taken by Marc Garanger during his army service in Algeria (1960–1962) have become sites of multiple, often competing mnemonic projections. At the height of the Algerian War of Independence, Garanger produced nearly two thousand identity photographs of those displaced by the French army from villages to detention camps. The photographs of women are some of the most cited images from the war, having been popularised through Garanger’s own photobooks. They are either read as strictly exploitative or, following Garanger’s narrative, as bearing witness to Algerian suffering. The article departs from attempts to fix the ‘true’ meaning of these images and examines their afterlives, while reflecting upon the hyper-visibility of women as images. It discusses newly recovered archival material, alongside Garanger’s decision to return to Algeria in 2004, revealing inconsistencies in Garanger’s carefully crafted narrative and reflecting upon the speculative futures of these contested images.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46342026","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 : 2023-01-02DOI: 10.1080/09528822.2023.2202590
Zoe Weldon-Yochim
Abstract The contemporary artist Bonnie Devine (b 1952), a member of the Serpent River First Nation in Ontario, Canada, works in a wide range of media to address the cultural and environmental consequences of uranium mining that occurred in her community. Uranium extraction in the area has resulted in numerous devastations, including radioactive contamination of all fifty-five miles of the Serpent River. In this study, I use ecocritical methodologies to examine how local environmental conditions, Anishinaabe cosmologies, and histories of Cold War resource extraction inform Devine’s animated film Rooster Rock: The Story of Serpent River (2002). The work demonstrates her intensive investigation of the unique properties of uranium, its effect on place, beings and ontologies, and the ways Ontarian uranium mining dovetails with the artist’s personal history. Additionally, this article calls attention to divergent and overlapping modes of knowledge and valuation practiced by Indigenous and Euro-American participants in this history.
{"title":"Mining Matter/s","authors":"Zoe Weldon-Yochim","doi":"10.1080/09528822.2023.2202590","DOIUrl":"https://doi.org/10.1080/09528822.2023.2202590","url":null,"abstract":"Abstract The contemporary artist Bonnie Devine (b 1952), a member of the Serpent River First Nation in Ontario, Canada, works in a wide range of media to address the cultural and environmental consequences of uranium mining that occurred in her community. Uranium extraction in the area has resulted in numerous devastations, including radioactive contamination of all fifty-five miles of the Serpent River. In this study, I use ecocritical methodologies to examine how local environmental conditions, Anishinaabe cosmologies, and histories of Cold War resource extraction inform Devine’s animated film Rooster Rock: The Story of Serpent River (2002). The work demonstrates her intensive investigation of the unique properties of uranium, its effect on place, beings and ontologies, and the ways Ontarian uranium mining dovetails with the artist’s personal history. Additionally, this article calls attention to divergent and overlapping modes of knowledge and valuation practiced by Indigenous and Euro-American participants in this history.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44934198","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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