Pub Date : 2022-11-02DOI: 10.1080/09528822.2022.2146398
Namiko Kunimoto
Abstract This article focuses on the question of periodisations in Japanese art history through a consideration of the long-running careers of four successful but politically and aesthetically diverse artists: Domon Ken (1909‒1990), Okamoto Tarō (1911‒1996), Yoshihara Jirō, and Katsura Yuki (1913‒1991). The arc of these artists careers across the prewar, war, and postwar periods upsets popular periodisations in Japan’s art history that assert the postwar as a time of rupture and renewal. My focus is meant to challenge this ‘postwar paradigm’ while elucidating these artist’s negotiation of ethics and plurality during drastically different political eras. How does a reading of their work reveal continuities before and after the war, and what are the political stakes of these continuities?
{"title":"Transwar Art in Japan","authors":"Namiko Kunimoto","doi":"10.1080/09528822.2022.2146398","DOIUrl":"https://doi.org/10.1080/09528822.2022.2146398","url":null,"abstract":"Abstract This article focuses on the question of periodisations in Japanese art history through a consideration of the long-running careers of four successful but politically and aesthetically diverse artists: Domon Ken (1909‒1990), Okamoto Tarō (1911‒1996), Yoshihara Jirō, and Katsura Yuki (1913‒1991). The arc of these artists careers across the prewar, war, and postwar periods upsets popular periodisations in Japan’s art history that assert the postwar as a time of rupture and renewal. My focus is meant to challenge this ‘postwar paradigm’ while elucidating these artist’s negotiation of ethics and plurality during drastically different political eras. How does a reading of their work reveal continuities before and after the war, and what are the political stakes of these continuities?","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"583 - 601"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45018773","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 : 2022-11-02DOI: 10.1080/09528822.2022.2145049
Alírio Karina
Abstract This article considers the role of museums in contemporary and past formations of imperial knowledge and power, and the consequences of this role for the questions of accountability and restitution that have gained new prominence over the past few years. Departing from the view that matters of repatriation and restitution should privilege the terms of collection, this article instead examines the problem of colonial inheritance for museum collections as a whole, and for the museum as an institution. Further, it argues that the museum is an institutional form lacking in contemporary justification, this article proposes that the project for those who seek to ‘decolonise’ the museum must be to end the museum, and to imagine, in its place, new ways of relating to matters of memory and identity.
{"title":"Against and beyond the Museum","authors":"Alírio Karina","doi":"10.1080/09528822.2022.2145049","DOIUrl":"https://doi.org/10.1080/09528822.2022.2145049","url":null,"abstract":"Abstract This article considers the role of museums in contemporary and past formations of imperial knowledge and power, and the consequences of this role for the questions of accountability and restitution that have gained new prominence over the past few years. Departing from the view that matters of repatriation and restitution should privilege the terms of collection, this article instead examines the problem of colonial inheritance for museum collections as a whole, and for the museum as an institution. Further, it argues that the museum is an institutional form lacking in contemporary justification, this article proposes that the project for those who seek to ‘decolonise’ the museum must be to end the museum, and to imagine, in its place, new ways of relating to matters of memory and identity.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"651 - 662"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44563066","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 : 2022-11-02DOI: 10.1080/09528822.2022.2149010
Tessel Janse
Abstract Incorporating reindeer remains into haunting art installations, with Pile o’Sápmi, Máret Ánne Sara manifests how Norwegian forced culls impact Sámi autonomy. Mobilising the notion of animal colonialism, this article places Norwegian reindeer policy in a global history of colonisation through targeting animals upon which Indigenous peoples depend. Turning the gaze toward the North, it reads Sámi art and activism with Indigenous critique to examine how colonisation in Europe itself continues today. Whereas most interpretations stop at affirming Sara’s accusation of colonialism, this article argues that her work expands our understanding of it. Pile o’Sápmi unveils the performative aspect of colonial sovereignty, whilst her insistence on centralising reindeer indicates an opportunity for postcolonial studies to decolonise its own anthropocentrism. Simultaneously, her work escapes the violence it bears witness to. Seen through the lens of Sámi aesthetics or duodji, Pile o’Sápmi tends to localised interspecies ecologies and shows the value of art in doing the work of decoloniality.
{"title":"Piles of Bones","authors":"Tessel Janse","doi":"10.1080/09528822.2022.2149010","DOIUrl":"https://doi.org/10.1080/09528822.2022.2149010","url":null,"abstract":"Abstract Incorporating reindeer remains into haunting art installations, with Pile o’Sápmi, Máret Ánne Sara manifests how Norwegian forced culls impact Sámi autonomy. Mobilising the notion of animal colonialism, this article places Norwegian reindeer policy in a global history of colonisation through targeting animals upon which Indigenous peoples depend. Turning the gaze toward the North, it reads Sámi art and activism with Indigenous critique to examine how colonisation in Europe itself continues today. Whereas most interpretations stop at affirming Sara’s accusation of colonialism, this article argues that her work expands our understanding of it. Pile o’Sápmi unveils the performative aspect of colonial sovereignty, whilst her insistence on centralising reindeer indicates an opportunity for postcolonial studies to decolonise its own anthropocentrism. Simultaneously, her work escapes the violence it bears witness to. Seen through the lens of Sámi aesthetics or duodji, Pile o’Sápmi tends to localised interspecies ecologies and shows the value of art in doing the work of decoloniality.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"535 - 557"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47759898","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 : 2022-11-02DOI: 10.1080/09528822.2022.2149008
Daniel Herwitz
Abstract The removal of the statue of Cecil Rhodes at the University of Cape Town in 2015, prompted by the student Rhodes Must Fall (RMF) campaign, represents a window into how questions of race, art and inequality intertwined as they played out some twenty-five years into South African democracy. Since RMF then turned to the artwork exhibited at University of Cape Town, finding in it a collectively degraded vision of blackness − even though much of it was created in support of the anti-Apartheid struggle − this interpretive mismatch then became central to the university’s conflict. The sense of offense felt by RMF over these artworks could, in all probability, not have been negotiated at the time, leading to the abstract question of how such offense might ideally be negotiated. About this, I introduce a dialogical notion, one involving reflection on the part of both parties: the offender and the offended.
{"title":"Negotiating Offence of Fallist Proportion","authors":"Daniel Herwitz","doi":"10.1080/09528822.2022.2149008","DOIUrl":"https://doi.org/10.1080/09528822.2022.2149008","url":null,"abstract":"Abstract The removal of the statue of Cecil Rhodes at the University of Cape Town in 2015, prompted by the student Rhodes Must Fall (RMF) campaign, represents a window into how questions of race, art and inequality intertwined as they played out some twenty-five years into South African democracy. Since RMF then turned to the artwork exhibited at University of Cape Town, finding in it a collectively degraded vision of blackness − even though much of it was created in support of the anti-Apartheid struggle − this interpretive mismatch then became central to the university’s conflict. The sense of offense felt by RMF over these artworks could, in all probability, not have been negotiated at the time, leading to the abstract question of how such offense might ideally be negotiated. About this, I introduce a dialogical notion, one involving reflection on the part of both parties: the offender and the offended.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"631 - 650"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48977075","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 : 2022-11-02DOI: 10.1080/09528822.2022.2149993
Aaron Katzeman
Abstract Concentrating on contemporary art, visual culture and politics in Hawaiʻi, this article articulates a specific kind of abolitionist aesthetics that has ecology at its core and through which traces of a demilitarised futurity are interwoven. The work of anonymous collectives, artists and architects ‒including Hui Menehune, Tropic Zine, Jane Chang Mi, Drew Kahuʻāina Broderick and Sean Connelly ‒ stretches abolitionism to consider the role US militarism in Hawaiʻi plays in maintaining and enforcing global capitalism, holding captive alternative ways of organising society and the possibility of an environmentally just future. Analysing experimental residencies, video work, socially engaged proposals and other public interventions produced in relation to movements for racial justice, demilitarisation and Hawaiian sovereignty, these projects offer the provocation that the US might have to burn before the world, both spatially – in terms of being visible for all to see – and temporally, a prerequisite to mitigating the worst of climate catastrophe.
{"title":"Burning the American Flag Before the World","authors":"Aaron Katzeman","doi":"10.1080/09528822.2022.2149993","DOIUrl":"https://doi.org/10.1080/09528822.2022.2149993","url":null,"abstract":"Abstract Concentrating on contemporary art, visual culture and politics in Hawaiʻi, this article articulates a specific kind of abolitionist aesthetics that has ecology at its core and through which traces of a demilitarised futurity are interwoven. The work of anonymous collectives, artists and architects ‒including Hui Menehune, Tropic Zine, Jane Chang Mi, Drew Kahuʻāina Broderick and Sean Connelly ‒ stretches abolitionism to consider the role US militarism in Hawaiʻi plays in maintaining and enforcing global capitalism, holding captive alternative ways of organising society and the possibility of an environmentally just future. Analysing experimental residencies, video work, socially engaged proposals and other public interventions produced in relation to movements for racial justice, demilitarisation and Hawaiian sovereignty, these projects offer the provocation that the US might have to burn before the world, both spatially – in terms of being visible for all to see – and temporally, a prerequisite to mitigating the worst of climate catastrophe.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"603 - 629"},"PeriodicalIF":0.2,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48381349","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 : 2022-09-03DOI: 10.1080/09528822.2022.2124755
B. Bennett, K. Marciniak
Abstract This article discusses four recently released refugee films: Dolce Fine Giornata, Atlantics, Island of the Hungry Ghosts, and Life Overtakes Me. It draws on a range of theoretical frames, including the work of Avery Gordon and Jacques Derrida on spectrality, in order to outline the original concept of ‘fugitive aesthetics’, the narrative and stylistic system that, we argue, underpins a wide spectrum of refugee films. While the majority of films about refugeeism typically place refugees centre-stage, our article focuses on the phenomenology of the effacement of this figure. In analysing these films in which refugees are at the margins of the narrative, we examine the ways that unresolved histories of migration, colonisation and enclosure irrupt traumatically into the present. Thus, this article draws out complexities of this field of highly politicised representation that are all too often overlooked in debates around the mediation and documentation of refugee experience.
摘要本文讨论了最近上映的四部难民电影：《Dolce Fine Giornata》、《Atlantics》、《饥饿的幽灵之岛》和《生命超越我》。它借鉴了一系列理论框架，包括艾弗里·戈登和雅克·德里达关于幽灵性的作品，以概述“逃亡美学”的原始概念，是一系列难民电影的基础。虽然大多数关于难民主义的电影通常都把难民放在舞台的中心，但我们的文章关注的是这个人物被抹去的现象学。在分析这些难民处于叙事边缘的电影时，我们考察了未解决的移民、殖民和圈地历史是如何以创伤的方式突现到现在的。因此，这篇文章引出了这一高度政治化的代表性领域的复杂性，而在围绕难民经历的调解和文件记录的辩论中，这些问题往往被忽视。
{"title":"Fugitive Aesthetics","authors":"B. Bennett, K. Marciniak","doi":"10.1080/09528822.2022.2124755","DOIUrl":"https://doi.org/10.1080/09528822.2022.2124755","url":null,"abstract":"Abstract This article discusses four recently released refugee films: Dolce Fine Giornata, Atlantics, Island of the Hungry Ghosts, and Life Overtakes Me. It draws on a range of theoretical frames, including the work of Avery Gordon and Jacques Derrida on spectrality, in order to outline the original concept of ‘fugitive aesthetics’, the narrative and stylistic system that, we argue, underpins a wide spectrum of refugee films. While the majority of films about refugeeism typically place refugees centre-stage, our article focuses on the phenomenology of the effacement of this figure. In analysing these films in which refugees are at the margins of the narrative, we examine the ways that unresolved histories of migration, colonisation and enclosure irrupt traumatically into the present. Thus, this article draws out complexities of this field of highly politicised representation that are all too often overlooked in debates around the mediation and documentation of refugee experience.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"455 - 476"},"PeriodicalIF":0.2,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49450827","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 : 2022-09-03DOI: 10.1080/09528822.2022.2132025
Petja Grafenauer, Daša Tepina
Abstract The aim of this article is to document, contextualise, and theorise the rebellious actions carried out by artists in Slovenia in 2020–2021, and to present these actions as a continuation of the avant-garde movements of the twentieth century. We focus on the diverse actions and protests carried out by a strong alliance of artists, anti-capitalists, anti-fascists, ecological movements, and other civil structures that continue to challenge the oppressive autocratic powers. When art becomes confrontational, it fights for its autonomy and its production can achieve an aesthetic revolutionary potential. So when it demands the impossible, it fights for its space and position and becomes life itself, it becomes avant-garde. We could therefore say that the politics of aesthetics has a way of producing its own politics, proposing to re-arrange politics, re-configure art as a political issue or assert itself as true politics.
{"title":"Art and Rebellion","authors":"Petja Grafenauer, Daša Tepina","doi":"10.1080/09528822.2022.2132025","DOIUrl":"https://doi.org/10.1080/09528822.2022.2132025","url":null,"abstract":"Abstract The aim of this article is to document, contextualise, and theorise the rebellious actions carried out by artists in Slovenia in 2020–2021, and to present these actions as a continuation of the avant-garde movements of the twentieth century. We focus on the diverse actions and protests carried out by a strong alliance of artists, anti-capitalists, anti-fascists, ecological movements, and other civil structures that continue to challenge the oppressive autocratic powers. When art becomes confrontational, it fights for its autonomy and its production can achieve an aesthetic revolutionary potential. So when it demands the impossible, it fights for its space and position and becomes life itself, it becomes avant-garde. We could therefore say that the politics of aesthetics has a way of producing its own politics, proposing to re-arrange politics, re-configure art as a political issue or assert itself as true politics.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"409 - 428"},"PeriodicalIF":0.2,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41770819","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 : 2022-09-03DOI: 10.1080/09528822.2022.2132022
Renato Rodrigues da Silva
Abstract Neoconcretism was an international pioneer of ‘interdisciplinarity’, since its crossings of mediums and disciplines created original versions of participatory art, performance, installation art, process art, institutional critique, body art and environmental art. However, we must question whether this statement is valid throughout its history. Thus, this article investigates the First Neoconcrete Exhibition – through the detailed analysis of the works presented in the exhibition, the positions taken in the catalogue and in the Neoconcrete Manifesto, and the debates in the national press – revealing the preponderant defence of art’s autonomy, which formalises an early modernist identity for the movement that contrasts with its legacy to contemporary Brazilian art. Eventually, the transition from this ideological position to the contemporary practice of interdisciplinarity was made possible by Ferreira Gullar’s art criticism, which was based on Ernst Cassirer’s notion of ‘symbol’, whose intrinsic relativism liberated him to positively receive new proposals.
{"title":"Debating Neoconcretism","authors":"Renato Rodrigues da Silva","doi":"10.1080/09528822.2022.2132022","DOIUrl":"https://doi.org/10.1080/09528822.2022.2132022","url":null,"abstract":"Abstract Neoconcretism was an international pioneer of ‘interdisciplinarity’, since its crossings of mediums and disciplines created original versions of participatory art, performance, installation art, process art, institutional critique, body art and environmental art. However, we must question whether this statement is valid throughout its history. Thus, this article investigates the First Neoconcrete Exhibition – through the detailed analysis of the works presented in the exhibition, the positions taken in the catalogue and in the Neoconcrete Manifesto, and the debates in the national press – revealing the preponderant defence of art’s autonomy, which formalises an early modernist identity for the movement that contrasts with its legacy to contemporary Brazilian art. Eventually, the transition from this ideological position to the contemporary practice of interdisciplinarity was made possible by Ferreira Gullar’s art criticism, which was based on Ernst Cassirer’s notion of ‘symbol’, whose intrinsic relativism liberated him to positively receive new proposals.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"477 - 496"},"PeriodicalIF":0.2,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42529689","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 : 2022-09-03DOI: 10.1080/09528822.2022.2125195
Selina Ho Chui-fun
Abstract Lo Ting, a mythical half-human and half-fish figure, has been appropriated by local cultural workers since 1997. Based on the 1998 exhibition ‘Hong Kong Reincarnated: New Lo Ting Archaeological Find’ and the film Three Husbands (Fruit Chan, 2018), this article examines the creative agencies of Lo Ting from the perspective of ‘borderscaping’. The study affirms borderscaping as active signifying, discursive and affective practices that involve dynamic processes of adaptation, contestation or resistance in the subject-making of Hong Kong people. Set in two different contexts, post-1997 and post-2014, both productions have arguably sought a new form of becoming or belonging, and envisaged the Hong Kong/China border as something that can (or cannot) be crossed, interpreted and reinvented rather than passively inhabited. By offering new (geo)political-cultural imaginations, they have sought a new spatiality of politics, shifting from the rigid territorial spatialities of the nation-state to representing, negotiating and contesting the ‘where’ of the border.
{"title":"Borderscaping Hong Kong","authors":"Selina Ho Chui-fun","doi":"10.1080/09528822.2022.2125195","DOIUrl":"https://doi.org/10.1080/09528822.2022.2125195","url":null,"abstract":"Abstract Lo Ting, a mythical half-human and half-fish figure, has been appropriated by local cultural workers since 1997. Based on the 1998 exhibition ‘Hong Kong Reincarnated: New Lo Ting Archaeological Find’ and the film Three Husbands (Fruit Chan, 2018), this article examines the creative agencies of Lo Ting from the perspective of ‘borderscaping’. The study affirms borderscaping as active signifying, discursive and affective practices that involve dynamic processes of adaptation, contestation or resistance in the subject-making of Hong Kong people. Set in two different contexts, post-1997 and post-2014, both productions have arguably sought a new form of becoming or belonging, and envisaged the Hong Kong/China border as something that can (or cannot) be crossed, interpreted and reinvented rather than passively inhabited. By offering new (geo)political-cultural imaginations, they have sought a new spatiality of politics, shifting from the rigid territorial spatialities of the nation-state to representing, negotiating and contesting the ‘where’ of the border.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"513 - 531"},"PeriodicalIF":0.2,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42743929","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 : 2022-09-03DOI: 10.1080/09528822.2022.2127550
Tanvi Jain, S. T. Roy
Abstract In view of the growing concerns and innate creative potential of waste, this article reconsiders the ontological status of discarded materials and materiality as active components/agents in the conception, making, and interpretation of art through a new-materialist framework. By denying a pure representational analysis, the study instead brings forth art’s complex dynamic material-semiotic character. It offers a re-reading of the artworks of twenty-first century Indian artists by exploring multiple facets of how trash operates conceptually and physically. A nuanced understanding of the co-constitutive, relational role of myriad human and non-human actors is instantiated through case studies. By discussing the re-appropriation of trash under three overlapping categories, where the artists apply trash as metaphor and symbol; relics; and substance/physical matter (for its physical properties like texture, colour, etc), the study acknowledges the material-discursive character of art. Thus, the study offers an extended interpretation of materials and objects in art where meaning and material are mutually constructive.
{"title":"Mapping the Agency of Trash","authors":"Tanvi Jain, S. T. Roy","doi":"10.1080/09528822.2022.2127550","DOIUrl":"https://doi.org/10.1080/09528822.2022.2127550","url":null,"abstract":"Abstract In view of the growing concerns and innate creative potential of waste, this article reconsiders the ontological status of discarded materials and materiality as active components/agents in the conception, making, and interpretation of art through a new-materialist framework. By denying a pure representational analysis, the study instead brings forth art’s complex dynamic material-semiotic character. It offers a re-reading of the artworks of twenty-first century Indian artists by exploring multiple facets of how trash operates conceptually and physically. A nuanced understanding of the co-constitutive, relational role of myriad human and non-human actors is instantiated through case studies. By discussing the re-appropriation of trash under three overlapping categories, where the artists apply trash as metaphor and symbol; relics; and substance/physical matter (for its physical properties like texture, colour, etc), the study acknowledges the material-discursive character of art. Thus, the study offers an extended interpretation of materials and objects in art where meaning and material are mutually constructive.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"429 - 454"},"PeriodicalIF":0.2,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47223256","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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