Search results

You are looking at 21 - 29 of 29 items for :

  • "Afghanistan" x
  • Art, Architecture and Visual Culture x
  • Refine by access: All content x
Clear All
Marc James Léger

feminism was in danger of being hijacked by the human rights discourse of western powers in their invasions of Afghanistan and other countries and that laws against anti-social behaviours can turn into laws against political protest. Feminism is always therefore available for rightist appropriation and can be used to divert attention from the forms of exploitation inequality that combine the attack on welfare with neoliberalism. But the fact that violence against women is on the agenda at all, she said, is thanks to feminism. We could say the same thing for other civil

in Vanguardia
Religion and freemasonry
John M. MacKenzie

indigenous peoples. IMPERIAL COMMEMORATIVE CHURCHES The British also required consecrated land in which to bury their dead, and such land either lay around their churches or in separate cemeteries. The dead were always prominent in imperial churches, whether in impressive monuments both inside and outside the churches, in memorials on their walls or indeed in the very fabric of memorial churches, such as the Afghan Memorial Church in Colaba, Bombay (one of the earliest and most striking examples of Gothic in India), built by the city engineer Henry Conybeare between 1847

in The British Empire through buildings
Abstract only
Belonging
Alpesh Kantilal Patel

Muslim”. South Asians, in particular, along with Arabs and persons of Middle Eastern descent, have been subject to attack, although Latinos and African Americans have also been so identified’ (1599 (note 2)). See also Inderpal Grewal, Transnational America: Feminisms, Diasporas, Neoliberalisms (Durham, NC: Duke University Press, 2005). See chapter 5, ‘Transnational America: Race and Gender After 9/11’. 43 Vijay Prashad, ‘Shrouded by Flags’, Vietnam Veterans Against the War AntiImperialist, 19 September 2001, http://vvawai.org/archive/afghan/shroudedby-flags.html. 44

in Productive failure
Masculine subjects in Ravi Varma’s scholar paintings
Niharika Dinkar

–18 (1989), pp. 59–80 and R. Nandakumar, ‘Raja Ravi Varma in the Realm of the Public’, Journal of Arts and Ideas, No. 27–28 (1995), pp. 41–56. 55 A US trade report from 1915 notes how Indians were most particular about stylistic details like the depth and shape of the cuff or the length of the sleeve and preferred to have native tailors stitch their clothes for them rather than buy them. Henry D. Baker, British India with Notes on Ceylon, Afghanistan and Tibet, Special Consular Reports, Vol. 72 (Washington, DC: Department of Commerce, 1915), p. 261. 56 Emma Tarlo

in Empires of light
Caroline Turner and Jen Webb

universalists, all human rights issues are resolved through the application of universal norms and obedience to categorical imperatives. For communitarians, human rights are created in local contexts. Neither approach is necessarily sound; people have been slaughtered by communitarians in the interests of the community; and universalists have in their turn killed the murderous communitarians, as evidenced by the current conflicts in Afghanistan. Arjun Appadurai, in Fear of Small Numbers (2006), analyses culturally motivated violence in the globalised post-1989 world and

in Art and human rights
Caroline Turner and Jen Webb

violence’; and that crises such as the 11 September 2001 attacks, the war in Afghanistan, the Bali bombing and the war in Iraq are all ‘actual global evidence that violence is becoming the solution to problems … these things are still hidden and people The artist as cultural and political activist won’t talk about it.’ He concludes, ‘And that is my project – still counting and still remembering.’83 Christanto’s latest works are also testing the limits of official tolerance in the new Indonesia, and protesting against injustice, by seeking to revive the memory of

in Art and human rights
Sara Callahan

an apparently dominant aesthetic strategy for contemporary artists engaged with the heterogeneity of cultural production across the Middle East?’  83 Dissonant Archives included texts on a wide range of topics, from Joshua Craze's consideration of the redacted CIA report on the capture and waterboarding of a Saudi man, to Mariam Ghani's study of the Afghan Films archive; from big-data analysis of Twitter hashtags relating to the Arab Spring in Laila Shereen Sakr's essay, to Timothy P. A

in Art + Archive
Abstract only
Marc James Léger

imperialist war. The recent western misadventures in Iraq, Afghanistan, Pakistan, Yemen, Libya and Syria, the constant threats made to Iran, North Korea, Venezuela, China and Russia, and the re-colonisation of Africa, all tell us something about our actual political prospects. While It’s the Political Economy, Stupid offers analyses with a bit of everything for everyone on the left, it leaves out the role that the state can and does play in social movements and in cultural production. The main concern of the state is that contemporary art should contribute to its GDP

in Vanguardia
Anna Dezeuze

paste were undoubtedly scatological. The two key figures in the exhibition were Mike Kelley, who had started working in the late 1970s, and Cady Noland, daughter of abstract painter Kenneth Noland. In Kelley’s homage to his dead cat (Mooner, 1990) the artist scattered a cat’s litter tray, feeding dish and toys on an afghan blanket, whereas Noland casually heaped various objects, including an American flag, in a generic shopping basket. Both practices epitomised, according to Rugoff, a kind of ‘pathetic assemblage’, which ‘doesn’t try to poeticize its grungy materials

in Almost nothing