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The Resurgence of a New Orientalism from the Middle East 中东地区新东方主义的复兴
World Art Pub Date : 2023-01-02 DOI: 10.1080/21500894.2022.2142275
Kholood Al-fahad
{"title":"The Resurgence of a New Orientalism from the Middle East","authors":"Kholood Al-fahad","doi":"10.1080/21500894.2022.2142275","DOIUrl":"https://doi.org/10.1080/21500894.2022.2142275","url":null,"abstract":"Qatar Museums possesses the most comprehensive collection of Orientalist art in the world. In the next few years, the collection will be displayed and opened to the public with a new vision. The question for Qatar Museums is how to present these works for a local and international audience in a manner that acknowledges interest in Edward Said’s concept of Orientalism, but challenges the confrontational idea of West vs. East and the ethnocentric prejudice that this implies. The approach has been to expand the collection and widen the museum’s scope in order to position the collection of Orientalist art in a broader context. This includes the acquisition of modern and contemporary fashion, art and popular culture to demonstrate the continued relevance and complexity of these cultural exchanges. It also includes prioritizing subjects of enduring relevance to Qatari identity and heritage in the interpretation of the paintings, by focusing displays on topics such as horsemanship and falconry, and incorporating contemporary objects associated with these practices.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129987658","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
Charming Snakes: Taste as Knowledge and the New Narratives of Middle Eastern Orientalist Collections 迷人的蛇:作为知识的品味与中东东方主义收藏的新叙事
World Art Pub Date : 2023-01-02 DOI: 10.1080/21500894.2022.2150889
N. Radwan
{"title":"Charming Snakes: Taste as Knowledge and the New Narratives of Middle Eastern Orientalist Collections","authors":"N. Radwan","doi":"10.1080/21500894.2022.2150889","DOIUrl":"https://doi.org/10.1080/21500894.2022.2150889","url":null,"abstract":"This article examines collections of nineteenth-century European art located in the Middle East and their potential to reconfigure and expand the definition of Orientalism. It investigates how the migration of Orientalist artworks produced in Europe to the spaces they allegedly represent may generate new art-historical narratives that challenge the canonic Saidian postcolonial discourse. First, by addressing the notions of taste and knowledge, it explores the ways representations of racial and gender stereotypes are renegotiated as they enter the collection. Second, it uncovers some aspects of the understudied local histories of Orientalism through artworks produced by artists from the region, so as to broaden its narrative and emphasize its multiple dimensions. Finally, this article reflects on the notion of nostalgia as a possible framework to critically reflect on the apparent ambiguity of the increasing acquisitions of European Orientalist art by Middle Eastern collectors.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123803521","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
El patrimonio maya es la tierra (‘Maya heritage is the earth’): the work of contemporary Yucatec Maya artist Luis May Ku
World Art Pub Date : 2022-12-31 DOI: 10.1080/21500894.2022.2154830
J. Christie
{"title":"El patrimonio maya es la tierra (‘Maya heritage is the earth’): the work of contemporary Yucatec Maya artist Luis May Ku","authors":"J. Christie","doi":"10.1080/21500894.2022.2154830","DOIUrl":"https://doi.org/10.1080/21500894.2022.2154830","url":null,"abstract":"This article investigates Yucatec Maya heritage and identity through the perspective of Indigenous ways of knowing. The focus is the work of Luis May Ku, a contemporary self-identified Yucatec Maya artist from the community of Dzan in the state of Yucatán (Mexico). It considers the interplay of heritage discourses and power hierarchies as they apply to his life in Dzan, in Coba, where he has been teaching, and his outreach to international bodies, like the British Museum, and global marketing. My analysis is a case study of the layered, fluid, shifting, and ambivalent notions of Maya heritage and identity. I situate his artwork and practice in a wider context of Indigenous identity struggles, as seen through Tim Ingold’s relational model and other bottom-up heritage movements. These seek alternatives to capitalism, take strides to de-colonize land, and provide local lessons which – when applied more widely – can help make the more planet sustainable.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127939026","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
Framing the ‘hanging garden' of Seoul – querying heritage transculturally. Jung Yeondoo re-stages (art) history in South Korea in 2009 构筑首尔的“空中花园”——对文化遗产的跨文化质疑。2009年，郑延斗在韩国重新演绎(艺术)历史
World Art Pub Date : 2022-11-02 DOI: 10.1080/21500894.2022.2140705
F. Koch
{"title":"Framing the ‘hanging garden' of Seoul – querying heritage transculturally. Jung Yeondoo re-stages (art) history in South Korea in 2009","authors":"F. Koch","doi":"10.1080/21500894.2022.2140705","DOIUrl":"https://doi.org/10.1080/21500894.2022.2140705","url":null,"abstract":"The split film installation ‘Hanging Garden’ by South-Korean multi-media artist Jung Yeondoo (b. 1969) presents a creative, meta-institutional reflection on how (art) history is, and should be told, in Korea today. It consists of two HD color film sequences, which Jung realized in 2009 for the exhibition Platform in KIMUSA in the section ‘Void of Memory.’ Crucial for the two films is a sequential spatial display that allows viewers to see only one film after the other, since the second sequence reveals the making of the first and is intended to work as a kind of punch line in response. The article explores the ironic ‘framings’ that Jung uses to expose the multi-layered ways heritage is constituted in South Korea given the colonial and authoritarian roots of the art museum. The analysis here follows and contextualizes the esthetic revealing of the art museum’s most contemporary instantiation built on the former site of the Defense Security Command (DSC) in Sogyeok-dong Seoul as a ‘hanging garden’ that is ambivalently suspended between official efforts to establish national ‘heritage’ and citizens’ memories about conflicted pasts, in which the site saw the torture of civilians.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114801744","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
Mo Bahc, the global artworker and the possibility of the network 莫巴赫，全球艺术工作者和网络的可能性
World Art Pub Date : 2022-09-02 DOI: 10.1080/21500894.2022.2114102
David L. R. Houston
{"title":"Mo Bahc, the global artworker and the possibility of the network","authors":"David L. R. Houston","doi":"10.1080/21500894.2022.2114102","DOIUrl":"https://doi.org/10.1080/21500894.2022.2114102","url":null,"abstract":"This paper addresses how Bahc Yiso attained establishment in Korea through vocational labour and flexible authorial practice of his prior incarnation ‘Mo Bahc’ in New York. In relation to the post-1989 contemporary shift from New York to the global artworld and the notion of the networked artworker, it shows how Bahc authorially negotiated this terrain to significantly mediate in the formation of the Seoul artworld. It confirms the influence of the late-capitalist network in shaping the global contemporary artworld, but also demonstrates how the expansion of this field facilitated artworkers who desired to locate themselves beyond the Western institutional and intellectual frameworks of production. In conclusion, it asserts that to account for the progressive practice of a contemporary artworker one should critically attend to the entirety of their labour and agency in the network; beyond and including the production of art works.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"283 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123440419","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 dialogue with nails: Kuzgun Acar’s Elegy to a Modern Man 与钉子对话:库兹贡·阿卡的《现代人挽歌》
World Art Pub Date : 2022-08-18 DOI: 10.1080/21500894.2022.2107058
H. Sever
{"title":"In dialogue with nails: Kuzgun Acar’s Elegy to a Modern Man","authors":"H. Sever","doi":"10.1080/21500894.2022.2107058","DOIUrl":"https://doi.org/10.1080/21500894.2022.2107058","url":null,"abstract":"Little research has been published on the work of Ethiopian-Turkish sculptor and political activist Kuzgun Acar (1928–1976), whose prolific artistic practice constitutes a prescient material inquiry at the intersection of class, blackness and postcolonial identity. His work Elegy to a Modern Man, made entirely from nails, was awarded the first prize at the second Biennale de Paris in 1961. This paper will examine how Elegy to a Modern Man interacts with, and departs from, the use and signification of nails as material and motif in modern and pre-modern art practices. Discussing the genealogical relationships between artworks employing nails either as their primary artistic medium or as the bearers of symbolic meaning, I will trace how Elegy to a Modern Man draws on and dissents from early deployments of nails, including their use in Christian allegory. I will also explore how Acar's work relates to, and differentiates from, the materiality and signification of nails in Man Ray's Le Cadeau (1921) and Congolese Nkisi figures. By examining Kuzgun Acar's work, this paper aims to subvert the common assumption that formal and conceptual innovations in the visual arts originate from a putative ‘center’ and are appropriated or copied by artists working in the so-called peripheries. I challenge these assumptions by arguing that an understanding of Kuzgun Acar's practice, as part of a broader map of artistic practices and influences without denying the singular force of his innovation, allows us to reassess the role played by artists outside of the metropolitan centers of the art world in producing and shaping the contemporary languages and forms of art. This article will do so by employing a transnational comparative approach, finding in a variety of approaches across time, space, and culture, the context within which the continuities and departures at play in Acar's work can be understood.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126256769","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
Signs of optimism, symptoms of hope. North and South Korean painting of the 1970s and 1980s. A case study 这是乐观的迹象，希望的征兆。70年代和80年代的朝鲜和韩国绘画。案例研究
World Art Pub Date : 2022-08-16 DOI: 10.1080/21500894.2022.2110152
S. Morley
{"title":"Signs of optimism, symptoms of hope. North and South Korean painting of the 1970s and 1980s. A case study","authors":"S. Morley","doi":"10.1080/21500894.2022.2110152","DOIUrl":"https://doi.org/10.1080/21500894.2022.2110152","url":null,"abstract":"I discuss modern art in relation to hope, using as a case study the stylistically and ideologically diametrically opposed paintings produced in the two Koreas: the Democratic People’s Republic of Korea (DPRK) and the Republic of Korea during the 1970s and 1980s. I narrow the comparison by limiting the discussion of the latter context to the artist Chung Sang Hwa (or Chung Sang-Hwa), who has subsequently become well-known internationally in relation to the tendency dubbed ‘Dansaekhwa’ – the Korean term for ‘monochrome’ or ‘one-colour-painting.’ In opposition to Chung’s work, I discuss the North Korean variant of Socialist Realism, Juche Realism, the official (and only) form of art in the DPRK to this day. I consider the role of positive thoughts and emotions, in particular expectation, optimism, and especially, hope in determining why this art was produced and how it was received. I argue that as part of the program in which art is subordinated to political ritual, North Korean art encodes signs of social optimism. Chung Sang Hwa, by contrast, is symptomatic of a tendency in South Korean art of the period to absorb important values from western culture, blending them with intimate knowledge of local traditions and values. Chung ritualized the art making process itself as a highly personalized source of hope. In the senses in which I use the linked terms ‘optimism’ and ‘hope,’ the former implies art as a tool of wish-fulfillment aimed at pacifying people in the present. By contrast, the ‘hope’ I refer to in relation to Chung involves the refusal to instrumentalize art, combined with the obligation to use art to face up to the potentially cataclysmic challenges of an uncertain world.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122325559","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
Revitalization through art in three Chinese villages: Gejia, Chengyang, and Dingwang 以艺术振兴三个中国村落:葛家、城阳、定旺
World Art Pub Date : 2022-08-08 DOI: 10.1080/21500894.2022.2103844
Magdalena Gimbut, Artur Rega
{"title":"Revitalization through art in three Chinese villages: Gejia, Chengyang, and Dingwang","authors":"Magdalena Gimbut, Artur Rega","doi":"10.1080/21500894.2022.2103844","DOIUrl":"https://doi.org/10.1080/21500894.2022.2103844","url":null,"abstract":"This study presents one of many rural area revitalization programs conducted in contemporary China. Using the case of an art-led revitalization program conducted by Ningbo Municipality in cooperation with Renmin University (Beijing) in three villages (Gejia, Chengyang, and Dingwang), we analyze the relational role of art and art practices as part of rural communities’ development. We focus on material changes in the villages and symbolic, less measurable ones. We describe how the program helped to revitalize relationships with place (person – place), how the changes in material surroundings influenced relationships among people (person – person), and how they reshaped the bonds connecting people and their natural surroundings (person – nature). We address four main questions: (1) how the program was possible and financed; (2) what is the art concept used to promote positive changes; (3) how art and place-making processes are intertwined; and (4) what is the future of this program in Gejia, Chengyang and Dingwang villages. We also show how the above-mentioned processes may help combat poverty and depopulation in rural areas.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122176631","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
Bottled Ocean 2120: George Nuku, the Ocean, plastic and the role of artists in discussing climate change 瓶装海洋2120:乔治·努库，海洋，塑料和艺术家在讨论气候变化中的作用
World Art Pub Date : 2022-05-17 DOI: 10.1080/21500894.2022.2070659
K. Jacobs
{"title":"Bottled Ocean 2120: George Nuku, the Ocean, plastic and the role of artists in discussing climate change","authors":"K. Jacobs","doi":"10.1080/21500894.2022.2070659","DOIUrl":"https://doi.org/10.1080/21500894.2022.2070659","url":null,"abstract":"This article discusses George Nuku’s artwork Bottled Ocean 2120 by focusing on the two core components of its title, the ocean and plastic, in order to explore the role of the Oceanic artist in the global climate change debate. Drawing on the understanding that artists can help to change perspectives in the debate on climate change and justice, the focus in this article is on Oceanic artists who move the discussion beyond the idea of Oceania being the region that contributes the least but is challenged the most by climate disaster, which includes plastic pollution. With his Bottled Ocean series, George Nuku laments the state of plastic-filled ocean in a region that expresses a connection to it. He urges the viewer to stop the single use of plastic, an action that he hopes to inspire by considering and demonstrating the divinity of the material.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126937596","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
From mechanism to organicism: thoughts on linear perspective and re-contextualizing contemporary Chinese art 从机制到有机:关于线性视角与中国当代艺术重新语境化的思考
World Art Pub Date : 2022-05-04 DOI: 10.1080/21500894.2022.2066167
Renjie Li
{"title":"From mechanism to organicism: thoughts on linear perspective and re-contextualizing contemporary Chinese art","authors":"Renjie Li","doi":"10.1080/21500894.2022.2066167","DOIUrl":"https://doi.org/10.1080/21500894.2022.2066167","url":null,"abstract":"In the context of art history, the rise and fall of linear perspective in painting is typically discussed as a framework for studying changes in artistic styles. This essay aims to re-examine the modes of thinking behind artistic practice between the sixteenth and twenty-first centuries, investigating how shifts in ways of thinking have been applied to artistic creation and noting that the rise and decline of linear perspective are aligned with changes in philosophical thinking in the corresponding periods. Furthermore, cybernetics has penetrated contemporary artistic creation as a further current in organic thinking. The current tendency in contemporary Chinese art is towards technological art, which is based on a cybernetic mindset rather than traditional Chinese art. Focusing on linear perspective in artworks, I compare the relationship between linear perspective, mechanism, and organicism during the same period, in the hope of bringing an appreciation of the sublime back into the work of art, whilst also, countering the sinking homogeneous tendencies of technological systems established by cybernetics.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"311 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123931589","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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