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.
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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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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: 10.1080/09528822.2021.2016329
D. Gabriel
Abstract In the early 1990s, a pair of Korean reunification-themed art exhibitions in Japan took up the question of art’s capacity to contribute to national reconciliation, an issue that appeared crucial in light of the contemporaneous surge of rhetoric celebrating the end of the Cold War. The first of these events, which opened in 1992, brought together Minjung (literally ‘People’s’) artists from South Korea and artists with official ties to North Korea living in Japan. The second exhibition, which took place the following year, featured Minjung artists and North Korean artists. In failing to congeal as expressions of national homogeneity, the works on view prompted audiences to question what an aesthetics of reunification would or should look like. In contrast to spectacles of national unity, as state-sponsored reunification events often strive to project, these exhibitions suggested that engaging an aesthetics of reunification would entail vexatious encounters with artworks forged from within an enduring Cold War impasse.
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Pub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027668
Laia Manonelles Moner
Abstract Chen Zhen (1955 Shanghai−2000 Paris) emigrated to France in 1986. His work engages with the notion of ‘cultural homelessness’ and transcends the boundaries between the physical and the psychic. This idea of being in movement between different cultures links directly with the term ‘Transexperience’, coined by Chen Zhen, which refers to a new way of considering the emotions and experiences that emerge from the experience of the immigrant as he/she makes new cultural connections. He uses art as a form of cultural resistance, that is, an instrument to generate debate and critical thinking. This article explores the exhibition discourse of his first show in Spain Chen Zhen: In-Between (2014−2015), and its impact on the media. It examines the artist reception and draws on the notion of transculturalism to analyse recurrent post-Orientalist clichés.
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Pub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027670
Kathryn Brimblecombe-Fox
Abstract In 2008 visual artist Jon Cattapan was deployed to Timor-Leste as an official Australian war artist. The fact that the Australian soldiers were conducting peacekeeping activities in Timor-Leste meant Cattapan could accompany them on patrols outside military bases. While on night patrols Cattapan, like the soldiers, wore a night vision monocle. This article addresses how, in subsequent paintings, Cattapan’s saturation of night vision green paint speaks to broader issues of accelerating developments in contemporary militarised technology. Particular attention is paid to militarised technologies designed to augment or replace the capabilities of human vision. Jean Baudrillard’s ideas of the ‘violence of the global’ are used to interrogate how Cattapan’s paintings Night Patrols (Around Maliana) (2009) and Night Figures (Gleno) (2009) pose questions about current and future ramifications of perpetual war fought in physical and virtual spaces. This interrogation is conducted through close visual analyses of the two paintings.
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Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2020490
Jacob G Warren
Abstract From 1956 until 1963, nuclear weapons developed by Britain were being detonated in the mulga and saltbush plain of Maralinga, South Australia. A large tract of the Western Desert was bombed, burnt and radioactively contaminated. This article analyses how this history has been engaged with in the works of artist Jonathan Kumintjara Brown (Pitjantjatjara, 1960–1997) whose ancestral lands were directly impacted by the Maralinga nuclear testing program. Through close examination of selected works I show how Brown critically interrogated nuclear colonialism in Australia. Nuclear colonialism describes the claiming of politically peripheral land for nuclear mining, testing and development. The work of Brown is argued to be an example of nuclear aesthetics and is shown to redress the material, cultural and historical invisibility of radioactive contamination at Maralinga, revealing the impacts that it has had on the ecological, cultural and physiological health of the South Australian desert and its people.
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Pub Date : 2021-11-02DOI: 10.1080/09528822.2021.2017197
V. K. Sheng
Abstract This article examines Yin Xiuzhen’s Portable Cities created since 2001. A range of miniature cities, constructed from restitched washed worn clothes, rise from unfolded suitcases. The discussion draws on Iris Marion Young’s conception of preservation—an important, but often overlooked dimension of care and cultivation in the formation of home and one’s sense of belonging. It investigates how Yin’s artistic practice of domestic preservation might make and remake oneself ‘at home’ in an ever-shifting urbanising and globalising world, bringing to the fore an iterative temporality of embodied inhabitation. Built upon recent feminist debates about affective labour, this article casts new light on women’s relation to home and domesticity and women’s status and contribution in the current stage of neoliberalism. It considers how Yin’s works might challenge normative accounts of social advancement, global capitalism and international migration which often push women aside, forging interpersonal intersubjective connections across cultural and geographical boundaries.
本文考察了尹秀珍2001年以来创作的“移动城市”。一系列的微型城市，由洗过的旧衣服拼接而成，从展开的行李箱中升起。讨论借鉴了Iris Marion Young的保护概念——这是一个重要的，但在家庭和归属感形成过程中经常被忽视的关心和培养的维度。它探讨了在一个不断变化的城市化和全球化的世界中，尹的家庭保护艺术实践如何塑造和重塑自己的“家”，将体现居住的迭代时间性展现出来。本文以最近女权主义者关于情感劳动的争论为基础，对女性与家庭和家庭生活的关系以及女性在新自由主义当前阶段的地位和贡献进行了新的阐释。它考虑了尹的作品如何挑战社会进步、全球资本主义和国际移民的规范描述，这些描述往往将女性推到一边，建立了跨越文化和地理界限的人际主体间联系。
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