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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
Pub Date : 2022-05-03DOI: 10.1080/09528822.2022.2058806
M. Watson
Abstract This article unpacks the stakes of Rebecca Belmore’s Fountain, a video installation that represented Canada at the 2005 Venice Biennale. The artwork consisted of a video installation based on a performance she gave in Vancouver. The work engaged water from a perspective informed by the artist’s Indigenous identity and heritage, framing water as a site of struggle and violence in a manner informed by settler colonialism on Turtle Island but in a way that resonates with crisis of global water inequality and hydrocolonialism today. This article unpacks the stakes of this biennial artwork, relating it to the artist’s long interest in water and Indigenous rights, the influence of Ana Mendieta’s performance work on the piece, as well as global efforts to reimagine water outside regimes of state and corporate control. It joins a growing literature on reimagining water in the current period of crisis.
{"title":"Indigenising Water","authors":"M. Watson","doi":"10.1080/09528822.2022.2058806","DOIUrl":"https://doi.org/10.1080/09528822.2022.2058806","url":null,"abstract":"Abstract This article unpacks the stakes of Rebecca Belmore’s Fountain, a video installation that represented Canada at the 2005 Venice Biennale. The artwork consisted of a video installation based on a performance she gave in Vancouver. The work engaged water from a perspective informed by the artist’s Indigenous identity and heritage, framing water as a site of struggle and violence in a manner informed by settler colonialism on Turtle Island but in a way that resonates with crisis of global water inequality and hydrocolonialism today. This article unpacks the stakes of this biennial artwork, relating it to the artist’s long interest in water and Indigenous rights, the influence of Ana Mendieta’s performance work on the piece, as well as global efforts to reimagine water outside regimes of state and corporate control. It joins a growing literature on reimagining water in the current period of crisis.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44994107","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 : 2022-04-27DOI: 10.1080/09528822.2022.2057681
M. Verhagen
Abstract In a stinging critique of the work of Danh Vo, Claire Bishop argues that he reduces moments of historical significance to pretexts for ornamental displays. In stressing the need for sustained engagement with historical trauma, she aligns herself with Theodor Adorno and others who have identified a waning historical consciousness in modern society and culture. Writers descended from Adorno have put forward models for an art of remembrance, including ‘memory sculpture’ (Andreas Huyssen) and the ‘counter-monument’ (James Young). A closer examination of Vo’s work suggests that he borrows elements of both of these models in works that display powerful but contrasting investments in the past. Bishop’s analysis is harsh. The ornamental motifs that dismayed her are crucial to a practice in which the continuing relevance of the past is established through the conflict between different attitudes to the objects it leaves behind.
{"title":"A Proximate Past","authors":"M. Verhagen","doi":"10.1080/09528822.2022.2057681","DOIUrl":"https://doi.org/10.1080/09528822.2022.2057681","url":null,"abstract":"Abstract In a stinging critique of the work of Danh Vo, Claire Bishop argues that he reduces moments of historical significance to pretexts for ornamental displays. In stressing the need for sustained engagement with historical trauma, she aligns herself with Theodor Adorno and others who have identified a waning historical consciousness in modern society and culture. Writers descended from Adorno have put forward models for an art of remembrance, including ‘memory sculpture’ (Andreas Huyssen) and the ‘counter-monument’ (James Young). A closer examination of Vo’s work suggests that he borrows elements of both of these models in works that display powerful but contrasting investments in the past. Bishop’s analysis is harsh. The ornamental motifs that dismayed her are crucial to a practice in which the continuing relevance of the past is established through the conflict between different attitudes to the objects it leaves behind.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42297941","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 : 2022-04-25DOI: 10.1080/09528822.2022.2058801
Tobey Yunjing Pan
Abstract Active in the 1970s and 1980s, KwieKulik was a Polish artistic duo comprised of Zofia Kulik and Przemysław Kwiek. Despite the duo’s dissolution in 1987 and Kulik – the female artist – having departed from her previous practice, KwieKulik’s art is framed by the so-called political and regional context of Poland’s state socialism. This article argues that the still on-going struggle of Kulik for self-definition opens up the possibility of rereading KwieKulik’s art through the lens of feminism. It analyses the visible and invisible gendered roles and identities reflected in two of KwieKulik’s most characteristic performances: Monument without a Passport and Activity for the Head: Three Acts. The visible refers to how, in their performances, Kulik had to actively allow herself to be restricted and humiliated in order to be viewed as a subject. The invisible, meanwhile, refers to the maintenance work that Kulik did for KwieKulik, which was once rendered secondary to Kwiek’s ambition for the appearance of spontaneity.
{"title":"KwieKulik through the Lens of Feminism","authors":"Tobey Yunjing Pan","doi":"10.1080/09528822.2022.2058801","DOIUrl":"https://doi.org/10.1080/09528822.2022.2058801","url":null,"abstract":"Abstract Active in the 1970s and 1980s, KwieKulik was a Polish artistic duo comprised of Zofia Kulik and Przemysław Kwiek. Despite the duo’s dissolution in 1987 and Kulik – the female artist – having departed from her previous practice, KwieKulik’s art is framed by the so-called political and regional context of Poland’s state socialism. This article argues that the still on-going struggle of Kulik for self-definition opens up the possibility of rereading KwieKulik’s art through the lens of feminism. It analyses the visible and invisible gendered roles and identities reflected in two of KwieKulik’s most characteristic performances: Monument without a Passport and Activity for the Head: Three Acts. The visible refers to how, in their performances, Kulik had to actively allow herself to be restricted and humiliated in order to be viewed as a subject. The invisible, meanwhile, refers to the maintenance work that Kulik did for KwieKulik, which was once rendered secondary to Kwiek’s ambition for the appearance of spontaneity.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47740481","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 : 2022-04-22DOI: 10.1080/09528822.2022.2057679
Sonal Jha
Abstract Throughout the history of popular Hindi cinema, the figure of the hero has been identifiable as the bearer of hegemonic masculinity, but in the last five years, this figure appears to have developed an existential crisis with respect to his masculinity. This article seeks to identify why the spotlight has shifted to non-dominant constructions of masculinity. It charts out the changing discourse of masculinity within Bollywood. It also places this in the context of a global masculinity crisis, while attempting to understand the changes within the Indian context propelling the crisis. Three recent popular movies, showcasing narratives of men struggling with issues such as alopecia, sexual dysfunction and a lack of agency, are discussed. The analysis of the male figure probes into why these specific deficiencies become shorthand to question the protagonist’s manliness, while also placing him in relation to women and other men around him who serve to accentuate his crisis.
{"title":"Unbecoming Men","authors":"Sonal Jha","doi":"10.1080/09528822.2022.2057679","DOIUrl":"https://doi.org/10.1080/09528822.2022.2057679","url":null,"abstract":"Abstract Throughout the history of popular Hindi cinema, the figure of the hero has been identifiable as the bearer of hegemonic masculinity, but in the last five years, this figure appears to have developed an existential crisis with respect to his masculinity. This article seeks to identify why the spotlight has shifted to non-dominant constructions of masculinity. It charts out the changing discourse of masculinity within Bollywood. It also places this in the context of a global masculinity crisis, while attempting to understand the changes within the Indian context propelling the crisis. Three recent popular movies, showcasing narratives of men struggling with issues such as alopecia, sexual dysfunction and a lack of agency, are discussed. The analysis of the male figure probes into why these specific deficiencies become shorthand to question the protagonist’s manliness, while also placing him in relation to women and other men around him who serve to accentuate his crisis.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45965224","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 : 2022-04-11DOI: 10.1080/09528822.2022.2052608
Paloma Checa-Gismero
Abstract The distinction between art and craft is one touchstone of Western aesthetics. Among other implications, this distinction has supported hierarchical valuations of culture that support processes of coloniality. In 1983, coherent with its mission of Third World solidarity, the Cuban state created the Bienal de La Habana, an international exhibition of art that sought to question Euro-American hegemony in the aesthetic field by showing objects from Latin America and the Third World. This article explores the dimensions of practiced and theoretical work performed within the Bienal, with especial attention to those invested in the reevaluation of the seminal art vs craft distinction. In doing so I show that, in addition to revisiting core principles of Western aesthetic philosophy, biennial curators opened as well fruitful avenues for an emancipatory curatorial practice that resonates with present concerns to decolonise the art institution.
艺术与工艺的区别是西方美学的一个试金石。在其他影响中，这种区别支持了支持殖民过程的文化等级评价。1983年，为了与第三世界团结一致，古巴政府创建了哈瓦那双年展(Bienal de La Habana)，这是一个国际艺术展，旨在通过展示来自拉丁美洲和第三世界的物品，质疑欧美在美学领域的霸权。本文探讨了双年展中实践和理论工作的维度，特别关注那些投资于重新评估开创性艺术与工艺区别的人。在这样做的过程中，我表明，除了重新审视西方美学哲学的核心原则，双年展策展人也为一种解放的策展实践开辟了富有成效的途径，这种实践与当前对艺术机构非殖民化的关注产生了共鸣。
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