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Chronological Dyslexia: Remembering/Representing/Performing Aids 时间顺序阅读障碍:记忆/表现/表演辅助
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_r_00339
Amelia Jones
{"title":"Chronological Dyslexia: Remembering/Representing/Performing Aids","authors":"Amelia Jones","doi":"10.1162/artm_r_00339","DOIUrl":"https://doi.org/10.1162/artm_r_00339","url":null,"abstract":"Abstract Exploring two major books on the visual and performance histories of the ongoing and historical AIDS crisis in the US and beyond—Brian Getnick's edited volume Final Transmission and Avram Finkelstein's firsthand account, After Silence—this review asks how we have come to contemplate and understand the intensities, losses, and absences of the AIDS catastrophe. Drawing on theories on death, dying, and the cultural expressions around them, the review puts pressure on the particular offerings of these two very different books, ultimately pulling out passionate moments of vulnerability and self-reflexivity in each book as the most effective and powerful ruminations on global crises such as the AIDS pandemic.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"92-105"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46416701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Abstract and the Concrete in Modern Art 现代艺术中的抽象与具体
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00343
Tomás Maldonado
{"title":"The Abstract and the Concrete in Modern Art","authors":"Tomás Maldonado","doi":"10.1162/artm_a_00343","DOIUrl":"https://doi.org/10.1162/artm_a_00343","url":null,"abstract":"Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"135-142"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42967214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Grounding the Global: Pathways to Elucidating Tensions in Chinese Contemporary Art 立足全球:解读中国当代艺术的张力之路
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_r_00340
Kathy Yim-king Mak
{"title":"Grounding the Global: Pathways to Elucidating Tensions in Chinese Contemporary Art","authors":"Kathy Yim-king Mak","doi":"10.1162/artm_r_00340","DOIUrl":"https://doi.org/10.1162/artm_r_00340","url":null,"abstract":"Abstract This article reviews two recent books on Chinese contemporary art, Sasha Welland's Experimental Beijing (2018) and Jenny Lin's Above Sea (2019), concerned with the sociopolitical contexts of the 1990s–2000s' globalizing Beijing and Shanghai respectively. By examining the two authors' respective methodologies—Welland's ethnographical field research and Lin's urban cultural research—, this article interprets how these two books shed light on the role of tensions in the intersectional global-local spaces of Chinese contemporary art. It argues that this field of art history necessitates the employment of non-art historical methodologies, as shown by the two books, in order to locate and make visible the intangible tensions hovering in the art's global-local spaces.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"106-120"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45639386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Notes Toward a Materialist Aesthetics 唯物主义美学札记
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00344
Alfredo Hlito
{"title":"Notes Toward a Materialist Aesthetics","authors":"Alfredo Hlito","doi":"10.1162/artm_a_00344","DOIUrl":"https://doi.org/10.1162/artm_a_00344","url":null,"abstract":"Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"143-146"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47898082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Roundtable on John Clark's The Asian Modern 约翰·克拉克《亚洲现代》圆桌会议
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00335
M. Juneja, Gao Minglu, Chaitanya Sambrani, N. Taylor, Ming Tiampo
{"title":"Roundtable on John Clark's The Asian Modern","authors":"M. Juneja, Gao Minglu, Chaitanya Sambrani, N. Taylor, Ming Tiampo","doi":"10.1162/artm_a_00335","DOIUrl":"https://doi.org/10.1162/artm_a_00335","url":null,"abstract":"Abstract The book, The Asian Modern, by John Clark (with an Introduction by the Manila-based critic and curator, Patrick Flores) seeks to construct a “cross-Asian” account through a detailed historical and empirical focus on 30 artists spanning Southeast, East, and South Asia, as well as Australia. At the core of the book is the premise that the given place, “Asia,” is the locus for a critique of the normative account of modernism tethered to another locale, identified by Clark as “Euramerica.” These focused geographic arenas provide the basis for novel itineraries, dynamic dispersals, and alternative sightlines that reject the conventional frame of the nation. Given the ambitious scale and scope of Clark's project, the ARTMargins editors invited five historians of modern and contemporary art in Asia—Monica Juneja, Ming Tiampo, Nora Taylor, Gao Minglu, and Chaitanya Sambrani—to critically reflect upon the methodological and scholarly implications of his undertaking for the narratives of art history in Asia and beyond. Their responses point up both the limits and merits of The Asian Modern, and address important themes and debates in approaches to global art history, more broadly.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"8-25"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45695514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Barbad Golshiri's Acts of Alterity 巴巴德·戈尔希里的交替行为
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00338
Sandra Skurvida
{"title":"Barbad Golshiri's Acts of Alterity","authors":"Sandra Skurvida","doi":"10.1162/artm_a_00338","DOIUrl":"https://doi.org/10.1162/artm_a_00338","url":null,"abstract":"Abstract In his transdisciplinary practice, artist, writer, and translator Barbad Golshiri interprets from his viewpoint located in Iran the iconic pieces of the European art history, including paintings by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. Inserting his own artistically inscribed body into the material milieus of these artists, Golshiri activates the present via transfer of the past onto the future, in an attempt to differentiate the script of history. Deleuzian approach of repetition as a means of differencing instigates this interrogation of Golshiri's Malevich cycle, comprising Quod (2010), which references Malevich's Black Square (1915); Cura; the Rise and Fall of Aplasticism, (2013), restaging in Moscow and Tehran the Last Futurist Exhibition of Paintings 0.10 (Petrograd, 1915); and post-performance object “.” (2013); as well as a series of QR code actions that continue the process of dematerialization of Black Square via social mediation. In their coded language, these works speak truth to power.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"73-91"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47291347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Memory Zero 内存为零
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00341
Sean Smuda
{"title":"Memory Zero","authors":"Sean Smuda","doi":"10.1162/artm_a_00341","DOIUrl":"https://doi.org/10.1162/artm_a_00341","url":null,"abstract":"Abstract The repression of memory as a result of trauma from war and social divisions is often an experience that obscures or intensifies personal histories. This is especially true between generations. The Memory Zero project is an attempt to bridge this gap through drawn impressions from intergenerational family stories collaged with image and text searches to locate their approximate times and places. Together this creates, hopefully, a fuller historical and affective context. For this, I drew from family stories and histories in England and Poland before and after World War l. In this way the personal and historical approximations merge into their own continuum, greater than their parts.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"121-126"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41608668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Yugoslavia with Strings Attached: Boris Kralj's My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's There's Nothing Here (2020) 南斯拉夫与弦相连：Boris Kralj的《我的贝尔格莱德》（2011）和Dubravka Ugrešić和Davor Konjikušič的《这里什么都没有》（2020）
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00337
Vlad Beronja
{"title":"Yugoslavia with Strings Attached: Boris Kralj's My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's There's Nothing Here (2020)","authors":"Vlad Beronja","doi":"10.1162/artm_a_00337","DOIUrl":"https://doi.org/10.1162/artm_a_00337","url":null,"abstract":"Abstract This article examines the contemporary photographic representations of Yugoslav modernist architecture and its ruins that serve as a counterpoint to the 2019 MoMA exhibition, Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, a project that brought socialist architectural modernism to international visibility. In particular, I focus on Boris Kralj's photo-diary My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's photo-essay There's Nothing Here! (2020) to explore the ruins of Yugoslav socialist modernity not only as an object of aesthetic fascination, but also as an emotionally and politically charged site of collective nostalgia and politicized mourning in the postsocialist now. While Kralj documents the vanishing remains of socialism in millennial Belgrade to recollect a diasporic, increasingly non-normative and “queer” Yugoslav identity, Ugrešić and Konjikušić foreground the ruins of Yugoslav anti-fascist monuments as a traumatic void—a discursive silence about the effects of racialized, ethno-nationalist violence in EU's new borderlands. I argue that both projects stage architectural photography as a situated and contextual practice by inscribing affective attachments and politically oppositional meanings into the postsocialist architectural palimpsest.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"51-72"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46327320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship 反档案馆的艺术：Rosângela Rennó的书和独裁统治的秘密档案
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00336
Marina Bedran
{"title":"Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship","authors":"Marina Bedran","doi":"10.1162/artm_a_00336","DOIUrl":"https://doi.org/10.1162/artm_a_00336","url":null,"abstract":"Abstract This article examines Brazilian artist Rosângela Rennó's books 2005–510117385–5 and A01 [COD.19.1.1.43] – A27 [S | COD.23], which engage with photographs stolen from public collections in Rio de Janeiro. Both books triggered a conversation about institutional precarity and its effects on national memory and cultural heritage—one that took place a few years before the 2018 fire at Rio de Janeiro's Museu Nacional, which destroyed much of its invaluable archive of twenty million items and was understood as a national tragedy. It discusses Rennó's books in light of 1960s and 1970s Latin American Conceptualisms, arguing that they propose new ways of understanding the secret files of the 1964–85 dictatorship—a still unresolved issue in Brazil. Tackling the dynamics of public museums, private collections, and incentive laws and activating the generative potential of circulation, Rennó's work provides both a commentary on the role of institutions and national memory and at the same time a warning against the unregulated circulation of the neoliberal market. Ultimately, it offers a critique of the archive's potential to be coopted to authoritarian ends and a model for a public, circulating counter-archive of collective memories.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"26-50"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46514182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
From The Editors 来自编辑
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_e_00333
Katarzyna Pieprzak
{"title":"From The Editors","authors":"Katarzyna Pieprzak","doi":"10.1162/artm_e_00333","DOIUrl":"https://doi.org/10.1162/artm_e_00333","url":null,"abstract":"","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"3-7"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49421269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","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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