Pub Date : 2022-03-04DOI: 10.1080/09528822.2022.2045148
Jasmina Gavrankapetanović-Redžić
Abstract: The paper argues that the narrative of the independent Republic of Bosnia and Herzegovina and of its capital city Sarajevo under siege (1992-1995) was built on the trope of Sarajevo’s European, Western-oriented, cosmopolitan cultural identity, based on the image initially nurtured by Socialist Yugoslavia. In the new context of the implosion of the Socialist Federal Republic of Yugoslavia (1945 -1991) the siege of Sarajevo and the war in one of the Yugoslav republics, Bosnia and Herzegovina, Yugoslav socialism was replaced by the multi-ethnic and cosmopolitan character of the young Republic of Bosnia and Herzegovina. I argue that the image of Sarajevo during the siege, as a by-product of foreign attention to the plight of the country and its citizens, was built on the pre-existing premises that promoted Socialist Yugoslavia as Western oriented and therefore progressive, in contrast to other communist countries beyond the Iron Curtain.
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Pub Date : 2022-03-04DOI: 10.1080/09528822.2022.2050623
Erin K Stapleton
Abstract Yayoi Kusama, the self-proclaimed ‘international avant-garde artist’ has enjoyed global commercial success in the most recent decades of her lengthy career. In this article, I address this by taking her body of work as whole, with the message of self-destruction, sifted through the branding of ‘obliteration’ and ‘accumulation’ which I term the ‘Kusama-Seppuku’. Drawing on analyses of Kusama’s visual and literary work alongside Pierre Klossowski, Georges Bataille and Friedrich Nietzsche and the simulacra that permeate each, I argue that Kusama has created a body of work that expresses a desire to disengage from any illusion of cohesive identity through modes of obsessive, repetitious acts, processes and accumulations designed to allow an experience of a return ‘to the infinite universe’ (Yayoi Kusama (quoted by Alma Reyes), ‘Art of Eternity at the Yayoi Kusama Museum, Tokyo’ in Taiken Japan (Explore Japan) online publication, 21 Oct 2017: https://taiken.co/single/art-of-eternity-at-the-yayoi-kusama-museum-tokyo/). Each iteration of her work expresses a gesture that constitutes a part of the Kusama-Seppuku, a lifelong performance of suicide, exhaustively commodified.
{"title":"The Spotted Seppuku","authors":"Erin K Stapleton","doi":"10.1080/09528822.2022.2050623","DOIUrl":"https://doi.org/10.1080/09528822.2022.2050623","url":null,"abstract":"Abstract Yayoi Kusama, the self-proclaimed ‘international avant-garde artist’ has enjoyed global commercial success in the most recent decades of her lengthy career. In this article, I address this by taking her body of work as whole, with the message of self-destruction, sifted through the branding of ‘obliteration’ and ‘accumulation’ which I term the ‘Kusama-Seppuku’. Drawing on analyses of Kusama’s visual and literary work alongside Pierre Klossowski, Georges Bataille and Friedrich Nietzsche and the simulacra that permeate each, I argue that Kusama has created a body of work that expresses a desire to disengage from any illusion of cohesive identity through modes of obsessive, repetitious acts, processes and accumulations designed to allow an experience of a return ‘to the infinite universe’ (Yayoi Kusama (quoted by Alma Reyes), ‘Art of Eternity at the Yayoi Kusama Museum, Tokyo’ in Taiken Japan (Explore Japan) online publication, 21 Oct 2017: https://taiken.co/single/art-of-eternity-at-the-yayoi-kusama-museum-tokyo/). Each iteration of her work expresses a gesture that constitutes a part of the Kusama-Seppuku, a lifelong performance of suicide, exhaustively commodified.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43243693","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 : 2022-03-04DOI: 10.1080/09528822.2022.2042104
Barnabas Ticha Muvhuti
Abstract Wallen Mapondera’s Pahukama is an artwork carrying memories of Zimbabwe’s November 2017 bloodless coup d’etat. The artist employs it as a gateway to documenting the everyday transactions taking place on the country’s streets. The article examines this readymade artwork’s unique qualities in the context of Zimbabwe where a generation of young artists is making art out of found objects. The article interrogates Pahukama, a concept capturing the marriage of convenience struck between the feared army militias and the masses on November 18. On a normal day, commuters crisscross the road, the homeless live on it, street vendors and the illicit forex traders strike deals on it. The article explores the multiple meanings hidden in the artwork as a visual text. While the work is conceptual, some would be tempted to read it literally because of Robert Mugabe’s stature. In conclusion, a suggestion is made for the artwork to be exhibited within Zimbabwe.
{"title":"Wallen Mapondera’s Conceptual Art","authors":"Barnabas Ticha Muvhuti","doi":"10.1080/09528822.2022.2042104","DOIUrl":"https://doi.org/10.1080/09528822.2022.2042104","url":null,"abstract":"Abstract Wallen Mapondera’s Pahukama is an artwork carrying memories of Zimbabwe’s November 2017 bloodless coup d’etat. The artist employs it as a gateway to documenting the everyday transactions taking place on the country’s streets. The article examines this readymade artwork’s unique qualities in the context of Zimbabwe where a generation of young artists is making art out of found objects. The article interrogates Pahukama, a concept capturing the marriage of convenience struck between the feared army militias and the masses on November 18. On a normal day, commuters crisscross the road, the homeless live on it, street vendors and the illicit forex traders strike deals on it. The article explores the multiple meanings hidden in the artwork as a visual text. While the work is conceptual, some would be tempted to read it literally because of Robert Mugabe’s stature. In conclusion, a suggestion is made for the artwork to be exhibited within Zimbabwe.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43000375","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 : 2022-03-04DOI: 10.1080/09528822.2022.2049159
P. Malreddy
Abstract While the figure of the ‘Indian guru’ has established itself as a source of spiritual knowledge in the West, it played a unique role in the construction of the secular image of post-independence India. Historically, gurus, fakirs, or monks were considered neither a threat to the construction of secular India, nor were they given a privileged treatment on the basis of their religious denomination. Such secular ‘indifference’, however, has been challenged by competing narratives of religious modernities in popular culture, particularly in Hindi Cinema. Drawing from three recent productions – Oh My God (2012), PK (2014), and Dharam Sankat Mein (2015) – this article argues that the specific generic, cinematic, and narrative devices employed in these films gesture towards what Manav Ratti has identified as a ‘postsecular’ move in India, one that helps articulate the paradox of ‘nonsecular secularism, a non-religious religion’ wherein the figure of the guru serves as a tabula rasa of repressed secular anxieties.
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Pub Date : 2022-03-04DOI: 10.1080/09528822.2022.2049160
Kriss Ravetto-Biagioli
Abstract Kader Attia’s Refléchir la Mémoire (Reflecting Memory, 2016) and Cyprien Gaillard’s 3D motion picture Nightlife (2015) engage the politics of memory by invoking the musical practice of dubbing to convey a sense of haunting. Yet this is not a haunting that simply conjures ghostly voices, images or sounds from the past. It is, instead, a practice of mixing, remixing and distorting − making something hidden or invisible critically present. Rather than attempting to restore or repair those who suffer from historical or even physical traumas they focus on transformations that are not simple acts of self-overcoming nor reclaiming one’s sense of self, but ones that complex set of affective relations. These remediated voices and images do not conjure ghosts to make singular demands on the present but produce ghost effects that generate multiple possible readings of the always present politics of memory.
摘要Kader Attia的Refléchir la Mémoire（Reflecting Memory，2016）和Cyprien Gaillard的3D电影《夜生活》（Nightlife，2015）通过调用配音的音乐实践来传达一种挥之不去的感觉，从而参与了记忆的政治。然而，这并不是一个简单地让人联想到过去幽灵般的声音、图像或声音的萦绕。相反，这是一种混合、混合和扭曲的做法——让隐藏或不可见的东西批判性地呈现出来。他们没有试图恢复或修复那些遭受历史甚至身体创伤的人，而是专注于转变，这些转变不是简单的自我克服或恢复自我意识的行为，而是一系列复杂的情感关系。这些经过修复的声音和图像并没有让鬼魂对现在提出独特的要求，而是产生了鬼魂效应，产生了对始终存在的记忆政治的多种可能解读。
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Pub Date : 2022-03-04DOI: 10.1080/09528822.2022.2050625
Erika Zerwes
Abstract This article discusses some aspects of the political commitment visible in the lives and work of two female photographers in Brazil: Claudia Andujar and Nair Benedicto. It analyses two photographic series that were sent by these photographers to the Latin American Photography Colloquia in 1978 and 1981: Andujar’s work with the Yanomamis, the Amazonian Indigenous people; and Benedicto’s work with young offenders incarcerated in the Brazilian cities of São Paulo and Ribeirão Preto. For both photographers, training their lenses on some of the most marginalised sectors of Brazilian society at that moment also meant engaging politically with the military dictatorship. However, in both cases their political engagement was not limited to photography; it transcended to social and political militancy.
{"title":"Militancy from the Margins in Brazil","authors":"Erika Zerwes","doi":"10.1080/09528822.2022.2050625","DOIUrl":"https://doi.org/10.1080/09528822.2022.2050625","url":null,"abstract":"Abstract This article discusses some aspects of the political commitment visible in the lives and work of two female photographers in Brazil: Claudia Andujar and Nair Benedicto. It analyses two photographic series that were sent by these photographers to the Latin American Photography Colloquia in 1978 and 1981: Andujar’s work with the Yanomamis, the Amazonian Indigenous people; and Benedicto’s work with young offenders incarcerated in the Brazilian cities of São Paulo and Ribeirão Preto. For both photographers, training their lenses on some of the most marginalised sectors of Brazilian society at that moment also meant engaging politically with the military dictatorship. However, in both cases their political engagement was not limited to photography; it transcended to social and political militancy.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47806714","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 : 2022-01-02DOI: 10.1080/09528822.2022.2027673
P. O’Kane
Abstract The title of the article is On Mask-Ocracy and follows-on from two shorter pieces (http://thirdtext.org/OKane-carnival & http://www.thirdtext.org/okane-maskocracy) that I recently published in Third Text Online. This new, longer article draws on a wide range of references, from carnival and the carnivalesque to recent protests in Hong Kong, from Australian wildfires to the worldwide pandemic, all on the way to speculating that the growing prevalence of masks in contemporary society brings new (and renewed) attention to and implications for, our current, modern understanding of identity, political representation, and democracy. ‘Mask-Ocracy’ is a neologism introduced as an intellectual gambit that this writing seeks to justify and render useful to current and emerging political and social debates.
这篇文章的标题是On Mask-Ocracy，是我最近在Third Text Online上发表的两篇较短的文章(http://thirdtext.org/OKane-carnival & http://www.thirdtext.org/okane-maskocracy)的后续文章。这篇新的长篇文章引用了广泛的参考资料，从嘉年华和嘉年华式的活动到最近香港的抗议活动，从澳大利亚的野火到世界范围内的流行病，所有这些都在推测当代社会中日益流行的面具给我们当前对身份、政治代表和民主的现代理解带来了新的(和更新的)关注和影响。“面具统治”是一个新词，作为一种智力策略引入，本文试图为当前和新兴的政治和社会辩论辩护并使其有用。
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Pub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027672
Kristin Plys
Abstract This article investigates the intellectual and political legacies of Maoist and other left Third Worldist thought of the 1970s through an analysis of Naeem Mohaiemen’s 2020 film, Afsan’s Long Day, The Young Man Was. The film presents a narrative of the history of the 1970s anti-imperialist left, and in Brechtian fashion, compels the viewer to take an emotionally distanced assessment of the left’s chaotic trajectory through a unique engagement with themes of time, history, and repetition. In the article, I explore several aspects of the film − its relationship to the ‘essay film’ as a genre, the historical context of the global 1970s as depicted in the film, and then conclude with a discussion of the theoretical concept, hauntology, in order to interrogate the political praxis of the film. The 1970s Global left represents a future that never came to be but yet continues to animate contemporary left thought.
本文通过分析纳伊姆·莫海门(Naeem Mohaiemen) 2020年的电影《阿夫桑的漫长一天，年轻人是》(Afsan 's Long Day, the Young Man Was)，探讨20世纪70年代毛主义和其他左翼第三世界主义思想的知识和政治遗产。这部电影讲述了20世纪70年代反帝左翼的历史，以布莱希特式的风格，迫使观众通过独特的时间、历史和重复的主题，对左翼混乱的轨迹进行情感上的距离感评估。在这篇文章中，我探讨了这部电影的几个方面——它与作为一种类型的“散文电影”的关系，电影中描述的全球20世纪70年代的历史背景，然后以讨论理论概念“闹鬼学”作为结论，以质疑这部电影的政治实践。20世纪70年代的全球左派代表了一个从未实现的未来，但却继续激励着当代左派思想。
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