IF 0.1

De Arte Pub Date : 2022-09-02 DOI: 10.1080/00043389.2022.2152965

Catharina de Klerk

{"title":"Between the Pages: Human Fragility and the Patina of Time in Guy du Toit’s Book of Play I and Book of Play II","authors":"Catharina de Klerk","doi":"10.1080/00043389.2022.2152965","DOIUrl":"https://doi.org/10.1080/00043389.2022.2152965","url":null,"abstract":"Abstract Various contemporary artists have explored people’s relationships with the natural world through artworks based on the book format, including artist’s books and book sculptures. This study contributes to the discussion on the ways visual storytelling can work towards re-visualising narratives, making untold stories visible, with specific reference to Book of Play I and Book of Play II (2017) by contemporary South African artist Guy du Toit. The aim of this article is to explore narrative suggestions of stories that remain untold, as felt through the empty spaces between the book covers. I argue that Du Toit’s book sculptures evoke experiences of loss and transience through his representation of the impact of the passage of time and the effects of the elements on the medium of bronze. Building on David Macauley’s environmental philosophy (Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas. New York: SUNY Press, 2010), and specifically his suggestion to re-evaluate how to relate to the natural world by viewing ecological considerations as a form of “re-story-ation”, I suggest that Du Toit’s book sculptures offer a starting point for an exploration of our fragile relationship with the natural world.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"57 1","pages":"50 - 72"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46921482","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

“Your Shadow Blocks My Sun”: Reading Alternative Narratives in The New Parthenon and Other Films by Penny Siopis “你的影子挡住了我的太阳”：阅读Penny Siopis的《新帕特农神庙》和其他电影中的另类叙事

IF 0.1

De Arte Pub Date : 2022-09-02 DOI: 10.1080/00043389.2022.2146267

I. Bronner

{"title":"“Your Shadow Blocks My Sun”: Reading Alternative Narratives in The New Parthenon and Other Films by Penny Siopis","authors":"I. Bronner","doi":"10.1080/00043389.2022.2146267","DOIUrl":"https://doi.org/10.1080/00043389.2022.2146267","url":null,"abstract":"Abstract In The New Parthenon, as with her other films, Penny Siopis pieces together fragments of found footage of anonymous home videos, shot handheld on 8 or 16 mm film. The films are digitised first for sampling, but not digitally remastered, and are then combined with music and subtitles from various sources. These films narrate the stories of individuals, set against significant historical and political events. Evocativeness and anxiety are induced by the un-specificity of the connections between images and subtitles, heightened by the materiality of the amateur home video footage, often centred on quotidian family life and holidays, that has been reframed to narrate events that continue to reshape nations. I introduce the construction of a nation as a political community and examine how Siopis subverts narratives that connect ancient and contemporary Greece and its own internal antisemitic and nationalist conflicts to those of apartheid South Africa and imperialist Britain. I propose that the numerous representations of souvenir replicas and icons in The New Parthenon appear to perform a witnessing role to public and personal histories, while symbolically holding historical traumas in frozen form. I focus on Siopis’s mediated views of the Acropolis structures in the film, considering the symbolic bleaching of the Parthenon Marbles in the nineteenth-century British imaginary to track whiteness as a signifier of power. Siopis migrates this to signifiers of apartheid South Africa in order, I argue, to critique the narratives that maintain national imaginaries and to propose instead an aesthetics of reattachment.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"57 1","pages":"25 - 49"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43132643","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

Rock Art in Makumbe Cave: Disentangling Visual Layers Makumbe洞穴的岩石艺术：解开视觉层次

IF 0.1

De Arte Pub Date : 2022-09-02 DOI: 10.1080/00043389.2022.2151228

Laura de Harde

引用次数: 0

Video Games, Art-Making, and Digital Commemorative Narratives 电子游戏、艺术制作和数字纪念叙事

IF 0.1

De Arte Pub Date : 2022-09-02 DOI: 10.1080/00043389.2022.2149136

Lyrene Kühn-Botma

引用次数: 1

The Attempt to Be Here Now: “Storying” Time through a Virtual Audiovisual Archive 现在的尝试：通过虚拟视听档案“讲故事”的时间

IF 0.1

De Arte Pub Date : 2022-05-04 DOI: 10.1080/00043389.2022.2145762

Larita Engelbrecht

{"title":"The Attempt to Be Here Now: “Storying” Time through a Virtual Audiovisual Archive","authors":"Larita Engelbrecht","doi":"10.1080/00043389.2022.2145762","DOIUrl":"https://doi.org/10.1080/00043389.2022.2145762","url":null,"abstract":"Abstract This article explores how conceptions of time are visualised and “storied” in the collaborative photography and video project Hemelliggaam or the Attempt to Be Here Now by Cape Town-based artists Tommaso Fiscaletti and Nic Grobler. Hemelliggaam is a digital audiovisual archive of photography and video installations “exploring the existential aspects of the human–environment– astronomy relationship” (https://hemelliggaam.squarespace.com/about). Through analysing a selection of photographs and videos, my investigation attempts to unravel the human–environment–astronomy relationship as it plays out in various narratives in the virtual archive. Combining representations of astronomic sites, such as the Square Kilometre Array (SKA) project in Carnarvon, with fragments of Afrikaans author Jan Rabie’s mid-century sci-fi novels, the archive seeks to visualise the multifaceted complexity of human engagements with time. I argue that Hemelliggaam, as an audiovisual archive that contextualises time through geology, astronomy, mythology, and science fiction, should be recognised as a project visualising the overlapping of different timescales. The article contextualises Hemelliggaam in contemporary discourses of the Anthropocene, specifically Dipesh Chakrabarty’s idea that a critical framing of the topic needs to recognise the differences between human- historical time and geological-planetary time. By examining the “storying” of overlapped timescales, I suggest that an interdisciplinary approach acknowledging the contributions of both the sciences and the humanities to meaning-making is increasingly relevant to our age of planetary crisis.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"57 1","pages":"4 - 32"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42653745","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 Order to Know, We Must Imagine for Ourselves: How Artworks by Penny Siopis and Anton Kusters Re-present Traumatic Histories for Participatory, Open-Ended Re-imaginings 为了了解，我们必须为自己想象:佩妮·西奥皮斯和安东·库斯特斯的艺术作品如何以参与式、开放式的重新想象再现创伤历史

IF 0.1

De Arte Pub Date : 2022-05-04 DOI: 10.1080/00043389.2022.2140505

Dale Washkansky

{"title":"In Order to Know, We Must Imagine for Ourselves: How Artworks by Penny Siopis and Anton Kusters Re-present Traumatic Histories for Participatory, Open-Ended Re-imaginings","authors":"Dale Washkansky","doi":"10.1080/00043389.2022.2140505","DOIUrl":"https://doi.org/10.1080/00043389.2022.2140505","url":null,"abstract":"Abstract There are historical events that remain charged with trauma, thereby resisting the logic of causal progress conventionally ascribed to historical narratives. As obstacles to cohesive representations of history and national identities, these events remain ambiguous and problematic. Prompted by art historian and philosopher Georges Didi-Huberman’s proclamation “In order to know, we must imagine for ourselves” (Images in Spite of All. Chicago: Chicago University Press, 2012, p. 3), I argue that art, by not being intent on resolution or certitude, can offer opportunities to re-present, re-imagine, and re-think traumatic histories. In this article, I bring a selection of films by South African artist Penny Siopis, namely Obscure White Messenger (2010), The Master Is Drowning (2012), and Communion (2011), into conversation with the installation The Blue Skies Project (2018) by Belgian photographer Anton Kusters. I investigate how they engender affective encounters that probe the limits of the known. This is made possible by the artworks’ tangential approach to the events, activating the viewer’s imagination. The imagination facilitates a subjective, contingent, and indeterminate inquiry into the unknown, which the discipline of history often precludes. As viewers are tasked with the work of making meaning, I argue for the unique potential of art and the imagination as highly generative sources for engendering varying and differing expressions of knowledge that remain open-ended. Central to my argument is the way in which the artworks discussed grapple with the dialectics of the image, with the imbrication of the evidentiary and the imagination—knowing and un-knowing.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"57 1","pages":"61 - 84"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48266884","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

Multisensory Narratives of Home and Belonging: Investigating Virtual Representations of Physical Places in Towards Telepathy (2017) and Home Museum (2020) 家与归属的多感官叙事:探讨《心灵感应》(2017)和《家庭博物馆》(2020)中物理场所的虚拟表现

IF 0.1

De Arte Pub Date : 2022-05-04 DOI: 10.1080/00043389.2022.2135854

Jenni Lauwrens

{"title":"Multisensory Narratives of Home and Belonging: Investigating Virtual Representations of Physical Places in Towards Telepathy (2017) and Home Museum (2020)","authors":"Jenni Lauwrens","doi":"10.1080/00043389.2022.2135854","DOIUrl":"https://doi.org/10.1080/00043389.2022.2135854","url":null,"abstract":"Abstract In 2017, while living in two geographically distant locations, South African artist Katherine Bull and French artist Emmanuel de Montbron collaborated on a project in which they used mobile phones and an online blog to share stories about their experiences of place. The end product of their collaboration is Towards Telepathy (2017), a two-channel video that engages viewers on a visceral rather than a merely visual level. In a similar manner, artists who participated in the virtual exhibition of the 2020 Lagos Photo Festival, titled Home Museum (2020), used photographs to produce narratives of home and belonging that are shared with others in an online environment. In this article, I explore how Towards Telepathy and selected photographs from Home Museum draw on memories of multiple senses in order to relate stories of place-making when geographic and physical distance has become the norm. I argue that all the artists can be regarded as sensory autoethnographers, as they used digital technologies to record and present their life histories virtually. Furthermore, I analyse the video and the photographs with reference to Laura Marks’ notions of haptic visuality and recollection-objects. These lenses allow me to show how the images increase the potential for distant others to empathically connect with the artists’ personal and collective stories of place and belonging by evoking sense-based perceptions other than sight.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"57 1","pages":"85 - 105"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48773184","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

Untold Stories: (Re-)Narrativising the Past in the Present through Visual Artmaking 不为人知的故事:通过视觉艺术在当下叙述过去

IF 0.1

De Arte Pub Date : 2022-05-04 DOI: 10.1080/00043389.2022.2145765

Annemi Conradie-Chetty, A. Kearney

引用次数: 0

Dead Living Things: A Cabinet of Curiosities in the Postcolony 《死去的生物:后殖民地的奇珍异宝》

IF 0.1

De Arte Pub Date : 2022-05-04 DOI: 10.1080/00043389.2022.2145033

D. Pretorius

{"title":"Dead Living Things: A Cabinet of Curiosities in the Postcolony","authors":"D. Pretorius","doi":"10.1080/00043389.2022.2145033","DOIUrl":"https://doi.org/10.1080/00043389.2022.2145033","url":null,"abstract":"Abstract This article offers a reflection on a research-led practice project titled Dead Living Things: A Cabinet of Curiosities in the Postcolony through which I explored how academic research can inform and be extended into creative practice. While the project resulted in both creative and textual outputs, the focus here is on the creative output, consisting of a physical cabinet of curiosities filled with a curated collection of found objects, accompanied by a catalogue/artist’s book in hard copy and digital format. The creative work aimed at exploring how a cabinet of curiosities can be used to tell stories informed by postcolonial theory that confront colonial narratives in the contemporary South African context. This article contextualises the creative output by discussing the history of cabinets of curiosities and pointing out their link to colonialism and their influence on contemporary art. This is followed by a reflection on the development of the project, which I carry out by plotting my process onto the iterative cyclic web model of practice-led research and research-led practice developed by Hazel Smith and Roger Dean. I conclude by describing the content, categorisation, and display of the cabinet and the catalogue. Research- led practice, which involved an extensive literature review, visual research, and archival research, guided the conception of the content and form of the final work and resulted in creative work with the potential to be recognised as research output. I found the iterative cyclic web model useful for describing and understanding how the project unfolded, and for understanding the many other possibilities for approaching and developing creative output as research.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"57 1","pages":"33 - 60"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47058513","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

Irma Stern Nudes, 1916–1965, by Michael Godby 伊尔玛·斯特恩裸体，1916-1965，迈克尔·戈比

IF 0.1

De Arte Pub Date : 2022-05-04 DOI: 10.1080/00043389.2022.2144449

H. Smuts

引用次数: 0

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