帝国分裂中的拼贴:介绍伊夫提哈尔·达迪和伊丽莎白·达迪的Jugaad

IF 0.2 2区 艺术学 0 ART ARTMargins Pub Date : 2020-10-01 DOI:10.1162/artm_a_00272
A. Mufti
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引用次数: 0

摘要

Jugaad延续了Iftikhar和Elizabeth Dadi对全球南方非正式性的延伸艺术调查,可以说这构成了这一广阔地区的大多数经验。在二十世纪中期的政治非殖民化之后,发展成为非洲和亚洲的一个中心问题,包括大规模基础设施的正式规划和国家对人类发展的干预。但这个项目总是不完整的,并且以复杂的方式与非正式生活和工作安排的顽强增长产生共鸣,这些安排的遗产可以追溯到殖民时代。非正式性在当代全球化中被放大,这通常被理解为跨国品牌和生活方式取代当地同类产品的过程。但是,这种观点忽视了全球化的阴影——在全球南方广大的非正式国家中发生的劳动、生产和消费的大部分不可见过程。这是一个剥削的领域,但也是一个具有巨大生产能力的领域,在这个领域,品牌和知识产权制度不断受到那些试图用负担得起的材料和创造性的规则来塑造和激活一个世界的人的挑战。
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Bricolage Within the Imperial Divide: Introduction to Iftikhar Dadi and Elizabeth Dadi's Jugaad
Jugaad continues Iftikhar and Elizabeth Dadi's extended artistic investigation of informality in the Global South, which arguably constitutes the majority experience of this vast region. Development became a central problematic for Africa and Asia in the wake of political decolonization of the mid twentieth century, encompassing the ambition for formal planning of large-scale infrastructure and state intervention in human development. But this project was always incomplete and resonated in complex ways with the tenacious growth of informal living and working arrangements whose legacies can be traced back to the colonial era. Informality is amplified in contemporary globalization that is often understood as a process in which transnational brands and lifestyles replace their local analogs. But this view overlooks globalization's shadows—the largely invisible processes of labor, production, and consumption that transpire in the vast informality of the Global South. This is a realm of exploitation, but also one of immense productive capacities, in which branding and intellectual property regimes are constantly challenged by those who seek to fashion and animate a world from affordable materials and inventive rubrics.
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来源期刊
ARTMargins
ARTMargins ART-
CiteScore
0.10
自引率
0.00%
发文量
16
期刊介绍: ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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