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The Allegorical Impulse: Toward a Theory of Postmodernism Part 2
... The central of the spirit in the 1980s was appropriation art. According to Owens [7], appropriation art lies in the images that occur in the artist"s work who generate images through the reproduction. The appropriation images may be a film still, a photograph, a computer drawing; it is often itself already a reproduction. ...
... In visual art, executing works which transform our experience of art from a conceptual art encounter are always identified by theoreticians as a shift. Accord-ing to Owens [7], the first ejecting is concerning a shift from nature to culture. It is also the same with Ismail when he made an important claim that his real interests were not in nature but in culture, thereby in-forming us the he was involved in a value-free investigation of "culture" and its operative constructs, namely, the way in which particularized symbols and signs are culture bound and are responsible for the way in which mythic values and perception are perpetuated. ...
... In Ismail"s textual approach, he stated that allegory was his weapons to challenge meta-narrative. According to Owens [7], allegory first emerged in response to a similar sense of estrangement from tradition. In allegorical structure, then, one text is read through another, however fragmentary, intermittent or chaotic their relationship may be. ...
This study is an exploration of Ismail Zain"s art, one of the pioneers in new media art in Malaysia. It will focus on his outstanding display in Digital Collage exhibition, an exhibition was notable by art critics from Malaysia and Asia Pacific as the touchstones of a new approach in art which was a non-personalized medium that specifically depended on highly mechanized consideration. The purpose of this study is to explore Ismail"s art in terms of the process itself. In order to understand the nature Ismail"s art, there are three important questions: What are the idea and concept in his art? What are the medium and technique that were used in his art? How was the artwork itself? These questions are addressed by data gathered in Malaysia through collection of the artifacts, documents regarding interviews, and some institutional historical resources. The data have been divided and presented into the following themes: (a) conception, (b) operations and (c) synthesis.
... Quer dizer, depende do coeficiente analítico com a descrição, observação e definições de obras de arte , sem excluir o emocional, criativo, evasivo das obras ou até onírico em parte do "impulso alegórico". Termo que vem de teorias do pósmodernismo (Owens, 1996(Owens, [1980) e analisou-se num estudo sobre modos periciais ou eruditos da receção artística (Conde, 1994). ...
... Quer dizer, depende do coeficiente analítico com a descrição, observação e definições de obras de arte , sem excluir o emocional, criativo, evasivo das obras ou até onírico em parte do "impulso alegórico". Termo que vem de teorias do pósmodernismo (Owens, 1996(Owens, [1980) e analisou-se num estudo sobre modos periciais ou eruditos da receção artística (Conde, 1994). ...
... Allegory is erroneously seen as an inferior trope, "an outmoded, exhausted device" in literature, painting, and architecture (Owens 1980: 67). Craig Owens upends this misconception by showing how allegory emerges as an impulse to constitute history out of fragments, disjointed images, ruins, opaque meanings, fissures, splits, chasms, and ruptures (Owens 1980). The textual and visual language of allegory does not aspire to unity of meaning and form, or metaphorical parallels between the past and the present. ...
... From the early modern perspective it was noted that the suffi x graphie signifi ed writing as a primordial choreographic procedure; that Baroque dance itself was as though written by the dancer on the fl oor as a pathway miming the notation from which it derived; and furthermore that Baroque dance was a pre-Enlightenment art, which, like most baroque art and thought, had important resonances with postmodernism, particularly with respect to allegory (cf. Owens 1980). The relation of dance to writing assured a mediation of dance knowledge that was inscribed, as it were, within dance itself. ...
... When artists process images through collaging, clipping and re-photographing, they have already "eliminate not only their echoes and meanings but also their authoritative claims for the meaning". [9] In the new discourse space, the representation of the original image is comprehended as the content, which in endowed with new meanings such as reflection, disclosure and even criticism, etc. When Prince's originality was confirmed, the accessibility of "rephotographing" blurs the uniqueness of his works. ...
Richard Prince is an important artist born in the 1950s. His re-photography works are quite controversial. However, as for Richard Prince, re-photography is just the way to practice his works of art although these art works are often labeled as "photography" in that time. Indeed, it is necessary for him to accomplish his art works by using re-photography (a pure skill) rather than intentionally completing a photographic work. From the perspective of social and cultural criticism, Prince’s works are not so obscure and rebellious. His art works are mainly concerned with media, advertising and personal identity in the modern society. A series of controversies around Prince reflect the conflict of different tastes between the masses and the elite.
... For more on allegory, seeOwens (1980),Cowan (1981), and Buck-Morss(1991, pp. 160-201). ...
This paper discusses corporate entanglement, impactfulness and responsibility in the Anthropocene, amidst events and conditions that ‘uncontain’ time. It takes its direction of travel from artist Brian Jungen’s ‘Cetology’ (2002), a whalebone sculpture made out of cut-up plastic garden chairs, which conjoins the times of earth and world history as it hangs in the air of the art gallery ‘as if’ exhibited in the natural history museum. The paper relates ‘Cetology’s’ engagement with natural history, time, and commodification to matters of corporate entanglement and responsibility within company law and governance. Problems with understanding the comparable imprint of large and multinational companies on matters, places, and communities are identified, after the domination of corporate legal frameworks over nature and the priority of economic incentives at law. The reading of this (critical-legal) situation is developed through theory and engagement with materialist and critical thinkers, who unite in their concern with distributed human-nature relations and the ‘concreteness’ that attends collisions in time, ruin and affect. Walter Benjamin and Theodor Adorno’s writings are central to this analysis, and strengthen the commentary on ‘natural history’ themes curated by Jungen. The paper contemplates how times’ uncontainment might invoke a change in expectation and method for the company law field, assigning contingency to the corporation and provoking a new mode of reflection about corporate entanglement and responsibility at law.
... Foster also uses the term to differentiate the motivations of contemporary artists (late 1990's and 2000's) from those of the 1970's and 1980's described by art critic and historianOwens (1980) as 'an allegorical impulse'. ...
The will to archive continues to be a powerful impulse in contemporary culture (Featherstone 2006). This literature review critically reflects on literature on the topic of the Archive and the engagement of contemporary artists with ideas about archives and archive-making. A refrain heard in the course of this review was a contemporary preoccupation with memory, particularly with the advent of a possible new age of forgetting as global digital connectivity promotes an unprecedented externalisation of personal and social memory into the virtual memory spaces of the Internet. Selective artistic responses entering and exploring this site of ephemeral potential and emergent creativity are introduced. | Keywords: Archive, contemporary art, forgetting, counter-archive, material trace, sound archive, ephemerality, future archives
... Theorists such as Espen Aarseth have framed games as 'allegories of space' that 118 Design Studies Vol 66 No. C January 2020 'rely on their deviation from reality in order to make the illusion playable' (Aarseth, 2000). To see the allegory as a way of structuring space in games foregrounds the referential, emphasising Craig Owens' argument that 'the allegorist does not invent images but confiscates them' (Owens, 1980). In short, objects and spaces in games are never what they seem even when there is ostensibly a clear story or spatial setting on the surface. ...
This paper aims to investigate what is unique about videogame spaces and their construction, and how they might be utilised by architects. This design-led study establishes videogames as an architectural medium through practice-based research projects, examining game worlds as architectural spaces by developing design methods to analyze their environments. It then discusses developing games as architectural representations combining virtual space with computational rules. The paper's final study suggests how game structures might be applied in design approaches for ostensibly real sites. Through four case study projects, I outline a new form of architectural design practice operating between physical and virtual, reflecting the cultural influence of game worlds and exploring videogame environments as new ways to ‘realise’ architecture.
... Gleaning an overtly ethical and allegorical discourse on other/worldly matter, the Palazzo Encyclopedia programme established its continuities with 'circular' medieval compendia -such as Hrabanus Maurus' De rerum naturis (842-847)rather than with the proto-scientific taxonomies of early modern encyclopaedia. Gioni's curatorial strategy thus might be said to reframe the 'allegorical impulse' (Owens, 1980) of contemporary art as recommencing premodern allegorical practices -such as 'figura, glossa and compilatio, and ordo' (Franklin-Brown, 2012, 5) -that had been temporarily neglected by modernists. ...
As contemporary artistic practice has become ever more polymorphous and multispatial, large scale exhibitions have accommodated a wider array of emerging nonmodern epistemologies, materialities, and temporalities ‘in the middle’ (Latour, 1993, 47). As a critical means of considering contemporary art’s homologous nonmodern, this paper refracts two influential global exhibitions of contemporary art – dOCUMENTA (13) and Il Palazzo Encyclopedia – through the lens of Medievalisms Studies. Medievalisms Studies’ challenge to the ‘simplified binarization of premodern acts and modern identities’ (Fradenburg, 1997, 213) invites deeper scrutiny of contemporary art’s knowledges, materialities, and chronopolitics. Developing the medievalist analogies of the compendium and the relic, I focus on specific exempla presented within the curatorial frameworks of two key biennale that offer a macrocosmic discourse on contemporary art’s developing relations with knowledges, materials, and time. In unfolding anachronic materialist narratives, a nonmodern sensibility promised to liberate emerging art from the social constructivist paradigms that still dominate contemporary art. As a corollary of their nonmodern materialist epistemologies, the biennale that form my exempla also attempted to (dis)place the practices they curated through a polytemporality in which now-and-then and here-and-there are intertwined.
... Proporcionadora de melancolia e de perda de sentido utópico, é possível proceder a análise da alegoria de forma não dialética e aceitar que não traga, em si, também a possibilidade imaginativa de proposição de novos mundos? OWENS, 1980, p. 75. 19 OCTOBER, vol. ...
A partir de uma análise das teorias da alegoria e da fotografia, conforme elaboradas por Walter Benjamin, o artigo aponta para as possibilidades dialéticas dos procedimentos de apropriação e montagem como gerador tanto da contemplação melancólica quanto de um impulso utópico na obra de arte moderna e contemporânea.
... The allegory appears whenever a text (here 'the text' of a Public Space) 'doubles' by another (here 'the text' of the Digital Artwork), in terms of its presence and importance. According to Owens [1], the one who generates allegories does not invent images, but suppresses them. The installation of a digital project in an urban space, which is semi-exposed in the dark, does not bring it back to its visible state, it does not restore an original concept that may have been lost or blurred, we have to keep in mind that allegory is not Hermeneutics. ...
When we elaborate upon the subject of Art in Public Space, with reference to Digital Arts / Digital Installation Art, the digital work of art oscillates between what Virilio called The Aesthetics of Disappearance, ie. to be acknowledged by the person whose presence is gradually eroded by the public space and at the same time to be the only possible antidote to such a sensation. In most cases, the intangible, electric nature of these works requires special conditions in order to appear. These conditions are characterized by the absence of natural light, then, the thought that creates such a project knows in advance that the work is going to be seen at night. The same creative thought knows that while the duration of a digital work is short, the strange dialogue it develops with the social net of the public space in which it appears is neither simple, nor ephemeral. In addition, by the time they are installed, digital artworks permanently change a dysfunctional urban space. This change they bring to both the public space and the society that inhabits it, as well as to the understanding of Contemporary Art today, has influenced the works that are proposed by artists and artistic groups for the urban public spaces.
This text explores the above issues through the cases of five Digital Installations and these are,
Jenny Holzer, Xenon for Berlin, 2001, Museumshöfe, Berlin, Germany,
Tania Ruiz, Elsewhere, 2010, Central Railway Station, Malmö, Sweden,
Pipilotti Rist, Hiplights (or Enlighted Hips), 2011, Southbank, outside Hayward Gallery, London, UK,
William Kentridge, More Sweetly Play the Dance, 2017, outside Acropolis Museum, Athens, Greece,
Tracey Emin, I Want My Time With You, 2018, St. Pancras International Station, London, UK.
Let's start with where opera happens: the opera house. For the 2022/23 season, Opernhaus Dortmund, known for its fine instinct for rare gems on the operatic stage, decided to mount Jacques François Fromental Halévy's La Juive . Having been introduced to this grand opéra as a first-year musicology student, I was excited to see the premiere of Sybrand van der Werf's production on a Sunday night in November 2022 – while preparing this review. As it turns out, the performance transferred me straight into the core arguments of each of the three books under consideration here: the intense co-presence unfolding between the performer and audience, generated as in Clemens Risi's account by a briefly indisposed singer; the inclusion of visual codes evoking SM erotic play on stage, which also informs Axel Englund's investigation; and finally, the production of a hypermedia spectacle, which is Tereza Havelková's central concern. A single performance demonstrated the relevance and applicability of each of Risi's, Englund's and Havelková's studies.
Autor analizuje pojęcie alegorii, klasycznej figury poetyckiej, jako swoistego „pojęcia wędrującego”, przydatnego i modnego w dzisiejszej krytyce literackiej. Rosnące zainteresowanie alegorycznymi stylami lektury we współczesnej humanistyce wywodzi z dwóch ważnych źródeł: prac Waltera Benjamina, który odzyskał barokową alegorię dla współczesnej estetyki, oraz Paula de Mana, który zdefiniował ją na nowo jako nieodłączną cechę literatury i uniwersalny sposób interpretacji tekstu. Następnie autor analizuje różne sposoby wykorzystania tego nowoczesnego rozumienia alegorii (jako tematu, stylu lub maniery oraz sposobu czytania) w trzech projektach krytycznych, które powstały po 2000 roku: Grzegorza Jankowicza, Aliny Świeściak i Rafała Wawrzyńczyka.
Die Installation Vanity of Allegory (2005) ist von Douglas Gordon ‚archiviert‘ worden, indem er Polaroids der ursprünglich ausgestellten Objekte in einer eigens konzipierten Box aufbewahrte. Sie ermöglicht eine Deutung und lässt schnell einsehen, dass er die Arbeit ebenso gut als Allegory of Vanity wie als Vanity of Allegory verstanden wissen wollte. Was zunächst unsinnig erscheinen mag, erweist sich als brillant, sobald man die darin geborgene Spiegelung hinsichtlich ihrer Semantik untersucht. Dann zeigt sich, dass die aus zahllosen künstlerischen Positionen bestehende Vanitas der Allegorie nicht allein als Allegorie der Vanitas gelesen werden kann, sondern diese Vanity of Allegory als autopoetische Allegorie des Selbst Sinn macht. Eine Allegorie, die sich in all ihrer Fülle zugleich als leer und vergeblich, als eine der Facetten der Vanitas erweist und mit umso größerem Recht als Vanitas der Allegorie zutage tritt. Die eigentümliche und rätselhafte, bislang ungeklärt gebliebene Spiegelung der Begriffe ist ein bis ins Detail durchdachtes, von einer gründlichen Auseinandersetzung mit Walter Benjamins Neufassung der Allegorie zeugendes Konzept.
In diesem Beitrag wird das fotohistoriografische Projekt Arno Gisingers zu Walter Benjamins Exil als Referenzfigur hinsichtlich Wiederholung, Vanitas und Melancholie untersucht. Die ins Bild gesetzten Stationen folgen zwar den Briefen Benjamins, doch hat Arno Gisinger diese Orte erst Jahrzehnte später aufgenommen. Weder Bild noch Text können die Vergangenheit einholen und sie bruchlos repräsentieren. Vor diesem Hintergrund wird eine andere Lesart der Arbeit möglich, eine, die nach einer gespenstischen Wiederkehr des Vergangenen fragt. Wiederholen bedeutet daher mit Blick auf das von Gisinger genutzte künstlerische Verfahren auch, dass er mit seiner Re-Lektüre Möglichkeiten aufruft, Bedeutungen zuweist und zugleich um die damit verbundene Aporie, das unausweichliche Verfehlen weiß.
Information is now abundant so has it been polluted, thus this paper looked at how professional news production could be redefined to stay away from purveyors of misinformation but a safe space in this era. In order to achieve this, we examined three areas where information could be misappropriated through existing literature namely: headlines, online news editors and gatekeepers. We point out that headlines play a pivotal role in the information ecosystem where they can mislead the audience. This is done through the usage of catchy phrases to grab the attention of the audience. Further, we found out from the exciting research that some online news editors do not adhere to certain ethical standards and so they publish stories without verifying the veracity of the story. We noted that politicians have infiltrated the media space which has had a major negative impact on how the editor chooses his stories. The paper recommends that headlines should not only be written for the clickbait but they should be written so as not to mislead the audience while there should also be a limit on how political figures can influence the media agenda. Lastly, people who do not have a background in journalism to know the ethical implications of their news stories should be coached by an experienced journalist which would help minimise the information pollution we face today in this era of the internet and social media.
p>This thesis is concerned with the style of musical theory in the twentieth century. Its primary aim is to delineate the style in which the institution of music theory has been constructed during this period. Style is described as a mutable term that, so long as it goes unexamined, threatens to disrupt the stability of the music-theoretical institution.
The thesis begins with a discussion of the meaning of style as it is used in everyday discourse and in the specialised discourses of the arts and of music. It is observed that the word resists precise definition. Yet style functions as a point of reference for the entire literature of music theory, whether one thinks of style in terms of a composer's oeuvre, a historical period, or a technical motive. As such, it seems odd that very little research has hitherto been devoted to understanding the implications of style. Instead, style tends to be subsumed within an all-pervasive formalist epistemology. This thesis endeavours to provide a basis from which clearer consideration of these implications may proceed.
The central section of the thesis comprises an analysis of the institutionalisation of music theory in the twentieth century, from Guido Adler to New Musicology. This analysis does not attend to the methodological approaches involved, but traces instead the stylistic background to the thinking, mainly in terms of influences from an interdisciplinary history of ideas. Separate chapters examine this stylistic background in terms of a pedigree of formalism, passing from a rationalist notion of form, through a structuralist, cognitive notion of form, to a non-essentialist, broadly constituted notion of form. It is noted that a strong thread of idealism unites each moment in the pedigree, and therefore the institution.
Throughout, the thesis develops the idea that style, entrenched as it is within the musical institution, yet not a defined part of that institution, has a deconstructive capability such that it may enable the enterprise of music theory to be cast in a new, constructive light.</p
Herengracht 401 (H401), until 2019 known as Castrum Peregrini, represents the complex and intriguing history of a hermetic community of artists and scholars in Amsterdam which was formed in the years of the Nazi occupation of The Netherlands, 1940–1945.This article attempts to take stock on what we have learned in these ten years about the history of the place, as an indicator of memory politics. It also reflects on the hermeneutic gap of what we cannot know of H401’s history as we lack experiential knowledge of eyewitnesses. As the author argues below, the site of H401 shows how the ‘hermeneutic gap’ can offer a chance to make an archive, such as in the case of ‘the house on Herengracht 401’, productive and meaningful through the artistic practice of research.
This essay explores the complex ways in which narrative may signify in the contemporary Caribbean cultural context. Specifically, it is concerned with a trilogy written by award-winning Surinamese author Astrid Roemer, set in the years of independence of the Caribbean country after 300 years of Dutch occupation. The analysis focuses not on the usual postcolonial themes but on structures of signification: allegory, materiality and media of language, affect, and the function of objects. Roemer’s texts demonstrate the relation between discourse and physical violence, her language being tied to material media, bodies, and earth. Not just postmodern, but posthuman too, the Surinamese narrative is characterized by the attempt to connect objects to language, objects to emotions, or nature to memories. Language brings us in touch with Caribbean reality and memory, all the while questioning its capacity to do so through allegory and metaphor.
This chapter builds on and expands the earlier discussion of haunted nature of meaning, as physical reality is translated into symbolic meaning, focusing on higher-level processes of linguistic communication and subjective experience, such as the metaphoric and metonymic modalities of language, intersubjective and intergenerational transmission of affective patterns. I draw on the theoretic discussions including the notion of hauntology advanced by Jacques Derrida, structures of feeling outlined by Raymond Williams, phantoms and cryptonymy by Nicolas Abraham and Maria Torok, along with Freudian, Object Relational, and Lacanian psychoanalytic models of ego formation to drive home the fundamental role played by the negativity (the lack of the Thing) which, as discussed in the last chapter, is introduced into the very structure of consciousness from the earliest stages of production of meaning. This chapter also discusses the pantemporality of subjective experience and the relationship of this fact to the hauntological nature of meaning, and the phenomenon of death drive postulated by Freud. The chapter ends with a discussion of political subjectivity and the implications of hauntological theory of experience for social and generational transmission of patterns of political affect, as well as a brief examination of the relevance of this conceptualization for emerging modalities of subjectivity, including networked human subjectivity or the possibility of artificial subjectivity.KeywordsMetaphoricityMetonymyStructures of FeelingObjet aDesirePantemporalityDeath DrivePolitical AffectPalimpsestIntergenerational Transmission
THE WAY WE LIVE NOW
SIMON MARCUS SWALE
ABSTRACT
This dissertation discusses the theoretical frameworks and studio practice that has been undertaken in the course of study towards the degree of Master of Fine Arts at the Dunedin School of Art.
Drawing specifically on the work of Arjun Appadurai, and his articulation for a Global Cultural Economy, attention is focused on the flow of material culture around the globe. This focus is explored in both micro and macro terms as I utilise an array of theoretical frameworks including critical theory and human geography. The project is concerned with both production and consumption patterns, that trace the flow of commodities across the world to the specific spaces in which their packaging is often discarded and subsequently found.
Utilising a methodology of critical walking practice aligned with the concept of psychogeography, I reclaim this packaging, which then becomes the focus of my studio work. This work sits in the field of jewellery and small object making, as I seek to activate in the audience a heightened awareness and understanding for the relation between the body and urban space.
Made to exist in both the conventions of the gallery and in urban spaces, these works seek to explore and represent aspects of globalisation and the global cultural economy.
Like the photographs on the architect’s board, today most, if not all, of the charged images on the WBW will have been produced by digital means, including those of the artist’s own photographs.
The task of defining what we mean by an ‘image’ is one of endless complexity, that, with the help of Krois and Bredekamp, we will attempt to keep within limits that are both accessible and plausible.
The Present article intends, from Atlas Mnemosyne, by Aby Warburg, to think the idea of reminiscence as a particular and heterogeneous form of construction of the artistic thought. To this end, relations between the legacy of the Atlas Mnemosyne with contemporary artistic productions will be established, thus allowing a distinct analysis of the images and the idea of reminiscence proposed by Warburg. Thus, this article analyzes the works, Fragmento Amarelo III and Cartografia Anímica, by Brazilian artist Wesley Duke Lee (1931–2010) and the project entitled Atlas Eidolon by Spanish artist Erick Beltrán (1974).
Colin Riley's collaborative and curated project In Place (2015–18) – with its exploration of memory, place, language and identity – becomes a stimulus for considering the intertwining relationship between the song cycle and the album form. Featuring seven commissioned poets alongside found texts, In Place simultaneously assembles fragments of contemporary Britain and its broken tongues whilst reflecting on the current possibilities for binding these through song. Riley and his collaborators construct a sense of place in the movements between idiom, psychogeography, field recordings, samples, instrumental voices, speech and song, rather than from any fixed location, reference, identity or origin. I argue that this adapts and learns from the history of the album as a form of double binding, both of a finite set of materials and, crucially, of a community or interpersonal relations. With its development in the modern era through the poetry collection, song cycle, and recording, the album provides a model for living, collective remembrance, contrasting with the archival paradigm of preserving cultural authority. Its transformation and persistence are pursued with the emergence of the concept album through to music streaming, offering an historical framework in which In Place can be appreciated as a contribution to the contemporary ‘return to memory’.
Memes are formed out of fragments of culture that have fused into unitary signs, or into a type of “mark.” These marks accomplish something through the very act of performative representation. Using an extinct meme, namely “bananas,” as a case study, in what follows I put together a general theory of action for memes and examine the production of their effects within representation. This case study calls attention to the uncertainties of temporal passing and the unevenness of historical formation and serves as evidence of epistemic horizons.
Cette thèse-création est à l’image de la recherche. Elle est animée par cette question d’ordre poïétique : qu’est-ce qui dynamise l’avènement d’une œuvre ? Mon hypothèse : l’œuvre se construit au travers du récit, celui que l’on narre par le texte ou l’image, celui que l’on raconte à soi-même ou que l’on partage avec autrui. Cet ouvrage a pour but de mettre en lumière le processus créateur engagé dans la production d’images photographiques. Il traduit à la fois la dimension plastique de la recherche et les enjeux théoriques qui l’animent. Il offre un regard analytique sur une pratique personnelle de la photographie (2007-2011), de même, sur le travail de mes pairs artistes pour s’étendre des années 1980 à aujourd’hui. Il revêt une dimension parfois fragmentaire et anachronique en intégrant des images d’œuvres personnelles (en cours, projetées ou passées) et des extraits d’un récit de pratique personnel. Au départ de la recherche plastique et théorique, je prends la liberté de choisir un concept transitoire l’image écartelée qui traduit intuitivement les rapports problématiques qu’entretient l’œuvre photographique avec le récit, d’une part, l’incapacité de l’image photographique, de par sa fixité ontologique, à raconter comme le ferait le roman ou le film, d’autre part, sa capacité à produire des effets narratifs dans l’imaginaire du spectateur. La thèse-création est divisée en trois chapitres, chacun d’eux explore tour à tour un nouvel enjeu de la problématique du récit en photographie. (...)
This essay explores Namwali Serpell’s debut novel The Old Drift (2019) through
the lens of ‘palimpsestic memory’, contending that the novel articulates an
interconnectedness between memory and migration. Firstly, I will investigate
how the tension between aeonic temporality and some paratextual elements
that attempt to install order and direct the reader’s orientation mimic and
resonate with the intricate motif of the palimpsest. Then, I will illustrate how
the alternation between extradiegetic and intradiegetic narration and the
format of the multigenerational novel contribute to create a palimpsestic tale
where several generations and different stories are inextricably intertwined,
generating a spiral pattern where the multiple and invisible trajectories of
temporality are refracted and eventually converge.
This collaborative essay explores a pair of museum photographs depicting the same marble sculpture: a Roman copy of a Greek fourth-century BCE bust of Dionysus, housed at the Capitoline Museums in Rome.1 The first photograph is an anonymous twentieth-century reproduction – with Arianna printed underneath, crossed out with ballpoint – found by Åsa Johannesson in the Eugenie Strong Collection at the British School at Rome archive (Fig. 1). The second is a photograph of the bust made by Johannesson in 2017, taken in response to the archival image (Fig. 2). As nonbinary trans people doing artistic research through practice, we explore the assemblage of associations and resonances generated by these images to articulate relations among photography, labelling, gender, museums, and archives.
We aim to display complexity and connectivity, rather than to draw firm conclusions. Following Barad (2007, 35), we refer to our approach as a material-discursive method. The interconnections in museum collections – links formed between things2 by classification and labeling, by grouping and arrangement, by histories and myths – are simultaneously semiotic and material. Mislabeling has material consequences and leaves traces; myths, too, may have tangible effects. These links cannot be reduced to the zero-sum fields of true/false or object/label; instead, they suggest a fictive, contingent mode.
With this essay, we are not aiming to discover forgotten truths, nor to place or displace entities within established or novel forms of categorisation. Instead, we sketch one method of exploring networks of association in museums to demonstrate the complex and paradoxical operations of what we label nonbinary difference: a generative potential that foregrounds instabilities, rather than a given identity to be represented.
Over The past four hundred years, Shakespeare has played a significant role within a European framework, particularly, where a series of political events and ideologies were being shaped. The birth of the nation during the late 18th and 19th centuries, the first and second world wars, the process of European unification during the 1990s, are a case in point. This part challenges the idea of an all-encompassing universal Shakespeare by demonstrating that Shakespeare and his plays transmitted across different histories, languages, and traditions meant something significantly different in these geographical contexts. Rejecting the existence of a universally absolute and singular Shakespearean meaning, I attempt to demonstrate that Shakespeare is always what he is imagined to be in a cultural and historical context. The various local and national appropriations and the universality of the cultural icon, “Shakespeare”, clash in the daily practice of interpreting, performing, and teaching his plays. This paper discusses Shakespeare’s appropriation and performance in East Germany. It focuses on the theatrical production and its cultural context in this country.
Desde la posmodernidad, la teoría de la fotografía se ha ocupado de la idea de que las fotografías pueden ser entendidas como procesos de significación y codificación cultural. En un contexto artístico interesado por el pastiche, la cita, la deconstrucción y el cuestionamiento de las ideas de autoría y originalidad, el remake se consolida como modo de producción de versiones de iconos pertenecientes al imaginario colectivo, y se convierte en una estrategia representacional recurrente en la fotografía artística actual. Nos reta a reconocer lo que vemos, cuestionar cómo lo vemos, y problematizar cómo las imágenes dan forma a nuestras emociones y comprensión del mundo. Tras desarrollar el concepto de remake, analizaremos sus implicaciones estéticas, narrativas y representacionales en la fotografía escenificada, mediante el estudio de un conjunto de propuestas artísticas recientes que hacen uso de un stock de imágenes preexistentes (especialmente procedentes de la Pintura), reelaborándolas con nuevos enfoques que expresan además un compromiso con el presente.
PALABRAS CLAVE: Fotografía escenificada; remake; arte contemporáneo; deconstrucción; originalidad.
ABSTRACT
Since posmodernism, photography theory has dealt with the idea that photographs can be understood as processes of cultural meaning and coding. In an artistic context interested in pastiche, quotation, deconstruction and questioning ideas of authorship and originality, the remake is consolidated as way of producing revisions of icons belonging to the collective imagination, and becomes a recurring representational strategy in current art photography. It challenges us to recognize what we see, to question how we see it, and to problematize how images give shape to our emotions and understanding of the world.
After developing the concept of remake, we will analyze its aesthetic, narrative and representational implications in staged photography, through the study of a set of recent artistic proposals that make use of a stock of preexisting images (specially from Painting), that then are reworked with new approaches that express a strong commitment to the present.
KEY WORDS: Staged photography; remake, contemporary art; deconstruction; originality.
Since the end of the 20th century, Korean churches have awakened to the fact that pop culture is enjoyed by a large segment of the population and thus provides a natural bridge between Christians and non-Christians. As a result, many Korean churches utilize popular cultural elements that Christians and non-Christians relish, such as movies, music videos, and images, as a way of demonstrating their evangelistic invitation to the world. They appropriate famous pop culture contents and present slightly modified materials through various channels, such as church websites, social media, and YouTube. This study focuses on the artistic technique of the evangelistic materials that Korean churches create. Based on the artistic understanding of appropriation, parody, and pastiche, this study examines whether the evangelistic imitations are “parodies” as they are introduced by their creators. I also look at ways another artistic style, “pastiches,” might be more suitable to those appropriations than “parodies.” Employing insights from the artistic analysis, this study explores which artistic style might be a better way of providing imitations of popular culture not so much as superficial entertainment but as a serious way to communicate the gospel. This will show how to appropriate popular culture as both faithful and efficient evangelistic methods.
Die vorliegende Arbeit setzt sich mit einer veränderten Wahrnehmung des Fotografischen in der künstlerisch ambitionierten Fotografie der 1980er und 1990er Jahre auseinander. Der Fokus liegt auf dem auffallenden häufigen Zitieren altmeisterlicher Tafelgemälde oder piktorialistischer Fotografien. Künstler wie Robert Mapplethorpe, Cindy Sherman, Hiroshi Sugimoto oder Joel-Peter Witkin vereinigen dabei in ihren Fotografien angeeignete, modifizierte Genres und Stilelemente aus unterschiedlichen Quellen „hoher„ und „niederer„ Kunst. Zur Definition dieses Phänomens wird der Begriff Pastiche herangezogen, der ursprünglich zweitrangige Werke aus der Malerei der Renaissance bezeichnete, die Stile und Motive etablierter Künstler imitierten. Ausgehend von der Frage, ob dieser nostalgische Rückblick ausschliesslich eine Wiederbelebung formal-ästhetischer Prinzipien oder eine eigentliche Dekonstruktion der Vorbilder darstellt, zeigt die Untersuchung, dass für die Kunstfotografie im späten 20. Jahrhundert beide Faktoren eine Rolle spielen. Die Fotokünstler suchen nach ästhetischen Mechanismen, die offen legen, dass die Fotografie wie die Malerei Dinge nicht nur abbildet, sondern vielmehr inszeniert. Sie nutzen die manipulativen Möglichkeiten der Fotografie zur Auseinandersetzung mit unterschiedlichen Techniken und Strategien der Repräsentation und verweisen auf den ambivalenten Status ihres eigenen Mediums: Es gibt verschiedene Arten des Sehens, aber keine reine Objektivität. This research surveys a changed perception of the photographic medium in art photography of the 1980ies and 1990ies. The focus lies on the remarkable number of citations of old master paintings and pictorial photographies. Artists like Robert Mapplethorpe, Cindy Sherman, Hiroshi Sugimoto or Joel-Peter Witkin extract appropriated and modified genres and stylistic elements of "high art" to merge them with components of so called "low art". To define the phenomenon the term Pastiche is used, which was originally applied to second class artworks copying styles and motifs of established artists in renaissance art. The question is if this nostalgic retrospective should be seen as solely a revival of an aesthetic formalism or rather as a deconstruction of the original. The conclusion is that both aspects are relevant in late 20th century art photography. The artists look for aesthetic mechanisms revealing that photography, just like painting, does not simply represent, but rather redesign and alter the original object. They profit from the manipulative potentials of photography to study divers techniques and strategies of representation, at the same time referring to the ambivalent status of their medium: There are many ways of seeing, but there is no absolute objectivity.
This chapter offers a reflection by photographer and academic Anthony Haughey on the recent development of Irish suburbia. It focuses on his work Settlement, ‘a photographic and architectural exhibition exploring the collapse of Ireland’s Celtic Tiger economy epitomised by thousands of unoccupied and unfinished housing estates across the state’. Throughout the chapter the author reflects ‘on the methodological and theoretical paradigms informing the production of Settlement as well as the cultural and political implications of this socially engaged artwork’. He is particularly interested in the phenomenon of the ghost estate, and he documents his own artistic process in photographing ghost estates, while also considering the politics of exhibition of contemporary suburbia.
This chapter reflects on Mark Curran’s documentary photography project SOUTHERN CROSS. Completed between 1999 and 2001, the project was a critical response to the rapid economic development witnessed in the Republic of Ireland at the turn of the new millenium. Focused on Dublin and the surrounding region, it critically mapped and surveyed the spaces of development and finance, presenting the newly globalised landscape transformed in response to the migration of global capital. Addressing projects documenting the impact of the Celtic Tiger, Colin Graham described SOUTHERN CROSS as ‘evidence of the rasping, clawing deformation of the landscape, the visceral human individual in the midst of burgeoning idea of progress-as-building, propped up by finance-as-economics…it stands as an extraordinary warning of the future that was then yet to come’.
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