“参与其中的人的声音”:红色,代表和劳工的历史

Q4 Arts and Humanities Kronos Pub Date : 2016-11-01 DOI:10.17159/2309-9585/2016/V42A5
L. Witz
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引用次数: 0

摘要

Simon Gush的装置艺术作品Red(与他的合作者James Cairns和Mokotjo Mohulo)唤起了两种表现感。一个是象征,意义,视觉策略,并置,沉默等等。另一种是代表个人或群体(如“工人”、“社区”或“人民”)观点发言的权威。在这篇文章中,我使用这个术语的双重意义来考虑工人的声音是如何在南非劳工历史的生产中被部署的。我通过研究可以说是20世纪70年代和80年代南非主要的劳工历史出版物《南非劳工公报》来做到这一点。它在1990年11月号上用了很大一部分篇幅来报道当年东伦敦梅赛德斯-奔驰工厂的罢工和露宿事件,20多年后,古什也引用了同样的一系列事件。然后我转向装置作品《红色》本身,它最初于2014年在约翰内斯堡的歌德学院展出,次年在东伦敦的安·布莱恩特画廊展出。在《红色》中,事件通过电影中的声音和图像以及展出的手工制品的制作而成为历史:“罢工制服”、“曼德拉汽车”和“睡在罢工床上”。后者在装置的宣传中被呈现为投机性重建,并与电影组件中的采访相对应,这些采访被描述为来自管理层和劳工的“参与人员的声音”。相反,我认为这两者都是推测性的重建。将此与博物馆的空间化技术联系起来,我研究了开普敦的Lwandle移民劳工博物馆和约翰内斯堡的工人博物馆如何在他们对移民劳工的描述中唤起声音和文字。将《劳工公报》和这些博物馆放在红色旁边,提供了一个思考在学院和公共领域生产劳动历史的替代方式的机会。
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‘The voices of the people involved’: Red, representation and histories of labour
The installation artwork Red by Simon Gush (with his collaborators James Cairns and Mokotjo Mohulo) evokes two senses of representation. One is of symbolism, meaning, visual strategies, juxtapositions, silences and so on. The other appears as the authority to speak on behalf of the views of an individual or an assemblage such as ‘the workers’, ‘the community’ or ‘the people’. In this article I employ this double sense of the term to consider how the voice of the worker has been deployed in the production of South African labour histories. I do this through examining what was arguably the major labour history publication in South Africa in the 1970s and 1980s, the South African Labour Bulletin. It devoted a large part of its November 1990 issue to the strike and sleep-in at the Mercedes-Benz plant in East London in that year, the same set of events that Gush drew upon over twenty years later. I then turn to the installation Red itself, originally exhibited in 2014 at the Goethe Institute in Johannesburg and the following year at the Ann Bryant Gallery in East London. In Red, events were made into history through voices and images on film and the fabrication of artefacts for display: ‘strike uniforms’, a ‘Mandela car’ and ‘sleep-in strike beds’. The latter were presented in the installation’s publicity as speculative reconstructions and counterposed with interviews in the film component that were depicted as ‘the voices of the people involved’ from management and labour. Instead I argue for seeing these both a speculative reconstructions. Linking this to the spatialising technologies of museums I examine how the Lwandle Migrant Labour Museum in Cape Town and the Workers Museum in Johannesburg, evoke voice and words in their depictions of migrant labour. Locating the Labour Bulletin and these museums alongside Red provides an opportunity to think of alternative ways that labour histories may be produced in both the academy and the public domain.
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Kronos
Kronos Arts and Humanities-Philosophy
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发文量
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审稿时长
24 weeks
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