Pub Date : 2022-09-03DOI: 10.1080/09528822.2022.2131231
M. Ramos
Abstract This article revisits the cinema of the late Filipino filmmaker Lino Brocka in order to erode the distinction between realism and spectacle at play, still today, in many discussions about the political capacities of the moving image. The work of Brocka is understood here as both realist and escapist, in agreement with the work of other key non-Western filmmakers that work with anti-colonial and Hollywoodian codes. The author focuses the analysis on the expressive amalgamation employed by Brocka in Macho Dancer (1988) and argues that this film develops a poetics of sweat and liquidity opening up the spectatorial experience to unexpected intensities; intensities that invite us to think and feel more and to think and feel differently.
{"title":"Images That Sweat","authors":"M. Ramos","doi":"10.1080/09528822.2022.2131231","DOIUrl":"https://doi.org/10.1080/09528822.2022.2131231","url":null,"abstract":"Abstract This article revisits the cinema of the late Filipino filmmaker Lino Brocka in order to erode the distinction between realism and spectacle at play, still today, in many discussions about the political capacities of the moving image. The work of Brocka is understood here as both realist and escapist, in agreement with the work of other key non-Western filmmakers that work with anti-colonial and Hollywoodian codes. The author focuses the analysis on the expressive amalgamation employed by Brocka in Macho Dancer (1988) and argues that this film develops a poetics of sweat and liquidity opening up the spectatorial experience to unexpected intensities; intensities that invite us to think and feel more and to think and feel differently.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"497 - 512"},"PeriodicalIF":0.2,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43104733","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 : 2022-06-29DOI: 10.1080/09528822.2022.2080374
Rinat Podissuk Reisner, Mor Presiado
Abstract This article focusses on Fatma Shanan, one of the groundbreaking Druze women artists in Israel. The article presents an analysis of four of the artist’s self-portraits, made between the years 2010–2017, relating to Shanan’s work as an emotional process. The authors examine how the artist relates to the complexity of her experience as a woman and as an artist active within the patriarchal Druze community and as a woman artist from an ethnic minority acting in the Israeli Western-oriented artworld. The article looks at her struggle through her intersectional experience and studies the strategies of action she has used in this struggle, focusing on the artist undergoing process of transformation from being a young student and artist (functioning under this multiple oppression) to her identification of herself as an individual artist and a pioneering feminist.
{"title":"The Search for an Individual Voice","authors":"Rinat Podissuk Reisner, Mor Presiado","doi":"10.1080/09528822.2022.2080374","DOIUrl":"https://doi.org/10.1080/09528822.2022.2080374","url":null,"abstract":"Abstract This article focusses on Fatma Shanan, one of the groundbreaking Druze women artists in Israel. The article presents an analysis of four of the artist’s self-portraits, made between the years 2010–2017, relating to Shanan’s work as an emotional process. The authors examine how the artist relates to the complexity of her experience as a woman and as an artist active within the patriarchal Druze community and as a woman artist from an ethnic minority acting in the Israeli Western-oriented artworld. The article looks at her struggle through her intersectional experience and studies the strategies of action she has used in this struggle, focusing on the artist undergoing process of transformation from being a young student and artist (functioning under this multiple oppression) to her identification of herself as an individual artist and a pioneering feminist.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"383 - 405"},"PeriodicalIF":0.2,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46609520","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 : 2022-06-29DOI: 10.1080/09528822.2022.2084891
Published in Third Text (Vol. 36, No. 4, 2022)
发表于第三篇(第三十六卷第四期，2022年)
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Pub Date : 2022-06-17DOI: 10.1080/09528822.2022.2083819
Ahmad H. Sa’di
Abstract This article explores Palestinians’ representations in visual art of the existential crisis they faced following the destruction of Palestinian society during the 1948 War, known as the Nakba. The article explores how this colossal event has been conveyed artistically, and discusses artworks that revolve around Palestinians’ subsequent states of being, which are represented by two main motifs, the ‘good Arab’ and the cactus tree. In particular, it assesses how these motifs were used to convey varied, and even opposite, states of being and consciousness, as well as survival strategies, that go beyond commonplace views and perceptions about Palestinians in Israel after 1948. Moreover, this article discusses how the allegorical language of these artworks augments their meanings and might open a window into the world of the Palestinians, who lack archives, official historical narratives, and institutions of remembrance.
{"title":"Arts in Dark Times","authors":"Ahmad H. Sa’di","doi":"10.1080/09528822.2022.2083819","DOIUrl":"https://doi.org/10.1080/09528822.2022.2083819","url":null,"abstract":"Abstract This article explores Palestinians’ representations in visual art of the existential crisis they faced following the destruction of Palestinian society during the 1948 War, known as the Nakba. The article explores how this colossal event has been conveyed artistically, and discusses artworks that revolve around Palestinians’ subsequent states of being, which are represented by two main motifs, the ‘good Arab’ and the cactus tree. In particular, it assesses how these motifs were used to convey varied, and even opposite, states of being and consciousness, as well as survival strategies, that go beyond commonplace views and perceptions about Palestinians in Israel after 1948. Moreover, this article discusses how the allegorical language of these artworks augments their meanings and might open a window into the world of the Palestinians, who lack archives, official historical narratives, and institutions of remembrance.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"311 - 330"},"PeriodicalIF":0.2,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47358373","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 : 2022-06-09DOI: 10.1080/09528822.2022.2082752
Ron Reichman
Abstract ‘Leave your psychopathic behaviour outside this playground, there are small children here’, screamed a furious father at Malki Tesler, an Israeli artist staging a public intervention in the center of Tel Aviv’s Meir Park, where she peacefully sat, physically blocking the playground’s slide and preventing children from using the amenity. Tesler’s site-specific work is an antagonistic act that evolved into a participatory event, thereby blurring the lines between public art, performance, and activism. Predicated on a determined refusal to play and a public presentation of a vulnerable body, this act instigated an incredibly violent reaction by children and chaperones alike, and therefore exposed the fragility of the so-called Israeli social bond and the exclusionary practices that sustain it.
{"title":"Leave Your Psychopathic Behaviour Outside the Playground","authors":"Ron Reichman","doi":"10.1080/09528822.2022.2082752","DOIUrl":"https://doi.org/10.1080/09528822.2022.2082752","url":null,"abstract":"Abstract ‘Leave your psychopathic behaviour outside this playground, there are small children here’, screamed a furious father at Malki Tesler, an Israeli artist staging a public intervention in the center of Tel Aviv’s Meir Park, where she peacefully sat, physically blocking the playground’s slide and preventing children from using the amenity. Tesler’s site-specific work is an antagonistic act that evolved into a participatory event, thereby blurring the lines between public art, performance, and activism. Predicated on a determined refusal to play and a public presentation of a vulnerable body, this act instigated an incredibly violent reaction by children and chaperones alike, and therefore exposed the fragility of the so-called Israeli social bond and the exclusionary practices that sustain it.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"331 - 347"},"PeriodicalIF":0.2,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42233222","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 : 2022-05-30DOI: 10.1080/09528822.2022.2074197
J. Early
Abstract Within our twenty-first century confessional landscape, a new set of possibilities for confession has been realised which, in relation to the chronology of confessional art, expands on the political and social conditions visible in pre-millennial cultural politics. The confessional turn in postmodernity requires less of an emphasis on pre-modern frameworks of ritualised Christian confessional discourses. Taking into account the ubiquity of contemporary confessional forms (eg Facebook, Instagram, and the vlog/blogosphere), such historical terms of ritualised confession and its association to power appear almost archaic today. This article focuses on a framework of confessional art that explores a more direct mode of self-disclosure in order to examine self-representation and its relationship to subjectivity. As the boundaries between private and public space become increasingly problematised within this confessional landscape, this article posits that contemporary confessional art gives voice to displaced subjectivities to present a more complex politics of self.
{"title":"Contemporary Confessional Forms and Confessional Art","authors":"J. Early","doi":"10.1080/09528822.2022.2074197","DOIUrl":"https://doi.org/10.1080/09528822.2022.2074197","url":null,"abstract":"Abstract Within our twenty-first century confessional landscape, a new set of possibilities for confession has been realised which, in relation to the chronology of confessional art, expands on the political and social conditions visible in pre-millennial cultural politics. The confessional turn in postmodernity requires less of an emphasis on pre-modern frameworks of ritualised Christian confessional discourses. Taking into account the ubiquity of contemporary confessional forms (eg Facebook, Instagram, and the vlog/blogosphere), such historical terms of ritualised confession and its association to power appear almost archaic today. This article focuses on a framework of confessional art that explores a more direct mode of self-disclosure in order to examine self-representation and its relationship to subjectivity. As the boundaries between private and public space become increasingly problematised within this confessional landscape, this article posits that contemporary confessional art gives voice to displaced subjectivities to present a more complex politics of self.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"369 - 382"},"PeriodicalIF":0.2,"publicationDate":"2022-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43402707","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 : 2022-05-27DOI: 10.1080/09528822.2022.2074707
Gabrielle Moser
Abstract How might the production, transference and registration of heat allow us to see mass displacement differently? Through a close reading of Richard Mosse’s series, Heat Maps (2016) – which uses a heat-sensitive, military grade surveillance camera to capture refugees in camps and detention centres in and around the Mediterranean – this article considers heat as a byproduct of colonialism, and as an elemental force driving global displacement. While Mosse’s photographs visualise unseen (body) heat through shifts in tonal value, these seemingly transparent images risk obscuring the other ways heat is produced through resource extraction, sexual violence and embodied resistance to colonisation. Reading Mosse’s work through the racial anxieties that have historically accompanied the photographic negative, the article attempts to unravel the invisibility of the white gaze in contemporary art’s capturing of the refugee crisis, while at the same time holding out hope for the reparative and imaginative capacities of the viewer.
{"title":"Race, Climate Change and the Photographic Negative in Richard Mosse’s Heat Maps","authors":"Gabrielle Moser","doi":"10.1080/09528822.2022.2074707","DOIUrl":"https://doi.org/10.1080/09528822.2022.2074707","url":null,"abstract":"Abstract How might the production, transference and registration of heat allow us to see mass displacement differently? Through a close reading of Richard Mosse’s series, Heat Maps (2016) – which uses a heat-sensitive, military grade surveillance camera to capture refugees in camps and detention centres in and around the Mediterranean – this article considers heat as a byproduct of colonialism, and as an elemental force driving global displacement. While Mosse’s photographs visualise unseen (body) heat through shifts in tonal value, these seemingly transparent images risk obscuring the other ways heat is produced through resource extraction, sexual violence and embodied resistance to colonisation. Reading Mosse’s work through the racial anxieties that have historically accompanied the photographic negative, the article attempts to unravel the invisibility of the white gaze in contemporary art’s capturing of the refugee crisis, while at the same time holding out hope for the reparative and imaginative capacities of the viewer.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"349 - 368"},"PeriodicalIF":0.2,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45698046","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 : 2022-05-23DOI: 10.1080/09528822.2022.2074198
Kristin Nielsen
Abstract Sámi/Finnish artist Marja Helander’s lyrical short film Eatnanvuloš lottit (Birds in the Earth, 2018, 10′ 40″, single channel) captures two young ballerinas as they glide through the Nordic landscape and eventually arrive at the Parliament in Helsinki. Without dialogue and thoroughly visual and musical, Helander’s film raises the voices of the Indigenous Sámi peoples yearning for self-determination and land rights in Sápmi, their lands crossing the northern regions of Finland, Russia, Sweden, and Norway. The film juxtaposes Western and Indigenous sounds and images, using the singing tradition of yoik and the Sami garments worn known as gákti. Indigenous signifiers and myths confront Western meaning-making, especially the tourism industry in Finland. The article argues that the film disobediently escapes Western co-optation by opening spaces for Sámi identities and remembrance. Birds in the Earth points to contested political sites and insists on local land rights and the political rights of the Sámi.
{"title":"Disobedience in Sámi Artist Marja Helander’s Film Birds in the Earth","authors":"Kristin Nielsen","doi":"10.1080/09528822.2022.2074198","DOIUrl":"https://doi.org/10.1080/09528822.2022.2074198","url":null,"abstract":"Abstract Sámi/Finnish artist Marja Helander’s lyrical short film Eatnanvuloš lottit (Birds in the Earth, 2018, 10′ 40″, single channel) captures two young ballerinas as they glide through the Nordic landscape and eventually arrive at the Parliament in Helsinki. Without dialogue and thoroughly visual and musical, Helander’s film raises the voices of the Indigenous Sámi peoples yearning for self-determination and land rights in Sápmi, their lands crossing the northern regions of Finland, Russia, Sweden, and Norway. The film juxtaposes Western and Indigenous sounds and images, using the singing tradition of yoik and the Sami garments worn known as gákti. Indigenous signifiers and myths confront Western meaning-making, especially the tourism industry in Finland. The article argues that the film disobediently escapes Western co-optation by opening spaces for Sámi identities and remembrance. Birds in the Earth points to contested political sites and insists on local land rights and the political rights of the Sámi.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"295 - 310"},"PeriodicalIF":0.2,"publicationDate":"2022-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48373904","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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