Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2150415
Esra Yıldız
Abstract Biennials became important events for regeneration through culture and art in the post-WWII era, and as such they were supported through the cultural policies of nation-states. The Venice Biennale was first organized in 1895, and after 1950, other biennials took place in cities like Ljubljana, São Paulo, and Paris. Their number continued to increase over the years, as did the number of countries participating in them. In the atmosphere marked by the promotion of multiculturalism and world peace that followed the Second World War, Turkey was among the countries invited to take part in international biennials. However, because of economic and organizational challenges, it was only able to participate in such events from the 1950s onwards. In addition to Turkey's participation in international biennials as a country, individual artists who had left Turkey for various reasons took part in major exhibitions such as biennials and documenta during this period. This article focuses on Turkey's representation in the world art scene in the 1950s, when the country first began taking part in international biennials. It also questions why Turkey began participating in such events at that time and considers the impact they had on the Turkish art scene in the context of cultural policies of the Cold War. Drawing on new information and documents obtained from ASAC-Archivio Storico delle Arti Contemporanee, Fundação Bienal de São Paulo/Arquivo Histórico Wanda Svevo, Archives de la critique d'art, Rennes, Mednarodni Grafični Likovni Center (MGLC), and the Cincinnati Art Museum and Documenta Archiv, this study sheds light on Turkey's early participation in Ljubljana, International Biennial of Contemporary Color Lithography, Venice, São Paulo, and Paris Biennials as well as the inclusion of artists from Turkey in documenta, issues that have been little discussed in the literature on art history. By considering the imaginary boundaries that were drawn during the Cold War, Turkey's participation in international biennials in the 1950s, the global representation of Turkish artists at international exhibitions, and the incorporation of Turkish artists' works into the collections of major museums, it becomes clear that Turkey was an established part of the modern art movements of the period.
摘要双年展在二战后成为文化和艺术复兴的重要活动，因此得到了民族国家文化政策的支持。威尼斯双年展于1895年首次举办，1950年后，卢布尔雅那、圣保罗和巴黎等城市也举办了其他双年展。这些年来，它们的数量继续增加，参加它们的国家数量也在增加。在第二次世界大战后促进多元文化和世界和平的气氛中，土耳其是受邀参加国际双年展的国家之一。然而，由于经济和组织方面的挑战，它从1950年代起才能够参加此类活动。除了土耳其作为一个国家参加国际双年展外，在此期间，因各种原因离开土耳其的艺术家个人还参加了双年展和纪录片等大型展览。本文关注的是土耳其在20世纪50年代首次参加国际双年展时在世界艺术舞台上的表现。它还质疑土耳其当时为什么开始参加此类活动，并考虑到在冷战文化政策的背景下，这些活动对土耳其艺术界的影响。根据从ASAC Archivio Storico delle Arti Contemporanee、圣保罗Bienal基金会/Arquivo Histórico Wanda Svevo、艺术评论档案馆、雷恩、Mednarodni Grafični Likovni中心（MGLC）以及辛辛那提美术馆和Documenta Archiv获得的新信息和文件，本研究揭示了土耳其早期参与卢布尔雅那，国际当代彩色光刻双年展、威尼斯、圣保罗和巴黎双年展，以及将土耳其艺术家纳入文献，这些问题在艺术史文献中很少讨论。考虑到冷战期间划定的想象边界，土耳其在20世纪50年代参加国际双年展，土耳其艺术家在国际展览上的全球代表性，以及土耳其艺术家的作品被纳入主要博物馆的收藏，很明显，土耳其是这一时期现代艺术运动的既定组成部分。
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Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2118978
Yazan Alloujami
Abstract The British-Palestinian contemporary artist Mona Hatoum combines the legacy of western avant-gardes with highly politicized everyday objects from the Arab region, resulting in a number of “bilingual” artworks operating on two referential systems at once. This article examines the plastic strategies behind this phenomenon, as well as some of the confusion it has caused in critical reception. With the aid of historical sources and comparative elements, a reconsideration of three main works by Hatoum will reveal how a more modernist approach, instead of the postmodern one usually associated with them, may better account for their hybridity.
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Pub Date : 2022-01-02DOI: 10.1080/17561310.2022.2046532
Mário Barata
Abstract Writing in the late 1950s, Barata deplores the ongoing neglect of the study of black sculpture in Brazil, despite earlier publications, notably those by Raimundo Nina Rodrigues and Manuel Querino. He highlights the stylistic diversities and various influences perceived in Brazilian sculpture. He raises questions about the development of artistic production in relation to the changes that occurred in Afro-Brazilian religions. He further reflects on the historical connections between Brazil and Nigeria, the slave trade and the trade of goods in order to draw attention to the difficulty of distinguishing between African sculptures from those made in Brazil by Africans and their descendants.
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Pub Date : 2022-01-02DOI: 10.1080/17561310.2022.2046530
Mário Barata
Abstract Barata reflects on the position of Afro-Brazilian black art through the study of a collection of sculptures, which had once been used in Afro-Brazilian religious communities. He argues that ‘black art’ in Brazil is worth studying in order to gain a better understanding of its influence on the arts in Brazil. He briefly considers sculptures from Africa and their formal influence on modern sculpture. Barata is conversant with previous scholarship on the subject, referencing seminal texts by Brazilian and European writers, such as Querino and Frobenius.
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Pub Date : 2022-01-02DOI: 10.1080/17561310.2022.2046517
Manuel Querino
Abstract Published in 1916, Querino’s text is one of the earliest studies to focus on Afro-Brazilian visual and material culture, whilst also denouncing the marginalisation of Brazilian people of African origin. After drawing attention to the lack of knowledge of African traditions in Brazil, he provides information on customs in West and Central Africa (Querino refers to those areas as Niger and Congo), the slave trade, and slavery in Brazil. The second part of the text focuses on the Candomblé religion, providing information on its deities, symbolism, rituals, ritualistic spaces, garments, and objects. Querino connects sculptural objects with the idea of fine art. He concludes his text with a section on the Afro-Brazilian revolt of 1835.
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Pub Date : 2022-01-02DOI: 10.1080/17561310.2022.2046531
Odorico Tavares
Abstract Tavares first discusses the connections between European modern artists and “primitive art” and then turns to the contributions made by pioneering writers on Afro-Brazilian sculpture, notably, Raimondo Nina Rodrigues’ essay “As Bellas-Artes nos Colonos Pretos do Brazil. A Esculptura” (1904) and Arthur Ramos’ “Arte Negra no Brasil” (1949). Tavares not only shows the importance of both authors in the study of this type of sculpture in Bahia but also highlights important issues, such as authorship and provenance.
塔瓦雷斯首先讨论了欧洲现代艺术家与“原始艺术”之间的联系，然后转向开创性作家对非裔巴西雕塑的贡献，特别是Raimondo Nina Rodrigues的文章“As Bellas-Artes nos Colonos Pretos do Brazil”。《雕塑》(1904)和亚瑟·拉莫斯的《巴西黑人艺术》(1949)。塔瓦雷斯不仅展示了两位作者在研究巴伊亚这类雕塑方面的重要性，还突出了作者和出处等重要问题。
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Pub Date : 2021-10-02DOI: 10.1080/17561310.2021.1951964
Jérôme de La Lande, Gay McAuley
{"title":"The Art of Making Parchment","authors":"Jérôme de La Lande, Gay McAuley","doi":"10.1080/17561310.2021.1951964","DOIUrl":"https://doi.org/10.1080/17561310.2021.1951964","url":null,"abstract":"","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"13 1","pages":"326 - 386"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46269390","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 : 2021-10-02DOI: 10.1080/17561310.2021.1951966
Zeger Hendrik de Groot, Caroline Danforth
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