{"title":"记录消失:作为流动手段的自我伪造和伪装","authors":"C. Campanioni","doi":"10.1080/13504630.2022.2118701","DOIUrl":null,"url":null,"abstract":"ABSTRACT How have migrants and other displaced and internally excluded persons used dissimulation and self-forgery in service of mobility? How can we read an aesthetics of disappearance as more than just an aesthetical choice but as a source of activism? Following Jacques Rancière [The politics of aesthetics (G. Rockhill. Trans.). Continuum. (Original Work Published in, 2000)], I understand that such aesthetic acts are capable of creating ‘new modes of sense perception’ and, in doing so, produce alternative forms of political subjectivity. In this essay, I compare migrant self-representations and creative tactics of camouflage, mimicry, and dissembling with public practices, while looking at the extraterritorial space of the makeshift camp as a paradigm for preserving invisibility and anonymity. And yet, it is not just that aesthetic acts have the potential to produce novel forms of political subjectivity, as Rancière understood, but that, in order for the latter to be true, the equation needs to be reversed: political subjects must first be recognized as aesthetic subjects. As I place the multimedia work of Cold War East German artist Cornelia Schleime in conversation with the contemporary glitch art – drawings, paintings, video – of Kon Trubkovich, who was born in Moscow and left, at age eleven, following the Chernobyl disaster, I argue that to reorient the terms of visibility, it becomes necessary for subject-producers to stage the gaze that would otherwise objectify them.","PeriodicalId":46853,"journal":{"name":"Social Identities","volume":"28 1","pages":"658 - 675"},"PeriodicalIF":0.7000,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Documenting disappearance: self-forgery and dissimulation as a means of mobility\",\"authors\":\"C. Campanioni\",\"doi\":\"10.1080/13504630.2022.2118701\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT How have migrants and other displaced and internally excluded persons used dissimulation and self-forgery in service of mobility? How can we read an aesthetics of disappearance as more than just an aesthetical choice but as a source of activism? Following Jacques Rancière [The politics of aesthetics (G. Rockhill. Trans.). Continuum. (Original Work Published in, 2000)], I understand that such aesthetic acts are capable of creating ‘new modes of sense perception’ and, in doing so, produce alternative forms of political subjectivity. In this essay, I compare migrant self-representations and creative tactics of camouflage, mimicry, and dissembling with public practices, while looking at the extraterritorial space of the makeshift camp as a paradigm for preserving invisibility and anonymity. And yet, it is not just that aesthetic acts have the potential to produce novel forms of political subjectivity, as Rancière understood, but that, in order for the latter to be true, the equation needs to be reversed: political subjects must first be recognized as aesthetic subjects. As I place the multimedia work of Cold War East German artist Cornelia Schleime in conversation with the contemporary glitch art – drawings, paintings, video – of Kon Trubkovich, who was born in Moscow and left, at age eleven, following the Chernobyl disaster, I argue that to reorient the terms of visibility, it becomes necessary for subject-producers to stage the gaze that would otherwise objectify them.\",\"PeriodicalId\":46853,\"journal\":{\"name\":\"Social Identities\",\"volume\":\"28 1\",\"pages\":\"658 - 675\"},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2022-09-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Social Identities\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/13504630.2022.2118701\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"ETHNIC STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Social Identities","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/13504630.2022.2118701","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"ETHNIC STUDIES","Score":null,"Total":0}
Documenting disappearance: self-forgery and dissimulation as a means of mobility
ABSTRACT How have migrants and other displaced and internally excluded persons used dissimulation and self-forgery in service of mobility? How can we read an aesthetics of disappearance as more than just an aesthetical choice but as a source of activism? Following Jacques Rancière [The politics of aesthetics (G. Rockhill. Trans.). Continuum. (Original Work Published in, 2000)], I understand that such aesthetic acts are capable of creating ‘new modes of sense perception’ and, in doing so, produce alternative forms of political subjectivity. In this essay, I compare migrant self-representations and creative tactics of camouflage, mimicry, and dissembling with public practices, while looking at the extraterritorial space of the makeshift camp as a paradigm for preserving invisibility and anonymity. And yet, it is not just that aesthetic acts have the potential to produce novel forms of political subjectivity, as Rancière understood, but that, in order for the latter to be true, the equation needs to be reversed: political subjects must first be recognized as aesthetic subjects. As I place the multimedia work of Cold War East German artist Cornelia Schleime in conversation with the contemporary glitch art – drawings, paintings, video – of Kon Trubkovich, who was born in Moscow and left, at age eleven, following the Chernobyl disaster, I argue that to reorient the terms of visibility, it becomes necessary for subject-producers to stage the gaze that would otherwise objectify them.
期刊介绍:
Recent years have witnessed considerable worldwide changes concerning social identities such as race, nation and ethnicity, as well as the emergence of new forms of racism and nationalism as discriminatory exclusions. Social Identities aims to furnish an interdisciplinary and international focal point for theorizing issues at the interface of social identities. The journal is especially concerned to address these issues in the context of the transforming political economies and cultures of postmodern and postcolonial conditions. Social Identities is intended as a forum for contesting ideas and debates concerning the formations of, and transformations in, socially significant identities, their attendant forms of material exclusion and power.