标签为 “人类学” 的文章

  • The Best of London's September Exhibitions – 伦 …

    2018.10.21 · 发表评论

    As the summer comes to a close, we shuffle back indoors to replenish in the soothing shadows; switch on the neon lights and/or projectors, print out press releases, and settle in for a new season of shows. – 夏天快要结束了,我们拖着脚步回到室内,在柔和的阴影中补充能量;打开霓虹灯和/或投影仪,打印新闻稿,安顿下来迎接新一季的节目。

  • 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。

  • A Guide to Brussels Gallery Weekend – 布鲁塞尔画廊周 …

    2018.10.18 · 发表评论

    ‘Wiggle’
    Galerie Greta Meert
    7 September – 20 OctoberUnfurling across Galerie Greta Meert’s three floors, ‘Wiggle’ showcases the work of 15 international artists who use sculpture to interrogate the notion of materiality beyond simple denotation. Donald Judd uses stacks and blocks to create non-referential works of art while Terry Adkins assembles locally found objects such as musical instruments and reintroduces them as resounding installations. Katinka Bock experiments with natural materials, using clay ceramic liquid and webbing to articulate thoughts on history and geography and on the other end of the spectrum, Diane Simpson’s work transfigures clothing, furniture and industrial architecture into sculptures that are an observation of the architectonic vs. the domestic. Countering painter Ad Reinhardt’s modernist joke that a sculpture is a thing that you ‘bump into while you back up to look at a painting’, the group show pushes back against convention, giving the form more leeway than tradition has previously allowed. – “摇摆”

  • The Privilege and Fragility in Melania Trump’s Colonial Co …

    2018.10.18 · 发表评论

    E. M. Forster’s 1924 novel A Passage to India hinges on a dramatic scene that takes place deep in the fictitious Marabar Caves. The young Englishwoman, Adela Quested, escorted to the caves on an excursion led by the Muslim physician, Dr. Aziz, experiences an attack, panics, and flees. When the distraught Quested is found among the hills, she’s described as ‘practically done for – her helmet off.’ While Forster leaves the truth of what happened in the caves intentionally vague, the rest of the novel reckons with the accusation leveled at Dr. Aziz that he attempted to assault her. A trial ensues, laying bare the fragile ties holding the English and the natives together. – E.M.福斯特的1924部小说《印度之行》是一个戏剧性的场景,发生在虚拟的马拉巴尔洞穴深处。年轻的英国妇女阿德拉·奎斯特德在穆斯林医生阿齐兹医生的带领下前往洞穴探险,她经历了一次袭击、恐慌和逃亡。当在山间发现奎斯特德心烦意乱时,她被形容为“几乎完成了——摘掉了头盔”。虽然福斯特故意模糊了洞穴里发生的事情的真相,但小说的其余部分还是根据对阿齐兹博士的指控来推测,他企图袭击阿齐兹。给她打电话。随后,英国人和土著人之间的脆弱关系暴露在一起。

  • 环外游 (个展)

    2018.08.10 · 发表评论

    I: project space这次带来丝瓜集团的展览 A Day in the Outer Ring 《环外游》。展览作为一个延伸调研的一部分,调查京津冀高铁的发展对人与社会的影响。

  • 行将消退 (群展)

    2018.03.07 · 发表评论

    作品来自山德雷托·雷·雷包登戈收藏2018年3月24日至5月27日,上海外滩美术馆很荣幸向您呈现最新群展“行将消退”,此次展览是上海外滩美术馆与意大利最负盛名的当代艺术机构之一——山德雷托·雷·雷包登戈基金会的一次精彩携手与交流,由上海外滩美术馆馆长拉瑞斯·弗洛乔和资深策展人谢丰嵘共同策划。展览将呈现来自各大洲23位艺术家的29件作品,涵盖架上绘画、互动装置、摄影、录像等形式,作品精选自基金会的珍品收藏,此外还有宋涛的录像作品以及张如怡的委约新作,这两位来自上海的艺术家巩固并丰富了展览与本地语境的联系。

  • 梁半——拓荒者日记 (个展)

    2018.02.19 · 发表评论

    本次展览对传统主流文化中文明与自然之间二元对立的关系进行了质询。运用带有超现实和幽默色彩的艺术语言,梁半提出了这样的观点:人们对不断进步的文明的理想化诠释,掩盖了更为复杂的现实中我们与自然和荒野的紧密联系。仅通过四件作品,展览便为观众们呈现了一种宣泄式的反省——对人类文明完美而正确的理解,是不存在的。

  • 后全球化时代 艺术家们早就在行动了

    2018.01.14 · 发表评论

    OCAT上海馆于2017年12月30日起推出由鲁明军策划的展览“疆域—地缘的拓扑”。该展览为OCAT上海馆年度青年艺术家项目,同时也是OCAT上海馆开馆五周年的特别展览。此次展览共邀请三十余位知名当代艺术家,他们将以录像、装置、表演、摄影、文献等丰富的艺术语言引发一场关于地缘政治的艺术思考。以下是“凤凰艺术”为您带来的现场报道和对策展人鲁明军的专访。