当乌鸦叫:赫马特·艾因和拉比亚·纳西尔艺术实践中的招待行为与关系政治

IF 0.2 3区 艺术学 0 THEATER CANADIAN THEATRE REVIEW Pub Date : 2022-08-01 DOI:10.3138/ctr.191.008
Laura Levin
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引用次数: 0

摘要

摘要:本文考察了Hurmat Ain和Rabbya Naseer在个人和合作艺术实践中对家庭环境作为关系空间的复杂思考。他们的作品通常植根于家庭生活的物理场所和物质元素——从卧室和厨房的现场表演到纺织品和食物的装置——他们的作品精心安排了亲密的场景,表演者和观众的相遇同时也是游客和居民、公民和外国人、客人和主人之间的相遇。在这样做的过程中,艺术家们揭示了好客的实践——通过这种日常仪式,“家”被赋予并延伸到他人身上——是如何维护文化、父权制和民族主义价值观的,同时也为他们的转变开辟了空间。
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When the Crow Caws: Performance and the Relational Politics of Hospitality in Hurmat Ain and Rabbya Naseer’s Art Practice
Abstract:This article examines the complex meditation on domestic environments as relational spaces in Hurmat Ain and Rabbya Naseer’s solo and collaborative art practices. Often rooted in physical sites and material elements of domesticity—from live performances in bedrooms and kitchens to installations with textiles and food—their works orchestrate intimate situations where the meeting of performer and spectator doubles as an encounter between visitor and inhabitant, citizen and foreigner, guest and host. In doing so, the artists reveal how practices of hospitality—the everyday rituals through which ‘home’ is enacted and extended to others—serve to uphold cultural, patriarchal, and nationalist values, while simultaneously opening up space for their transformation.
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CiteScore
0.30
自引率
33.30%
发文量
54
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