RACAR : Revue d'art canadienne最新文献_第9页

(Re)imagining Asian Rulers in Athanasius Kircher’s China Illustrata: The Agency of Interiors (重新)在Athanasius Kircher的《中国插画:室内设计机构》中想象亚洲统治者

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1073939AR

F. Freddolini

引用次数: 0

Attending to Presence: An Interview with Ann Hamilton 出席:对安·汉密尔顿的采访

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1068323ar

J. Fisher, J. Drobnick

{"title":"Attending to Presence: An Interview with Ann Hamilton","authors":"J. Fisher, J. Drobnick","doi":"10.7202/1068323ar","DOIUrl":"https://doi.org/10.7202/1068323ar","url":null,"abstract":"144 Weaving. Unravelling. Burning. Engraving. Writing. Carding. Erasing. These are some of the actions that have been performed within the large-scale installations of Ann Hamilton. Amidst the gargantuan assemblage of horsehair in tropos (1993), the mountain of denim in indigo blue (1991), and other installations with evocative materials, individuals engage in simple, repetitive tasks ; their enigmatic presence forms a focal point in a context that often feels intimidating and vast. One could easily feel lost in the immensity, but witnessing an individual executing a humble activity provides a grounding that serves as an effective counterbalance. Such performers are at one with the ambiance of abundance, humanizing the massive accumulation while dramatizing its sublimity. Despite the prosaic gestures, they are compelling to watch. Unlike living museum interpreters or historical re-enactors, performers in Hamilton’s projects, whom she calls “attendants,” remain unresponsive to interactions with curious spectators. Absorbed in their tasks, the performers eschew role-playing ; their names may not be known to visitors, but their actions are rooted in their everyday personhood. Theatricality in the gestures and self-conscious displays of acting are downplayed. Instead, the performers convey an unusual calm in conducting their chores, whether ordinary or peculiar. In Hamilton’s works during the 1990s, visitors encountered environments in which a lone individual executed monotonous actions, like burning every line of text in the pages of a book (tropos) or using bread dough to make an impression of the mouth’s cavity (malediction, 1991). The live individual resisted categorization as an automaton, but neither could they be regarded as available in a social manner — their presence operated somewhere between a body and an object.1 Despite being silent, unassuming, and concentrating on their routine, they appeared cognizant of visitors around them. Observing their diligent, embodied activity subverted the convention of visualist distance that normally applies to aesthetic encounters. Hamilton’s attendants relate to the tradition of tableaux vivants, yet differ significantly. Nineteenth-century tableaux tended to be still ; that is, the individuals enacting the scenes held a static posture. Motion only occurred during the transition between one pose and the next. The moments of stillness cued the audience to recognize and admire the composed image.2 In Hamilton’s installations, however, stillness and motion happen simultaneously as seated or standing performers continue their task for the extent of gallery viewing hours throughout the weeks or months of the exhibition. The Ann Hamilton is an artist renowned for process-based works and immersive installations. Hamilton has received many awards, including a MacArthur Fellow ship, NeA Visual Arts Fellowship, and Guggenheim Memorial Fellowship. She represented the United States in the 1991 Sao Paulo Bienal, the","PeriodicalId":234580,"journal":{"name":"RACAR : Revue d'art canadienne","volume":"381 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133451053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Simulated Domesticities: Settings for Colonial Assimilation in Mid-Twentieth-Century Canada 模拟家庭:二十世纪中期加拿大殖民同化的背景

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1073940AR

Magdalena Miłosz

{"title":"Simulated Domesticities: Settings for Colonial Assimilation in Mid-Twentieth-Century Canada","authors":"Magdalena Miłosz","doi":"10.7202/1073940AR","DOIUrl":"https://doi.org/10.7202/1073940AR","url":null,"abstract":"L’espace domestique est un lieu de rencontre important entre les peuples autochtones et les puissances coloniales. Au Canada comme ailleurs, le remplacement des habitations autochtones par des modeles domestiques coloniaux reflete des structures politiques coloniales de peuplement plus vastes. Apres la Seconde Guerre mondiale, le gouvernement canadien a continue d’utiliser la domesticite comme forme d’assimilation. En 1950, lorsque les « Affaires indiennes » ont commence a relever du ministere de la Citoyennete et de l’Immigration, les espaces domestiques pour les peuples autochtones ont ainsi ete developpes par le biais de nouveaux discours d’integration et de citoyennete. J’examine trois de ces zones de contact domestiques : les maisons unifamiliales, les salles de classe d’economie domestique et les maisons modeles. En simulant les architectures domestiques colonialistes d’apres-guerre, ces espaces demontrent un mimetisme destabilise qui constitue une vision de la place accordee aux peuples autochtones dans l’Etat colonial. Je soutiens donc que l’espace domestique est un site complexe qui rend visible, en termes visuels et spatiaux, le pouvoir colonial de peuplement.","PeriodicalId":234580,"journal":{"name":"RACAR : Revue d'art canadienne","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131958917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Leah Modigliani, Engendering an Avant-Garde: The Unsettled Landscapes of Vancouver Photo-Conceptualism, Manchester: Manchester University Press, 2018, 296 pp. 41 b/w illus. £ 80 (hardcover) ISBN 9781526101198 利亚·莫迪利亚尼，《产生先锋派:温哥华摄影观念主义的不稳定景观》，曼彻斯特:曼彻斯特大学出版社，2018年，296页，41页/w。80英镑(精装)ISBN 9781526101198

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1062157ar

Christine Conley

引用次数: 0

David Smith, Collected Writings, Lectures, and Interviews, Susan J. Cooke, ed., Oakland, CA: University of California Press, 2018, 312 pp. 28 color photographs, 11 b/w illus. $ 38.00 (paperback) ISBN 9780520291881 大卫·史密斯，文集，讲座和访谈，苏珊J.库克，编辑，奥克兰，加州:加州大学出版社，2018年，312页。28彩色照片，11 b/w插图。38.00美元(平装本)ISBN 9780520291881

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1068334ar

C. Reeve

引用次数: 0

Livia Stoenescu, ed., The Interaction of Art and Relics in Late Medieval and Early Modern Art, Turnhout: Brepols Publishers, 2020, 185 pp. 51 colour illus., € 100 (hardcover) ISBN 978250358398

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1085436ar

Catherine Harding