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'Our machines are disturbingly lively, and we ourselves Mghteningly inert': Reconsidering ironic kinship in Neill Blomkamps science fiction film Chappie 我们的机器活泼得令人不安，而我们自己却惰性十足"：重新审视尼尔-布隆坎普斯的科幻电影《超能查派》中具有讽刺意味的亲缘关系

Image & Text Pub Date : 2024-04-04 DOI: 10.17159/2617-3255/2024/n38a1

Belinda du Plooy

{"title":"'Our machines are disturbingly lively, and we ourselves Mghteningly inert': Reconsidering ironic kinship in Neill Blomkamps science fiction film Chappie","authors":"Belinda du Plooy","doi":"10.17159/2617-3255/2024/n38a1","DOIUrl":"https://doi.org/10.17159/2617-3255/2024/n38a1","url":null,"abstract":"Neill Blomkamp's 2015 science fiction film Chappie engages with the familiar narrative trope of robot sentience. Blomkamp confronts viewers with a naïve and vulnerable childlike robot protagonist that is more human and likeable than any of the stilted and stereotypical real human characters in the film. It is the mechanical creature with which the viewer readily identifies and sympathises. Blomkamp facilitates, not only between his characters, but also with the audience, a kinship of the sort that Donna Haraway in Staying with trouble calls affinity groups or assemblages of 'oddkin'. The immediately sympathetic response of the viewing audience to the mechanical robot is a key strategy in the way that Blomkamp applies irony in this film, which Haraway also identifies as central to her idea of the cyborg as an alternative and potentially liberatory myth. In this article, I engage in a close reading of the film, focusing on the broad network of speculative and science fiction narrative traditions within which this film operates. I consider possible reasons why the film was misread and met with criticism when it was first released. I also specifically investigate the strategies and techniques Blomkamp uses in his depiction of the robot character and how his use of its childlikeness and vulnerability and its engagement with violence and sacrifice are central to the film's ironic engagement with the central argument about the dangers of dehumanisation and the need to recuperate humaneness.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"20 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140744286","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

Cleansing shame: Airing South Africa's 'Dirty Laundry' 洗刷耻辱：晾晒南非的 "脏衣服

Image & Text Pub Date : 2024-02-01 DOI: 10.17159/2617-3255/2023/n37a25

Dineke Orton

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Joanna Rajkowskas Rhizopolis (2021): A rhizomatic refugium for caring commons Joanna Rajkowskas Rhizopolis（2021 年）：关爱公共资源的根瘤繁殖地

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a18

B. Śliwińska

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Breaking the 'Law of the Father': Linda Rademan's transgressive engagements with Afrikaner patriarchy in the home 打破 "父法"：琳达-拉德曼在家中对阿非利加父权制的越轨行为

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a23

Karen von Veh

{"title":"Breaking the 'Law of the Father': Linda Rademan's transgressive engagements with Afrikaner patriarchy in the home","authors":"Karen von Veh","doi":"10.17159/2617-3255/2023/n37a23","DOIUrl":"https://doi.org/10.17159/2617-3255/2023/n37a23","url":null,"abstract":"Artist, Linda Rademan, was born in the mid-1950s in an Afrikaans home where 'the law of the father' pertained in all matters. She has professed ambivalence about her upbringing, which was circumscribed by an Afrikaner Nationalist ideology, underpinned by patriarchal dominance, and strictly conformed to the narrow Calvinistic precepts of the Dutch Reformed Church. In her work, memories of childhood and family dynamics are employed to expose the stranglehold of religious expectations, the permeation of male privilege, and the suppression of women's voices in Afrikaner culture. In this paper, I analyse selected works in which Rademan has intervened in photographic memorabilia by embroidering and sewing or 'suturing' areas of her work. The use of sewing and embroidery has been employed as a feminist strategy since the early 1970s, and I argue that its use here not only aims to overturn the patriarchal hierarchy of artmaking but is an attempt to visually mend (suture) the psychologically damaging aspects of Rademan's childhood upbringing. In this way, her approach becomes a therapeutic means to engage with the painful process of self-integration, as well as a vehicle to redress the exclusion of women's voices in her family and culture by presenting an alternative image of Afrikaans womanhood.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"1151 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138982434","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

Re-claiming the lost home: The politics of nostalgia and belonging in women's art practices in the Middle East 重新找回失去的家园：中东妇女艺术实践中的乡愁和归属政治

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a17

Maria Photiou

{"title":"Re-claiming the lost home: The politics of nostalgia and belonging in women's art practices in the Middle East","authors":"Maria Photiou","doi":"10.17159/2617-3255/2023/n37a17","DOIUrl":"https://doi.org/10.17159/2617-3255/2023/n37a17","url":null,"abstract":"In recent years, discourses on migration and movement have been featured prominently in contemporary art and curatorial practices. For example, during the past decade, the migration crisis was a central theme for several pavilions at the Venice Biennale. Considering current developments, understanding critical issues regarding the migratory experience is a matter of urgency. This article addresses the issue of how the migratory experience is articulated in the works of women artists who use domestic objects to create uncanny environments that represent their contested homelands. This article also emphasises women's experiences, as women have frequently been marginalised from official histories. Through visual analysis of the works, a new perspective is gained in understanding women artists' strategies when representing their home in exile, and their homeland (both 'lost' and existing). The discussion unpacks projects that use 'un-homely devices' to re-construct the experience of 'home': home as a site of personal and family histories, and home as the place of danger and distress. It will specifically examine the work of Klitsa Antoniou, Lia Lapithi, Raeda Saadeh, and Andrea Shaker, all of whom have challenged in their practice the concepts of 'home', 'exile', and 'belonging'.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"262 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138982587","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

At home in Harlem: The politics of domesticity in Faith Ringgold's The Bitter Nest 哈莱姆的家：费斯-林戈尔德《苦巢》中的家庭政治

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a20

Debra Hanson

{"title":"At home in Harlem: The politics of domesticity in Faith Ringgold's The Bitter Nest","authors":"Debra Hanson","doi":"10.17159/2617-3255/2023/n37a20","DOIUrl":"https://doi.org/10.17159/2617-3255/2023/n37a20","url":null,"abstract":"The Bitter Nest, a sequence of five large-scale story quilts created in 1988 by Faith Ringgold (American, b. 1930), probes the dynamics of an imagined Black middle-class family, their home in Harlem, and the connections they forge within it. Originally conceived as a performance piece, the quilted series likewise expands on its themes of home, family, mother-daughter relations, and Black female creativity. Bringing together storytelling and quilting traditions prominent in the artist's family, the African American community, and across the African diaspora, The Bitter Nest extends the concept of home to encompass Harlem itself, connecting its residents and neighbourhoods across multiple generations. Celebrated as a visual artist, author, educator, and lifelong advocate for social justice, Faith Ringgold, is among the most influential cultural figures of her generation. While major exhibitions showcasing the scope of her achievements have recently generated a welcome outpouring of new scholarship, The Bitter Nest remains surprisingly overlooked in literature on the artist. In examining the series' representation of the politics of domesticity, home, and family, this article aims to remedy this oversight as it expands the scope of critical discourse on the work of a major American artist, and directs renewed attention to Ringgold's powerful reimagining of the Black home and family in this series and throughout her oeuvre. Drawing on the artist's commentary on The Bitter Nest and related topics, the visual evidence of the quilts, and late twentieth-century and more recent feminist theory, this essay provides a foundation for further research into The Bitter Nest and its many contributions to the evolving story of Black women and families in America.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"27 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138982021","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

Inside The Red Mansion: Füsun Onur's world of objects, care relations, and art 走进红房子Füsun Onur 的物品、关爱关系和艺术世界

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a19

Nergis Abiyeva, Ceren Özpınar

引用次数: 0

Labour, love, or violence? Farieda Naziers Dont Make Me Over (2021) 劳动、爱情还是暴力？法里达纳粹别让我过去（2021 年）

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a24

Roxy Do Rego

{"title":"Labour, love, or violence? Farieda Naziers Dont Make Me Over (2021)","authors":"Roxy Do Rego","doi":"10.17159/2617-3255/2023/n37a24","DOIUrl":"https://doi.org/10.17159/2617-3255/2023/n37a24","url":null,"abstract":"Don't Make Me Over (2021) is a videographic piece by South African artist Farieda Nazier comprising performance, music, poetry, curated settings, and sculptural assemblages, which forms part of her Post(erity) Project. The title-Don't Make Me Over-is based on the 1962 song of the same name originally recorded by Dionne Warwick and later covered by Sybil in 1987. While an integral and fundamental component of the work, the artist emphasises that her interpretation of the popular hit is not a music video. Throughout this article, I discuss how Nazier enacts scenes of both compliance and defiance against the conflation of femininity and the domestic milieu, and the embodied violence of patriarchal norms dictating feminine 'beauty' and behaviours-the former exasperated by a history of racialised oppression and unequal power relationships in South Africa, which further conflate blackness with labour, but particularly domestic labour. Moreover, I examine how the video implies an abusive relationship dynamic in which the female subject appears entangled, set against the backdrop of The Forge theatre in Johannesburg, thereby implying the masquerade of gender identity and emphasising the narrative quality of the work as a whole.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"140 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138982220","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

"Sweep the yard girl": Brooms, wifely duties and the subversive art of Usha Seejarim "扫院子的女孩"：Usha Seejarim 的扫帚、妻子的职责和颠覆性艺术

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a22

Shonisani Netshia

{"title":"\"Sweep the yard girl\": Brooms, wifely duties and the subversive art of Usha Seejarim","authors":"Shonisani Netshia","doi":"10.17159/2617-3255/2023/n37a22","DOIUrl":"https://doi.org/10.17159/2617-3255/2023/n37a22","url":null,"abstract":"Jumping over the broom in African and African-American contexts symbolises the bride's commitment to clean the house and yard of the new home she is joining-to perform service through labour. In South Africa, a popular cultural song, Fiela Ngwanyana (sweep [the yard] girl), is often sung at traditional wedding ceremonies to usher the makoti (bride) into the groom's family and is laden with meanings. Through singing, dancing, and sweeping the path clean for their new makoti, the groom's family subtly inform her of the politics of household labour to come. I focus on a specific stanza in the song and make connections between the broom, the makoti and mamazala (mother-in-law)'s relationships, and the themes of femininity and domesticity. I argue how brooms are used as symbolic tools of othering and suppression within the marital home. I discuss how the broom - a docile, mundane, handmade object-transcends its original, functional use and becomes highly charged with meaning as a signifier of femininity, domesticity, and subservience. In order to unpack the broom's nuanced meanings, I refer to a selection of Usha Seejarim's works, in which she features brooms and transforms them into objects of transgression and reclaiming power.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"132 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138982906","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

The art of labour: Representations of childbirth by Reshada Crouse and Christine Dixie 分娩的艺术Reshada Crouse 和 Christine Dixie 对分娩的描述

Image & Text Pub Date : 2023-12-10 DOI: 10.17159/2617-3255/2023/n37a21

B. Schmahmann

{"title":"The art of labour: Representations of childbirth by Reshada Crouse and Christine Dixie","authors":"B. Schmahmann","doi":"10.17159/2617-3255/2023/n37a21","DOIUrl":"https://doi.org/10.17159/2617-3255/2023/n37a21","url":null,"abstract":"Since the mid-1980s, there have been numerous instances of South African women artists representing pregnancy or making works reflecting on motherhood. A representation of the birth process itself is, however, unusual. In this article, the focus is placed on two women artists who have used this atypical subject matter. Reshada Crouse represented the birth of her first child in Danielle and Me and Danielle in 1975, returning to the theme many years later in Homo Sapien - Spiritual Animal (2021). Christine Dixie represented childbirth in a large body of art entitled Parturient Prospects, which she started in 2005 while pregnant with her second child and completed after the birth in 2006. She, too, returned to the theme later, using the matrices of her Birthing Tray works from the Parturient Prospects project to make The Harbingers in 2016 and adding varnish, colour, and cotton stitches to one of the sets of prints making up the Birthing Tray series in 2022. It is suggested that, for both artists, the theme enabled feminist responses to practices of childbirth as well as other formative moments in their lives. It is also suggested that both artists respond to discourses from the West, but in different ways. While Crouse positions her art as offering a parallel but female point of view to male 'masters' whose works have had an impact on her, Dixie suggests a commonality between early modern discourses about childbirth and those to do with the colonisation of Africa.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"102 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138982959","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

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