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embodied-enTAnglements/ enTAngled-embodiments performaTIVe encounters with materials, creative process, and the artist-woman’s body 与材料、创作过程和艺术家女性身体的表演性相遇

Image & Text Pub Date : 2023-03-14 DOI: 10.17159/2617-3255/2022/n36a25

Bev Butkow

{"title":"embodied-enTAnglements/ enTAngled-embodiments performaTIVe encounters with materials, creative process, and the artist-woman’s body","authors":"Bev Butkow","doi":"10.17159/2617-3255/2022/n36a25","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a25","url":null,"abstract":"This article explores the changing role of the audience within aesthetic encounters. It is framed within a shift in the nature of these encounters away from the primacy of vision, and towards experiential encounters within the body of the audience. I approach the article as self-reflexive autoethnography, assuming dual roles: in the first place as maker, and then describing my heightened bodily response as audience or experiencer to an immersive constellatioN of forms I made. In the next section, I unpack how experiential aesthetic encounters of this type unseTTle and disorientate traditional understandings of material forms and aesthetic relationships. Meaning is no longer situated within visual representation, but is made rather in situ and in actu within the subjective embodied experience of the experiencer who becomes part of the artwork. The final section recognises the porosity of boundaries between the subject and object, observer and observed, and artist and audience through exploration of the enTAngled relationship between the experiencer, my creative labour as the maker, and the vitalised materials that constitute my constellatioN. I conclude by showing how creative proceSSes have unique power to mobilise experiential materiality in a way that establishes an embodied coNNection within the body of the receptive experiencer. This embodied coNNection enables a reorientation from head-based intellectual analysis, Cartesian binaries and focus on visual representation. By activating the whole-body of the experiencer and the embodied coNNection between audience-maker-artform, possibilities are generated for expanding and deepening interhuman relations, thereby signalling a return to forms of knowledge produced from and by the body.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129345448","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

Embodied encounters with AntheA Delmotte's performance of Return to Chaos 安西娅·德尔莫特在《回归混沌》中的表演

Image & Text Pub Date : 2023-01-25 DOI: 10.17159/2617-3255/2022/n36a23

J. Steele

{"title":"Embodied encounters with AntheA Delmotte's performance of Return to Chaos","authors":"J. Steele","doi":"10.17159/2617-3255/2022/n36a23","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a23","url":null,"abstract":"The theme of embodied engagement with art is explored in relation to the work Return to Chaos, which was created by South African visual artist AntheA Delmotte in 2017. Following a brief introduction to the artist and her works, my own embodied, sensual encounters with Return to Chaos are investigated in order to establish the usefulness, or not, of this way of looking. Delmotte's oeuvre shows that she intertwines painting styles of carefully planned studio based realism with deep trance-state public performance paintings that usually result in relatively unplanned abstract artworks. The latter painting performances are often conducted to the accompaniment of live music. Sound, and the presence of co-performing musicians, play an important role for Delmotte while delving into her subconscious to find colour and imagery that best expresses her emotions at any particular moment while deep trance-state painting. This article goes on to explore the possibility that Delmotte's incremental creation of artworks such as Return to Chaos give insight into colour synaesthesia and cymatic effects in action, and that this artwork shows visible manifestation of deep trance-state feelings embodied by her in response to the music at that particular moment in time. Finally, it is suggested that enrichment offered by analysis of artworks arising from full bodied encounters be extended to include investigations into embodied acts performed by artists as they explore and express their ideas.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116207662","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

Light on loss in new works by Paul Emmanuel 保罗·伊曼纽尔新作中的失落

Image & Text Pub Date : 2023-01-15 DOI: 10.17159/2617-3255/2022/n36a22

I. Bronner

{"title":"Light on loss in new works by Paul Emmanuel","authors":"I. Bronner","doi":"10.17159/2617-3255/2022/n36a22","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a22","url":null,"abstract":"Veil 1954 and Carbon Dad 2017, two new works from South African artist Paul Emmanuel's most recent exhibition Substance of Shadows (2021), are examined as depicting rites of passage of memory and mourning, following the recent loss of both Emmanuel's parents. They are discussed in dialogue with the five untitled incised drawings from Emmanuel's 2008 Transitions exhibition, which addressed significant male rites of passage that were also liminal moments in male lives. In rites of passage, the citations, quotations and traces that form a subject's socially constituted body are undone and rearranged. Transitions (5), however, represents the quotidian liminality of commuting and while it is fruitfully interpreted as a metaphor for death, a deeper exploration of this particular rite of passage is held over, this article argues, until Veil 1954 and Carbon Dad 2017. These two works are therefore examined as a continuation of the works of Transitions. Crucially, however, it is proposed that Emmanuel's principal memory engagement in these two works is enacted materially, through his medium of obsolete carbon paper, rather than the exposed photographic paper of Transitions. The ways in which Emmanuel works with carbon paper allows a sensitive embodied exploration of aging and frailty to emerge.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122597392","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

In search of a TOST': The rise of Cosmism in contemporary Russian culture 在寻找一个TOST:宇宙主义在当代俄罗斯文化中的兴起

Image & Text Pub Date : 2023-01-15 DOI: 10.17159/2617-3255/2022/n36a19

Julia Tikhonova Wintner

{"title":"In search of a TOST': The rise of Cosmism in contemporary Russian culture","authors":"Julia Tikhonova Wintner","doi":"10.17159/2617-3255/2022/n36a19","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a19","url":null,"abstract":"The landscape of contemporary Russian culture is ground zero for the recent revival of Cosmism, the late nineteenth century utopian quest for immortality and space colonisation. Overwhelmed, as we are in the west, with accounts of geo-political conflicts with Russia, it is especially timely to interrogate the underlying social narratives that are inseparable from these conflicts. To do so, we must simultaneously juggle the discourse of post-colonial studies, a close look at the circulation of nationalism, the nostalgia for Soviet times, an explosion of religiosity, and the ideological and cultural work being done by the prominent cosmist devotees, Anton Vidokle and Arseny Zhilyaev. 'In search of a \"POST\": The rise of Cosmism in contemporary Russian culture' navigates through the specter of contemporary neo-liberal Russian culture on its way to Cosmism's other-worldly narrative of a cult of the ancestors and the immortality for all. Since the 2000s Cosmism has entered intellectual vogue. Touted as a harbinger of post-humanist ideas,1 it offered a vastly different view of the future, one that blurred the borders between the scientific, the religious and the fantastical (Smith 2016:4). Cosmism thus appears to function as a temporary refuge from the human denigration subsequent to the Fall of the Soviet Union and, more recently, the death caused by the Covid-19 Pandemic. Cosmism's focus on theorising is at the expense of formal explorations and new visual languages. They are not challenging the status quo but perpetuating centuries' old Russian traditions of millenarism2 and mystical fabulism and thereby not promoting any real advancement in constructing a new identity for a post-Soviet society.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128586059","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

Special section editorial 专题社论

Image & Text Pub Date : 2023-01-15 DOI: 10.17159/2617-3255/2022/n36a21

Jenni Lauwrens

引用次数: 0

Queering the soil: Reimagining landscape and identity in queer artistic practices in Cyprus 奇怪的土壤:重新想象景观和身份的酷儿艺术实践在塞浦路斯

Image & Text Pub Date : 2023-01-15 DOI: 10.17159/2617-3255/2022/n36a20

Elena Parpa

{"title":"Queering the soil: Reimagining landscape and identity in queer artistic practices in Cyprus","authors":"Elena Parpa","doi":"10.17159/2617-3255/2022/n36a20","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a20","url":null,"abstract":"This article concentrates on the work of artists who identify as queer in Cyprus, a place marked by colonialism, rival nationalisms and ethno-political division. More specifically, it examines the ways their work disrupts confining perceptions of nationhood, gender and sexuality that suppress difference and delimit identity in a conflict-ridden, ethnically divided society. These ideas are discussed in relation to the examples of Krista Papista, a Greek Cypriot visual artist, musician and performer, and Hasan Aksaygin, a Turkish Cypriot artist, whose work encompasses elements of painting, performance and installation. As I argue in this article, by calling forth interpretations of \"queer\" that go beyond the term's common application as an adjective or a noun, these artists employ tactics of queer use. In so doing, they inscribe queer life and experiences into landscapes, traditions and symbols, as in \"over\" the soil, used here as a metaphor to point to those elements that are commonly invoked in delineating the physical and imaginary topos of the nation from which people identifying as queer are often excluded as non-conforming others. As such, they make space for an alternative topos to emerge, where expanded notions of gender, identity and belonging are cultivated away from established stereotypes and divisive, nationalist narratives.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128977380","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

Challenging legacies in Post-Colonial and Post-Socialist notions of place 挑战后殖民和后社会主义地域观念的遗产

Image & Text Pub Date : 2022-12-02 DOI: 10.17159/2617-3255/2022/n36a13

Karen von Veh, Landi Raubenheimer

引用次数: 0

Memorials, landscape and white masculinity: dialogic interventions in South African art 纪念碑、风景和白人男子气概:南非艺术的对话干预

Image & Text Pub Date : 2022-12-02 DOI: 10.17159/2617-3255/2022/n36a17

Karen von Veh, Landi Raubenheimer

{"title":"Memorials, landscape and white masculinity: dialogic interventions in South African art","authors":"Karen von Veh, Landi Raubenheimer","doi":"10.17159/2617-3255/2022/n36a17","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a17","url":null,"abstract":"The memorialisation of place and representation of land and landscape is topical in many societies that are dealing with the aftermath of political trauma, such as Post-Colonial or Post-Soviet countries. In such contexts, artists engage with land and notions of place through processes of memorialisation and landscape representation, or very often, the undoing of these traditions as they were entrenched by regimes that are now redundant. In this article we investigate two different artistic agendas that engage with such sites in South Africa, in the work of Paul Emmanuel, and the collective Avant Car Guard. Though separated by a decade, the artworks discussed here share a dialogic engagement with existing memorial sites, or indeed, traditions that memorialise settler belonging, such as the landscape painting tradition or military equestrian monuments. While Emmanuel's work may be understood to employ a dialogic, anti-monumental strategy in response to the statue of Louis Botha at the Union buildings in Tshwane in South Africa, Avant Car Guard insert themselves in spaces where they engage parodically with memorial sites and the tradition of landscape representation. In both cases, white masculinity is called into question through self-representation, engaging with notions of Afrikaner hegemony and white anxiety.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130259957","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 "in-between" element of the Europa and the Bull myth: responses by contemporary Greek artists (2002-2018) to the myth's politicisation by the EU 欧罗巴与公牛神话的“中间”元素:当代希腊艺术家(2002-2018)对欧盟将神话政治化的回应

Image & Text Pub Date : 2022-12-02 DOI: 10.17159/2617-3255/2022/n36a18

Themis Veleni

{"title":"The \"in-between\" element of the Europa and the Bull myth: responses by contemporary Greek artists (2002-2018) to the myth's politicisation by the EU","authors":"Themis Veleni","doi":"10.17159/2617-3255/2022/n36a18","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a18","url":null,"abstract":"This paper presents a tripartite analysis of the political use of the Europa and the Bull myth in pro-European and Eurosceptical representations using the \"in-between\" concept. The \"in-between\" has long been used in philosophy and architecture and has been presented by Elizabeth Grosz (2001) within a broader context as an insightful tool for analysis. Here I use it to reveal the inner meanings of the myth and its political uses. First, I analyse how this concept of the \"in-between\" unfolds in two fundamental ideas of the myth, transformation (or metamorphosis) and transition (or transportation), signifying on a symbolic and political level a passage from one place/state of being to another, thus making it instrumental in shaping the political dynamic of the myth in the twentieth and twenty-first century. Secondly, I examine the role of this \"in-between\" concept in the process of the transformation of the myth from a cultural to a political one and in the use of the myth as such during times of European Union (EU) conflicts. Finally, I present artworks created by contemporary Greek artists in the years 2002-2018 as evidence of the above, setting their work on the international stage of artistic responses within the political arena.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122381394","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

Defining a sphere of influence: Karel Landman's centenary monument 界定势力范围:卡雷尔·兰德曼的百年纪念碑

Image & Text Pub Date : 2022-12-02 DOI: 10.17159/2617-3255/2022/n36a14

B. Schmahmann, Vineet Thakur, P. Vale

{"title":"Defining a sphere of influence: Karel Landman's centenary monument","authors":"B. Schmahmann, Vineet Thakur, P. Vale","doi":"10.17159/2617-3255/2022/n36a14","DOIUrl":"https://doi.org/10.17159/2617-3255/2022/n36a14","url":null,"abstract":"Located on a cleared koppie called \"Kolrand\" in the Eastern Cape, the Karel Landman Monument (KLM) was designed by Gerhard Moerdijk. Its foundation was laid on 16 December 1938, and the monument itself was unveiled a year later. But rather than being a straightforward outgrowth of the celebrations that surrounded the Centenary of the Great Trek, it is revealed that the KLM was mired in controversy about Karel Landman's standing as a \"Voortrekker\" and the monument's legitimacy. It is argued also that, despite seeming unusual, it deploys visual tropes that can be discerned in other monuments that emanated from the Centenary Trek. Furthermore, it is proposed that its visual language is tied into Afrikaner imaginaries that held sway in the late 1930s. In its inclusion of a globe and its treatment of the trek motif within it, the KLM is underpinned by a conception of South Africa's place in the world that is at odds with a British imperialist vision of the Cape and Egypt as civilising points at either end of a dark hinterland. It would seem instead to be tied into conceptions of the heartland of Africa as an abode in which the white Afrikaner enjoys a God-given predominance and may perhaps even be linked to conceptions of Monomotapa which were an influence on Moerdijk.","PeriodicalId":288281,"journal":{"name":"Image & Text","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130858882","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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