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":null,"pages":null},"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: 10.1080/09528822.2022.2132022
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":null,"pages":null},"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: 10.1080/09528822.2022.2132025
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":null,"pages":null},"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: 10.1080/09528822.2022.2125195
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":null,"pages":null},"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":null,"pages":null},"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}
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":null,"pages":null},"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":null,"pages":null},"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)
{"title":"Contributors","authors":"","doi":"10.1080/09528822.2022.2084891","DOIUrl":"https://doi.org/10.1080/09528822.2022.2084891","url":null,"abstract":"Published in Third Text (Vol. 36, No. 4, 2022)","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138520221","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 : 2022-06-17DOI: 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":null,"pages":null},"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":null,"pages":null},"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}
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