Pub Date : 2017-01-01DOI: 10.17159/2309-9585/2017/V43A6
John Mowitt
No matter how artful the photographer, no matter how carefully posed his subject, the beholder [of the photograph] feels an irresistible urge to search such a picture for the tiny spark of contingency, of the here and now, with which reality has (so to speak) seared the subject, to find the inconspicuous spot where in the immediacy of that long-forgotten moment the future nests so eloquently that we, looking back, may rediscover it.2
{"title":"The Searing of the University","authors":"John Mowitt","doi":"10.17159/2309-9585/2017/V43A6","DOIUrl":"https://doi.org/10.17159/2309-9585/2017/V43A6","url":null,"abstract":"No matter how artful the photographer, no matter how carefully posed his subject, the beholder [of the photograph] feels an irresistible urge to search such a picture for the tiny spark of contingency, of the here and now, with which reality has (so to speak) seared the subject, to find the inconspicuous spot where in the immediacy of that long-forgotten moment the future nests so eloquently that we, looking back, may rediscover it.2","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"15 1","pages":"99-113"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82824091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.17159/2309-9585/2017/V43A14
A. Tietze
{"title":"The Art of Life in South Africa","authors":"A. Tietze","doi":"10.17159/2309-9585/2017/V43A14","DOIUrl":"https://doi.org/10.17159/2309-9585/2017/V43A14","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"1 1","pages":"202-208"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72610123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.17159/2309-9585/2017/V43A9
B. Rink
This paper explores the function of the university through the lens of mobility as seen from a South African perspective. Understanding the role of the university as one that requires the movement and circulation of academic bodies in the form of students and staff, and bodies of academic knowledge in the form of teaching, research and academic content, I use a theoretical framework from the interdisciplinary field of mobilities in order to understand the role of movement in the university and to highlight what is ruptured and catalysed by frictions enacted through power geometry, austerity and disruption. Sighted from the perspective of the University of the Western Cape in South Africa, this paper poses a series of provocations that reveal the obligations of presence that comprise the production and transfer of knowledge in the twenty-first-century university. I discuss how disruption and austerity, amongst other embedded mobility limitations, impact on the multiple/intersecting universes of the university; how the austere and disrupted university influences our engagement at various scales from local to global; and, finally, how disruption and austerity act to fix academic bodies in place even as they may allow virtual mobility to replace the face-to-face engagement that is the hallmark of the academic project. This paper demonstrates the critical role of mobility in the institution of the university and concludes that the university is a form of Foucauldian heterotopia mobilising diverse academic bodies and bodies of knowledge.
{"title":"Mobile heterotopia: movement, circulation and the function of the university","authors":"B. Rink","doi":"10.17159/2309-9585/2017/V43A9","DOIUrl":"https://doi.org/10.17159/2309-9585/2017/V43A9","url":null,"abstract":"This paper explores the function of the university through the lens of mobility as seen from a South African perspective. Understanding the role of the university as one that requires the movement and circulation of academic bodies in the form of students and staff, and bodies of academic knowledge in the form of teaching, research and academic content, I use a theoretical framework from the interdisciplinary field of mobilities in order to understand the role of movement in the university and to highlight what is ruptured and catalysed by frictions enacted through power geometry, austerity and disruption. Sighted from the perspective of the University of the Western Cape in South Africa, this paper poses a series of provocations that reveal the obligations of presence that comprise the production and transfer of knowledge in the twenty-first-century university. I discuss how disruption and austerity, amongst other embedded mobility limitations, impact on the multiple/intersecting universes of the university; how the austere and disrupted university influences our engagement at various scales from local to global; and, finally, how disruption and austerity act to fix academic bodies in place even as they may allow virtual mobility to replace the face-to-face engagement that is the hallmark of the academic project. This paper demonstrates the critical role of mobility in the institution of the university and concludes that the university is a form of Foucauldian heterotopia mobilising diverse academic bodies and bodies of knowledge.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"1 1","pages":"137-151"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79320783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A2
C. Kratz
Simon Gush’s evocative work Red is an installation, an exhibit, a film, a website, and a provocation to think about what these different forms convey and do, and how they do so. What kinds of engagement, work and knowledge production are involved in curating, designing and creating work in different formats, each of which combines varied media and forms of expression? This article considers the design and interpretive possibilities of Red’s different forms, paying particular attention to juxtaposition as a fundamental technique in designing and constructing exhibits, films and websites. The analysis examines the layerings, interactions, timings and textures involved and draws in other exhibitions to highlight the ways that Red and history museums approach their work and relations to time, history and historiography.
{"title":"Red textures and the work of juxtaposition","authors":"C. Kratz","doi":"10.17159/2309-9585/2016/V42A2","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A2","url":null,"abstract":"Simon Gush’s evocative work Red is an installation, an exhibit, a film, a website, and a provocation to think about what these different forms convey and do, and how they do so. What kinds of engagement, work and knowledge production are involved in curating, designing and creating work in different formats, each of which combines varied media and forms of expression? This article considers the design and interpretive possibilities of Red’s different forms, paying particular attention to juxtaposition as a fundamental technique in designing and constructing exhibits, films and websites. The analysis examines the layerings, interactions, timings and textures involved and draws in other exhibitions to highlight the ways that Red and history museums approach their work and relations to time, history and historiography.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"42 1","pages":"29-47"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89604690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A10
Michelle Smith
The design and construction of the Red Location Precinct was the culmination of a national architectural competition, the first outcome of which was the Red Location Museum. Situated in New Brighton, Port Elizabeth, the materiality of the township impressed itself on the factory-styled museum building. However, the residents of New Brighton were not unanimously in favour of the building of a cultural precinct and museum, and through a number of protests, closed down the museum. Renaming it ‘a house for dead people’, the community began to disassemble the museum building. The museum is now a ruin, its frame decomposing. Rather than staging the porousness between an inside and an outside of the museum – and between the past and present, the real and the simulated, the living and the dead – as a problem to be worked out in dialogue, the museum has, by framing the struggle against apartheid commemoratively, incorporated the residents of New Brighton into what is called here a ‘mortificationary complex’. This article elaborates the concept of the frame as it works through the displays within the Red Location Museum and its building, reframed by Simon Gush’s installation, Red. Juxtaposing Red and the Red Location Museum allows the affects and effects of this artwork to seep beyond the confines of the events with which it explicitly grapples. Through the concept of the frame, this encounter asks that we rethink the materiality of the photograph, the commemoration of the struggle against apartheid, and the ways in which death marks the sights and sites of public history in museums after 1994.
Red Location Precinct的设计和施工是全国建筑竞赛的高潮，其中第一个结果是Red Location博物馆。这个小镇位于伊丽莎白港的新布莱顿，工厂风格的博物馆建筑给人留下了深刻的印象。然而，新布莱顿的居民并不一致赞成建立文化区和博物馆，并通过一系列抗议活动关闭了博物馆。社区将其重新命名为“死人之家”，并开始拆卸博物馆建筑。博物馆现在是一片废墟，框架正在腐烂。博物馆并没有将博物馆内外之间、过去与现在之间、真实与模拟之间、生者与死者之间的多孔性作为一个需要在对话中解决的问题，而是通过纪念地构建反对种族隔离的斗争，将新布莱顿的居民纳入这里所谓的“屈辱情结”。这篇文章阐述了框架的概念，因为它通过红色位置博物馆及其建筑内的展示来工作，由西蒙·古什的装置作品《红色》重新定义。并置红色和红色地点博物馆让这件艺术品的影响和效果超越了它明确要解决的事件的范围。通过框架的概念，这次相遇要求我们重新思考照片的物质性，纪念反对种族隔离的斗争，以及1994年后博物馆中死亡标志公共历史景点和地点的方式。
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Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A11
P. Vig
This article takes three events as a cue to examine the connections between race and development in the history of hunting. First, the killing of Cecil the lion in July 2015 by Walter Palmer. Second, Nelson Mandela’s hunting trip in 1991 that was reported on under the title ‘Mandela Goes Green’. Thirdly, the art installation and film Red that explores the building of a red Mercedes for Nelson Mandela in 1991. Serendipitously, these three events come together in a way that enables a look at how art, technology and history can be thought differently. The workshop ‘Red Assembly’ in East London and the careful thought given to a retelling of the building of Mandela’s red Mercedes collides with the hyper-technological online protest and commentary in response to the killing of Cecil. Their near simultaneity, each referencing Mandela in a different way, draws attention to the continuing concerns over labour and race in a post-apartheid South Africa that continues to look to Mandela as a figure of positive change. The contentious debates around the wildcat strike at the East London Mercedes-Benz factory in 1991 as well as the killing of Cecil 25 years later illuminate how claims to development and progress are caught up in globally connected flows of capital and material goods that persist in the tendency to view the figure of the black body only as labour, despite protests that point to the need for more critical thought. At the same time, these contentious debates and a reading of the installation Red through the ‘Red Assembly’ workshop reflect the anxieties of writing history in a post-apartheid South Africa that struggles to reinsert the human into understandings of the past without falling prey to the temptation of producing history as an uncritical act of recovery or a celebration agency.
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Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A9
Brett Pyper
Focusing on the film that accompanies Simon Gush’s installation Red, this article positions itself within the ‘ambient humanities’ and explores sound as its primary mode of inquiry. I consider how sound constitutes not just the soundtrack but also, at particular moments, becomes the subject of the film itself. I believe these moments are worth attending to because, empirically speaking, they render audible some aspects of history that might otherwise literally be overlooked. Taking my cue from a striking aural performance recounted in the film, I consider possible archaeologies of insurrectionary noise in South Africa and beyond. Beyond the empirical, I am interested in theorising not only about but also with sound, and reflecting on how doing so with respect to history might be productive. I thus tease out thinking about sound in history, sound with history, sounding history and the like, in the process asking what aesthetics can do for the work of history. Drawing on ideas advanced recently by John Mowitt (2015), I consider how the notions of echo and resonance illustrate the kinds of alternative epistemological perspectives that attention to sound might enable for historiography. In the conclusion, I tie these back to the foregrounding of performance – particularly performance with a strong aural dimension – in the constitution of social and public memory.
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Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/v42a6
P. Hayes
{"title":"The factory as a battlefield","authors":"P. Hayes","doi":"10.17159/2309-9585/2016/v42a6","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/v42a6","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"50 1","pages":"90-102"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86058790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A14
Thomas C. Wolfe
The article suggests that Simon Gush’s Red is an installation that projects two intersecting paths for anyone confronting it: the path of history, specifically the history of the freedom struggle in South Africa right up to the present day, and the history of contemporary art. The essay is an effort to articulate this position at a crossroads. I respond to the first path by engaging in an exercise of imaginative reverse-engineering. Red seems to invite the viewer to reflect on its own construction and how the different dimensions of its construction might be connected to political meanings and readings. Secondly, I engage in the more familiar work of interpreting an artwork, of saying what it means. I grapple with this task by explaining how Red evokes for me the philosophical problem of ordinary life, as it has appeared in various channels of reflection, from the transcendentalists through the pragmatists, through Wittgenstein and the ordinary language philosophers, through the microsociologists, and down to the present in writers like Stanley Cavell. I argue that a work like this, which operates in and through fragments, points to repair as a central process in ordinary life. The work stages repair by contrasting its object-fragments with filmed voices placed in carefully constructed dialogue with each other. On display is both the fragility of the everyday and the necessity of repair.
{"title":"Red light: Reflections at the crossroads of history and art","authors":"Thomas C. Wolfe","doi":"10.17159/2309-9585/2016/V42A14","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A14","url":null,"abstract":"The article suggests that Simon Gush’s Red is an installation that projects two intersecting paths for anyone confronting it: the path of history, specifically the history of the freedom struggle in South Africa right up to the present day, and the history of contemporary art. The essay is an effort to articulate this position at a crossroads. I respond to the first path by engaging in an exercise of imaginative reverse-engineering. Red seems to invite the viewer to reflect on its own construction and how the different dimensions of its construction might be connected to political meanings and readings. Secondly, I engage in the more familiar work of interpreting an artwork, of saying what it means. I grapple with this task by explaining how Red evokes for me the philosophical problem of ordinary life, as it has appeared in various channels of reflection, from the transcendentalists through the pragmatists, through Wittgenstein and the ordinary language philosophers, through the microsociologists, and down to the present in writers like Stanley Cavell. I argue that a work like this, which operates in and through fragments, points to repair as a central process in ordinary life. The work stages repair by contrasting its object-fragments with filmed voices placed in carefully constructed dialogue with each other. On display is both the fragility of the everyday and the necessity of repair.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"28 1","pages":"232-248"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80313399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-01DOI: 10.17159/2309-9585/2016/V42A3
S. Gush
{"title":"Red, Ann Bryant Gallery, East London","authors":"S. Gush","doi":"10.17159/2309-9585/2016/V42A3","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A3","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"20 1","pages":"48-55"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75697025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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