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James Fox
Vid Simoniti

the climate emergency is available to the receivers of such visual information? Demos’s chapter reflects on disparate creative practices from the late 2010s – such as those of Extinction Rebellion, Decolonize This Place, and Forensic Architecture – which all disrupt the usual information flows. Some of these artistic practices, Demos claims, play the important epistemic function of revealing the links between the climate emergency and the need for decolonial social justice. For example, the American collective Decolonize

in Art and knowledge after 1900
Marc James Léger

movements. His notion of solidarity abandons the question of state socialism and with it any possible challenge to global capitalism. He takes courage in W.E.B. Du Bois’ assessment in 1961 that capitalism is doomed to self-destruction. His strategy, then, is to simply wait out this eventuality or to accelerate it though various forms of disruption. In a sense it seems to Gaines that the simple fact of blackness is enough to constitute a revolutionary politics. Gaines’ stance is not uncommon in contemporary intersectionist and decolonial

in Vanguardia
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Erin Silver

– which I soon found out was heavily weighted toward anarcho-feminist queers – (gender)fucked up the streets and befuddled the cops in a way that seems as if it were 1,000 or 10,000 people. 6 Both concurrent to and following the Printemps érable, amid the various and overlapping decolonial, anti

in Taking place
Ronnie Close

structures. Through a new language of cinema the workers would develop class consciousness as members of a society within the revolutionary politics of communism. This new-found awareness is beyond the lived experiences of the individual workers in daily life as he describes it as ‘organizing the worker's vision’ (Michelson 1984 : 4). This is more than a subgenre of film theory or experimental media practices but a radical political fusion of art and life on a vast scale. This can be seen as a decolonial delinking from Western cultural traditions to establish independent

in Decolonizing images
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Staging art and Chineseness
Jane Chin Davidson

the subsequent decolonial processes are at the center of these contexts, and they are also played out in the curatorial subjects, exhibitionary ideals, and organizing principles of global expositions. As Walter Benjamin once wrote, ‘world exhibitions are places of pilgrimage to the commodity fetish’ because their organizing principles ‘glorify the exchange value of the commodity. They create a framework in which its use value recedes into the background ... Its ingenuity in representing inanimate objects corresponds to what Marx calls the “theological niceties” of

in Staging art and Chineseness
Jane Chin Davidson

integration of Marxist thought can be assessed for its contribution to the poststructuralist methodology, one that still functions effectively for a decolonial critical analysis, especially for film theory and Chineseness. This analysis is extended in my study of video performances as media that is informed by film theory but is significantly different due to its conceptualist form of expression. My argument is that interpellation continues to be a useful and viable concept for addressing the subjects of art/philosophy production in the era of transnational capital. The art

in Staging art and Chineseness
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Niharika Dinkar

questioned, not only by a wider popular culture but by a rising tide of decolonial scholarship as well. To recall the legacy of the Enlightenment here is not to nostalgically seek to restore its universal liberal values or to investigate in what ways these were in fact compromised by their colonial policies – grounds well trodden. Foucault has cautioned against the ‘intellectual blackmail of being for or against the Enlightenment’, and the aim here is to unravel entangled material and visual histories indelibly inscribed by the light of empire and of the shaping of spaces

in Empires of light
Modernist art theory and the culture of decolonisation
Christian Kravagna

. 7.12 Wifredo Lam, The Sombre Malembo, God of the Crossroads , 1943, oil on canvas, 153 × 126.4 cm. The Rudman Trust. © Bildrecht, Wien 2021. In Siqueiros’s revolutionary and decolonial art theory, which ‘directs itself to the native races humiliated for centuries’, 96 a litany of exclusions comes into play, but from a completely different, anti-bourgeois perspective: We shall exclude everything which cannot be reproduced, we shall

in Transmodern
Open Access (free)
The power of refugee artists
Saskia Elizabeth Ziolkowski

around Lampedusa. In chapter 6 below, Tenley Bick analyzes art located on Lampedusa itself, especially the Italian artist Mimmo Paladino's 2008 work, Porta di Lampedusa, porta d’Europa (Gateway to Lampedusa, Gateway to Europe) in terms of its decolonial fluidity and in contrast with monuments as exertions of power. The illustrations of the stories in Anche Superman era un rifugiato , as the refugees themselves, also disrupt mainstream images of migration. For instance, Abdalla Al Omari, paired with Marc Chagall in Michela Monferrini's story, is famous for painting

in Migrants shaping Europe, past and present