标签为 “Colonia” 的文章

  • Revisiting Edward Said's ‘Orientalism’ 40 Years On &# …

    2018.11.02 · 发表评论

    Forty years ago, Edward Said’s Orientalism emerged as a cry in the critical wilderness, an elegant j’accuse skewering the essentialization of the East, from Aeschylus to Karl Marx. Syrupy romantics, military strategists, scholars and gonzo explorers trudged through Said’s thrilling history, all of them implicated in a vast network of interests invested in describing, taming and, finally, bringing into being the very notion of ‘the Orient’ as we know it. ‘The East is a career,’ read one of the book’s epigraphs – the words of the 19th-century British Prime Minister Benjamin Disraeli. – 四十年前,爱德华·赛义德的东方主义在批判的荒野中以一种优雅的控诉歪曲了东方的本质化,从埃斯库罗斯到卡尔·马克思。糖浆般的浪漫主义者、军事战略家、学者和刚俑探险家在赛义德令人激动的历史中跋涉,所有这些都牵涉到一个巨大的兴趣网络中,这个兴趣网络投资于描述、驯服,最后,形成了我们所知道的“东方”的概念。“东方是一个事业,”书中的一段铭文——19世纪英国首相本杰明·迪斯雷利(Benjamin Disraeli)的话中写道。

  • How the Tiger Became a Totem for Singaporean Artist Ho Tzu …

    2018.11.01 · 发表评论

    The origin tale of modern Singapore cultivates the image of a gleaming city rising from the wilderness – most recently rehashed in a certain hit film that makes a glib reference to the island being nothing but ‘jungle and pig farms’ before Chinese immigrants arrived, clearing the landscape and making themselves ‘crazy rich’ in the process. In this story, tigers are the antagonist, a feral threat it was impossible to eliminate completely: Singapore is an island, and tigers are excellent swimmers. As late as 1869, Alfred Russel Wallace wrote, in The Malay Archipelago, that ‘there are always a few tigers roaming about Singapore, and they kill, on average, a Chinaman every day’. – 现代新加坡的起源故事塑造了一个从荒野中崛起的闪闪发光的城市形象——最近在一部热门电影中重新演绎,这部电影巧妙地提到了在中国移民到来之前,这个岛除了“丛林和养猪场”之外别无他物。在这个过程中,让自己变得“疯狂富”。在这个故事中,老虎是敌人,一个无法完全消除的凶猛威胁:新加坡是一个岛屿,老虎是优秀的游泳运动员。早在1869年,阿尔弗雷德·拉塞尔·华莱士(Alfred Russel Wallace)在《马来群岛》(The Malay Archipelago)中就写道:“在新加坡到处游荡的老虎总是不多,平均每天会杀死一个中国人。”

  • Across Australia, Artists are Disrupting the Colonial Mind …

    2018.11.01 · 发表评论

    In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and asserting sovereignty for decades. The process of decolonization requires ongoing work and our peoples have created generational legacies of storytelling about surviving colonization through art, theatre, literature and community activism. Sovereignty is central to the identity and well-being of Indigenous peoples in our fight for justice. The arts are an accessible and engaging way of discussing these complex issues in a country where white colonial and patriarchal narratives dominate public spaces. In recent years, a social-media revolution has been mobilized by Indigenous scholars, artists and activists who descend from a lineage of Aboriginal resistance through letter- and petition-writing. There is also an emerging Aboriginal podcast culture: Wild Black Women, for example – hosted by the academic Dr Chelsea Bond and the comedy writer Angelina Hurley – is a sharply funny and politically astute programme that takes racism, whiteness and the patriarchy to task. – 在澳大利亚艺术界,“非殖民化”已经成为学术界、美术馆和博物馆的一个时髦词,然而几十年来,我们的土著和托雷斯海峡岛民艺术家们一直呼吁非殖民化和维护主权。非殖民化进程需要不断努力,我们各国人民通过艺术、戏剧、文学和社区活动创造了一代又一代的传奇故事,讲述殖民地幸存下来的故事。主权是我们争取正义的原住民的身份和福祉的核心。在一个白人殖民主义和父权主义叙事占据公共空间的国家,艺术是讨论这些复杂问题的一种容易接近和吸引人的方式。近年来,土著学者、艺术家和活动家发动了一场社会媒体革命,他们通过写信和请愿书从土著反抗血统中脱颖而出。还有一个正在兴起的原住民播客文化:例如,由学术界切尔西·邦德博士和喜剧作家安吉丽娜·赫利主持的《野生黑人妇女》就是一个非常有趣和政治精明的节目,它以种族主义、白人和父权制为任务。

  • One Take: Lydia Ourahmane’s Two Gold Teeth – 一拍:L …

    2018.11.01 · 发表评论

    A tooth in the right side of Lydia Ourahmane’s mouth had always given her trouble. Seven or eight years ago, she had a disastrous root canal and the tooth, a maxillary molar, never really recovered. Around the time Ourahmane graduated from Goldsmiths, London, in 2014, with an undergraduate degree in fine art, she was driving out of town in a friend’s van. They had taken their lunches with them to eat on the road. Ourahmane took a bite – she can’t recall what she was eating that day but she remembers that it was soft – and the tooth, always bothersome, loosened completely and fell out into her food. There was only a stump of it left in her mouth. She later had to have it extracted, leaving a sizable gap. – Lydia Ourahmane嘴巴右边的一颗牙齿总是给她带来麻烦。七年或八年前,她有一个灾难性的根管和牙齿,上颌磨牙,从来没有真正恢复。大约在2014年,欧拉曼从伦敦戈德史密斯大学毕业,获得美术本科学位的时候,她正开着一辆朋友的面包车出城。他们带着他们的午餐在路上吃。欧拉曼咬了一口——她想不起那天吃了什么,但她记得那是软的——牙齿总是很烦人,完全松动了,掉进了她的食物里。她嘴里只剩一根树桩。她后来不得不把它提取出来,留下了相当大的缺口。

  • One Take: Kemang Wa Lehulere’s Performance of Self-Excavat …

    2018.11.01 · 发表评论

    Kemang Wa Lehulere, not quite 35 years old, could easily be mistaken for an artist of another era: a multidisciplinary mystic of 1940s and ’50s Black Mountain College, like John Cage and Merce Cunningham, say, or an embodied and freewheeling spirit of Willoughby Sharp’s 1970s Avalanche Magazine circle. Indeed, the Capetonian Wa Lehulere was inspired in recent years by Japanese fluxus veteran Mieko Shiomi and shares with those predecessors a sense of levity and play. His work engages with bodies and their environments and he repurposes the detritus around him, resuscitating it as something wholly new. During his commission for Performa 17 in New York, I cut my skin to liberate the splinter (2017), Wa Lehulere moved lithely around a set, shoeless and clad in loose-fitting white garb – like a house painter – while conducting a beautiful cacophony from an array of rough-hewn instruments. During a biennial conceived around the theme of dada, his intervention perhaps most clearly channelled the spirit of his forebears at the Cabaret Voltaire, a whimsically anarchic response to a world riven by nationalism and violence. – 不到35岁的克曼·瓦·勒胡勒很容易被误认为是另一个时代的艺术家:比如,20世纪40年代和50年代的黑山学院,比如约翰·凯奇和梅斯·坎宁安,或者是威洛比·夏普1970年代《雪崩》杂志中体现的、随心所欲的精神。圆圈。事实上,开普敦的Wa Lehulere是近年来受到日本豪华车老手Mieko Shiomi的启发,并与前任分享一种轻浮和玩耍的感觉。他的工作与身体和环境有关,他重新利用他周围的碎屑,使之恢复活力,成为全新的东西。瓦·勒胡勒在纽约参加17场演出的委托期间,我割破了皮肤,解开了碎片(2017年),他穿着宽松的白色外套,一双无鞋,像个室内画家,一边在一排粗糙的器械上演奏着美妙的杂音。在围绕达达的主题构思的两年期中,他的干预或许最清楚地传达了他在伏尔泰内阁祖先的精神,一种异想天开的无政府反应,以应对被民族主义和暴力撕裂的世界。

  • With the Election of Jair Bolsonaro as President, Brazilia …

    2018.10.31 · 发表评论

    It was a regular Sunday in October in São Paulo – sunny and chilly. My original plan was to walk towards Paulista Avenue – one of the city’s main thoroughfares – to see the exhibition ‘Afro Atlantic Histories’ at MASP (the São Paulo Art Museum), which was closing that day. The survey – included 450 works by 214 artists from Africa, the Americas, the Caribbean and Europe, and spanned five centuries – promised to weave together multiple strands of Afro-Atlantic visual culture and provide a starting point for discussing colonial legacies and identity politics. Brazil was one of the last major countries in the world to abolish slavery and has the largest African-descendent population in the planet – it’s about time these pressing issues appear in art programmes. On my way to the show, I bumped into a demonstration in support Jair Bolsonaro – the far-right politician who was, after this writing, elected President by a wide-margin – that stretched for a few blocks of the avenue’s extension. Speakers, placed in front of the museum, amplified his delusional and repulsive speech and blasted it toward anyone entering MASP. I suspect this was deliberate. – 这是十月Paulo的一个晴朗的星期日,阳光明媚,寒冷刺骨。我最初的计划是步行到保利斯塔大街——这个城市的主要通道之一——去看那天即将关闭的MASP(圣保罗艺术博物馆)的“非洲大西洋历史”展览。这项调查包括了来自非洲、美洲、加勒比和欧洲的214位艺术家创作的450幅作品,跨越了五个世纪。调查承诺将把非洲-大西洋视觉文化的多条线交织在一起,为讨论殖民遗产和身份政治提供一个起点。巴西是世界上最后一个废除奴隶制的主要国家之一,也是这个星球上非洲后裔人口最多的国家之一——这些紧迫的问题应该出现在艺术节目中了。在我去演出的路上,我碰巧遇到了支持Jair Bolsonaro的示威游行,Jair Bolsonaro是极右派政治家,在写完这篇文章后,他以很大的优势当选总统。站在博物馆前面的发言者放大了他的妄想和令人反感的演讲,并向任何进入MASP的人猛烈抨击。我怀疑这是故意的。

  • Decolonial Documents: Part One – 非殖民化文件:第一 …

    2018.10.30 · 发表评论

    Current conversations around decolonizing culture are not new: they are informed by multiple histories that have questioned Western hegemony. In the first of a six-part series, we asked five artists, curators and writers whose work has been involved with this challenge to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt than documented, though no less significant. – Current conversations around decolonizing culture are not new: they are informed by multiple histories that have questioned Western hegemony. In the first of a six-part series, we asked five artists, curators and writers whose work has been involved with this challenge to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt比记录的,虽然不那么重要。

  • One Take: Luke Willis Thompson ‘_Human’ – 一个拍摄: …

    2018.10.19 · 发表评论

    The final line of Frantz Fanon’s impassioned anti-colonial book, Peau noire, masques blancs (Black Skin, White Masks, 1952), is rendered, in English, as follows: ‘O my body, make of me always a man who questions!’ 1 Published in the same year that the term Third World was coined by anthropologist Alfred Sauvy, Fanon’s closing prayer forged a new link between anatomy and the destiny of those that Europe colonized, whose bodies were trafficked into bondage. Routing a sense of corporeal novelty through his own vexed identification with manhood, Fanon’s prayer undermines any attempt to privilege normative masculinity. In asking his body to make of him ‘a man who questions’, Fanon sets himself in opposition to the colonial father who expects a body to mutely follow. As we continue to reckon with the malignant colour-coded hierarchies that we have inherited from slavery and colonialism, so Fanon’s declaration echoes. His term for this legacy’s lingering presence upon the body, ‘a racial epidermal schema’ 2, remains a crucial theoretical phrase for working through our own era, one in which, as cultural theorist Paul Gilroy notes: ‘screens rather than lenses now mediate the pursuit of bodily truths.’ 3 – 弗朗茨·法农充满激情的反殖民主义著作《黑色的珠儿,白色的面具》(黑皮肤,白色的面具,1952)的最后一行用英语写道:“我的身体,让我永远成为一个有问题的人!”同年,人类学家阿尔弗雷德·索维(Alfred Sauvy)创造了“第三世界”这个术语,法农的闭幕式祈祷在解剖学与欧洲殖民者的命运之间建立了新的联系,欧洲殖民者的尸体被贩卖成奴隶。范农的祈祷通过自己对男性身份的烦恼认同,消除了肉体上的新奇感,削弱了任何赋予男性规范特权的企图。在要求他的身体使他成为一个“有问题的人”时,法农把自己置于殖民地父亲的对立中,他希望一个身体默默地跟随他。当我们继续考虑我们从奴隶制和殖民主义中继承下来的恶性的颜色编码等级制度时,范农的宣言引起了共鸣。他对这种遗留物在身体上挥之不去的存在“种族表皮图式”2,仍然是贯穿我们这个时代的关键理论用语,正如文化理论家保罗·吉尔罗伊指出的那样,在这个理论用语中,“屏幕,而不是镜头,现在调解了对身体真理的追求。”

  • Eye in the Sky: What a Surveillance Blimp in Amish Country …

    2018.10.19 · 发表评论

    On 28 October 2015, a US military surveillance blimp rampaged across rural Pennsylvania after breaking its tether above Maryland  – 2015年10月28日,一艘美国军用侦察飞艇在马里兰州上空打破束缚,横扫宾夕法尼亚州的农村地区。