IF 0.1

De Arte Pub Date : 2021-07-27 DOI: 10.1080/00043389.2021.1955189

I. Bronner

{"title":"African Somaesthetics: Cultures, Feminisms, Politics, edited by Catherine F. Botha","authors":"I. Bronner","doi":"10.1080/00043389.2021.1955189","DOIUrl":"https://doi.org/10.1080/00043389.2021.1955189","url":null,"abstract":"An interdisciplinary philosophical approach akin to hermeneutics and phenomenology, somaesthetics was introduced by pragmatist philosopher Richard Schusterman (who is also Brill’s series editor) as “[t]he critical study and meliorative cultivation of how we experience and use the living body (or soma) as a site of sensory appreciation (aesthesis) and creative self-fashioning” (Schusterman 2012, 34). This volume’s editor, Catherine F. Botha, argues for “the significance of the corporeal” (p. 2) and states that “in its rejection of the somatophobia that characterises most philosophical traditions, somaesthetics aims to re-evaluate the human body and its role in the living of a fulfilled life” (p. 3). Botha highlights that this third volume in Brill’s Studies in Somaesthetics series is the first attempt to bring together original research on somaesthetics within African contexts (rather than Western or Eastern contexts). She positions Schusterman’s pragmatic focus on relativist social practices and political experimentation as ideally suitable to “specifically interrogating the possibilities of the contribution of a somaesthetic approach in the context of colonization, decolonization, and globalization in Africa” (p. 2). Not being able to offer an informed critique of either somaesthetics as a philosophical approach, nor the volume’s contribution to the existing literature on somaesthetics, my focus in this review will be on its potential interest to an audience in the visual and performing arts.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"56 1","pages":"103 - 108"},"PeriodicalIF":0.1,"publicationDate":"2021-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2021.1955189","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42994335","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 Monstrous Feminine: Minnette Vári's Chimera (White Edition) (2001) and the Voortrekker Monument 怪异的女性：米内特·Vári的Chimera（白色版）（2001）和Voortrekker纪念碑

IF 0.1

De Arte Pub Date : 2021-07-01 DOI: 10.1080/00043389.2021.1926703

Roxy Do Rego

{"title":"The Monstrous Feminine: Minnette Vári's Chimera (White Edition) (2001) and the Voortrekker Monument","authors":"Roxy Do Rego","doi":"10.1080/00043389.2021.1926703","DOIUrl":"https://doi.org/10.1080/00043389.2021.1926703","url":null,"abstract":"Abstract For her artwork Chimera (White Edition) (2001), Minnette Vári digitally recorded the panels of the Hall of Heroes found within the Voortrekker Monument and later edited the footage, inserting her own body within these scenes while performing as the mythological Chimera. In so doing, she constructs a hybrid monstrous figure which merges in part with the existing relief sculpture while simultaneously disrupting it. Through Chimera (White Edition) the artist draws a parallel between the Chimera of Greek mythology— the fire-breathing she-monster comprised of a lion's head, goat's body, and dragon's tail—and the monstrosity that is South Africa's political legacy. Moreover, the term “chimera” has come to describe anything which may be perceived as wildly imaginative or implausible. The work then also comments on the racial biases imbued within representations of the Great Trek on the walls of the Voortrekker Monument and the ideologised portrayal of this event as an ode to Afrikaner nationalism. In this article I discuss how, in parodying classical mythology and deploying self-representation, Vári critically addresses her gender and racial identity in a post-apartheid context. I examine whether her representations subvert traditionalist notions of South African femininity, particularly the volksmoeder (mother of the nation) model. I suggest it is a patriarchal construct which Chimera (White Edition) effectively unsettles by means of the monstrous feminine trope.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"57 1","pages":"3 - 27"},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2021.1926703","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41509713","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

Editorial 社论

IF 0.1

De Arte Pub Date : 2021-01-02 DOI: 10.1080/00043389.2022.2035122

Estelle McDowall, Leandra Koenig-Visagie, Le Roux van der Merwe, Obakeng Kgongoane, A. Kearney

引用次数: 0

Reciting Performative Memories: Spectral Photography at the Ntaba kaNdoda Monument and Mountain 背诵表演记忆:在Ntaba kaNdoda纪念碑和山的光谱摄影

IF 0.1

De Arte Pub Date : 2021-01-02 DOI: 10.1080/00043389.2021.1995679

Thando Mama

{"title":"Reciting Performative Memories: Spectral Photography at the Ntaba kaNdoda Monument and Mountain","authors":"Thando Mama","doi":"10.1080/00043389.2021.1995679","DOIUrl":"https://doi.org/10.1080/00043389.2021.1995679","url":null,"abstract":"Abstract This article engages with the haunting experiences associated with the Ntaba kaNdoda monument, not as a re-enactment to recreate past events, but as an exercise in critical visual arts intervention. It further unpacks notions of memory and performative memorialisation in the former Ciskei. Ntaba kaNdoda is associated with Dr Lennox L. W. Sebe, former president of the Ciskei, who remains a figure in post-apartheid South Africa. This article is also a response to this majestic monument—its visual representation and its materiality—which enabled a particular performativity throughout my work. As part of my practice I recite performative memories at an abandoned monument, retracing and recalling overlaid memories through commemorative re-enactment. Mechtild Widrich's conception of performative monuments, Lucy Lippard's sense of place, and Pierre Nora's lieux de mémoire and milieux de mémoire inform the theoretical rationale of this article, expanding my research interest in the Ntaba kaNdoda memorial. I urge for a visual art practice that looks at the past to make sense of the present. I emphasise the importance of understanding how one encounters a commemorative marker such as the Ntaba kaNdoda monument when considering future memorials, especially when we engage with post-colonial commemorative markers, places, and photographic material.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"56 1","pages":"46 - 70"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42107663","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

Condensing Vestiges of Past Futures in the Post-Peripheries: Artistic Engagement with Post-Colonial and Post-Authoritarian Contexts 后边缘地区凝聚过去未来的痕迹:后殖民和后威权语境下的艺术参与

IF 0.1

De Arte Pub Date : 2021-01-02 DOI: 10.1080/00043389.2021.1968631

Katarzyna Cytlak

{"title":"Condensing Vestiges of Past Futures in the Post-Peripheries: Artistic Engagement with Post-Colonial and Post-Authoritarian Contexts","authors":"Katarzyna Cytlak","doi":"10.1080/00043389.2021.1968631","DOIUrl":"https://doi.org/10.1080/00043389.2021.1968631","url":null,"abstract":"Abstract This article analyses the archival and historiographic turn in contemporary art that arose in response to post-authoritarian, post-communist, and post-crisis contexts. It references German philosopher Reinhart Koselleck's concept of Vergangene Zukunft (the past future), his idea of the multiplicity of historical times; Cameroonian philosopher Achille Mbembe's notion of the time of entanglement; and Argentine-Mexican sociologist Néstor García Canclini's concept of multitemporal heterogeneity. Through an examination of recent hybridised artworks by Clemente Padín (Uruguay), Marek Sobczyk (Poland), Tamás Kaszás (Hungary), Kiluanji Kia Henda (Angola), and Michael Rakowitz (Iraq/United States), the article focuses on how these artists construct metahistorical narratives about domination and resistance from several images taken from high and popular cultures. These works respond to post-authoritarian trauma, socio-political crisis, and a general state of ideological confusion characteristic of world regions placed between major centres of power. Rather than referencing historical facts, the artists refer to popular culture, personal experiences, memories, expectations, and (unfulfilled) hopes or (uncompleted) past projects. Yet their aim in creating these artworks, mockuments, and artist's books is to construct not fictional narratives, but historical ones.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"56 1","pages":"23 - 45"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48824786","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

Discussing Style with Ghosts: Aesthetics and Haunting in the Age of Historicism 以鬼论风格:历史主义时代的美学与幽灵

IF 0.1

De Arte Pub Date : 2021-01-02 DOI: 10.1080/00043389.2021.1968630

Julian Blunk

引用次数: 0

Source of Nostalgia and Archival Recreation: The South African Hellenic Archive 怀旧和档案娱乐的来源：南非希腊档案馆

IF 0.1

De Arte Pub Date : 2021-01-02 DOI: 10.1080/00043389.2021.1983244

Melissa Moniz

引用次数: 0

Of Unknown Men: Rembrandt or Not? A South African Provenance Story 无名人物:伦勃朗还是不是?南非的起源故事

IF 0.1

De Arte Pub Date : 2021-01-02 DOI: 10.1080/00043389.2021.1882768

Gerard de Kamper, Isabelle McGinn

{"title":"Of Unknown Men: Rembrandt or Not? A South African Provenance Story","authors":"Gerard de Kamper, Isabelle McGinn","doi":"10.1080/00043389.2021.1882768","DOIUrl":"https://doi.org/10.1080/00043389.2021.1882768","url":null,"abstract":"Abstract The artist Rembrandt van Rijn (1606–1669) is a highly regarded master of the Dutch Golden Age, and consequently the subject of extensive international research. Museums worldwide give him pride of place in their collections. Given the artist’s established prominence it is therefore shocking that in the last fifty years researchers have been able to successfully challenge the status of hundreds of artworks previously considered authentic. Added now to these challenges is a small unsigned portrait of an old bearded man in the University of Pretoria Museums. In 2016 this painting formed part of a pilot study investigating the provenance and authenticity of the J. A. van Tilburg Collection, donated to the university in 1980. Although international experts had attributed the portrait to Rembrandt since the 1890s, this article presents contradictory research that raises significant issues regarding these authentication processes and highlights the current position of considered art experts in such processes. Exploring the provenance of the painting and using the conclusions drawn from technical analysis, we show it is clear the painting in the University of Pretoria collection is not a Rembrandt.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"56 1","pages":"5 - 22"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2021.1882768","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45292008","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

Collaborative Curating: Democratising Inclusion 合作策展：民主包容

IF 0.1

De Arte Pub Date : 2020-09-25 DOI: 10.1080/00043389.2020.1815951

J. Crawshay-Hall

{"title":"Collaborative Curating: Democratising Inclusion","authors":"J. Crawshay-Hall","doi":"10.1080/00043389.2020.1815951","DOIUrl":"https://doi.org/10.1080/00043389.2020.1815951","url":null,"abstract":"Abstract In this article, I discuss the perceived failure of the second Johannesburg biennale, Trade Routes: History amd Geography, curated by Okwui Enwezor in 1997. Although curating can be used as a socio-critical tool, Enwezor's authorial curatorial model as witnessed in Trade Routes is criticised for being non-responsive towards issues the South African public was actively dealing with in 1997, which contributed to its perceived failure. As a seminal mega-exhibition in South Africa, I consider the influence Trade Routes may have had on subsequent South African curatorial practice and discuss whether Trade Routes may have acted as a catalyst for local curators to consider alternative curatorial methodologies. I argue that South Africa has witnessed a shift towards group, participatory, and community-driven curatorial approaches. I review Portia Malatjie's group curatorial strategy as evidenced in , exhibited in 2012, and the advantages obtained thereby. I discuss how group curatorial strategies subvert the inherited manner of conceptualising, theorising, and organising an exhibition and how this provides opportunities to democratise access and pluralise inclusion. I propose that post-apartheid curatorial practices require caution with regard to valuing one group or individual over another and that collaborative curatorial approaches may foster a method of continuous self-reflection and regulation.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"56 1","pages":"4 - 28"},"PeriodicalIF":0.1,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2020.1815951","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49450353","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

Fostering Archive Awareness at Art Museums in South Africa 提高南非艺术博物馆的档案意识

IF 0.1

De Arte Pub Date : 2020-09-01 DOI: 10.1080/00043389.2020.1857948

Daniel Rankadi Mosako

{"title":"Fostering Archive Awareness at Art Museums in South Africa","authors":"Daniel Rankadi Mosako","doi":"10.1080/00043389.2020.1857948","DOIUrl":"https://doi.org/10.1080/00043389.2020.1857948","url":null,"abstract":"Abstract The purpose of this article is to emphasise the importance of exhibiting archival records in art museum spaces as a knowledge development and information dissemination stance. The article also draws attention to the limitations that are encountered in fostering the public programming of archives through digital technology in art museums. The 2013 Revised White Paper on Arts, Culture and Heritage states that cultural and creative industries should ensure that as many South Africans as possible have access to arts, culture, and heritage offerings, and this includes archival records. However, art museum archives continue to be exclusionist and often act as historical, social, and information barriers for end users. This qualitative study accentuates the importance of physical and remote public programming activities for art museums and art galleries. The study followed a phenomenological research approach and explored the experiences and perceptions of art museum end users in relation to the adequacy of archive public programming. The findings suggest that exhibiting archival holdings at art museums can create awareness among audiences and expose such audiences to cultural history through the archival exhibits, which could be shared externally through digital media.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"55 1","pages":"49 - 69"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2020.1857948","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48249288","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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