Cross Currents最新文献

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CrossCurrents at 48 横流在48
Cross Currents Pub Date : 2021-01-09 DOI: 10.1111/cros.12452
Charles Henderson
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引用次数: 0
A Brief History of the Research Colloquium 研究讨论会简史
Cross Currents Pub Date : 2021-01-09 DOI: 10.1111/cros.12453
Charles Henderson
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引用次数: 0
Evangelizing a Modern Agnostic Culture 传播现代不可知论文化
Cross Currents Pub Date : 2021-01-04 DOI: 10.1111/cros.12444
Eugene P. Trager
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引用次数: 0
Contributors 贡献者
Cross Currents Pub Date : 2021-01-04 DOI: 10.1111/cros.12441
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引用次数: 0
Nollywood and Pentecostalism 奈莱坞和五旬节派
Cross Currents Pub Date : 2020-12-16 DOI: 10.1111/cros.12432
Chijioke Azuawusiefe
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引用次数: 0
Cinema 电影
Cross Currents Pub Date : 2020-12-10 DOI: 10.1111/cros.12431
S. Brent Plate
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引用次数: 0
People on the Move 移动中的人们
Cross Currents Pub Date : 2020-11-26 DOI: 10.1111/cros.12436
Daria Pezzoli-Olgiati
{"title":"People on the Move","authors":"Daria Pezzoli-Olgiati","doi":"10.1111/cros.12436","DOIUrl":"10.1111/cros.12436","url":null,"abstract":"<p>In August 2018 an Italian sculptor placed a full-scale reproduction of the Vatican <i>Pietà</i> on a fishing boat off the coast of the small island of Lampedusa, an immigration entrance point for thousands of people in search of shelter and a better future in Europe. Fabio Viale’s <i>Pietà senza Cristo</i> is not an exact copy of the iconic work by Michelangelo since, as the name indicates, the body of Christ is missing. Viale has used the absent Christ as an opportunity to reconceive the great sculpture by placing it in different settings. Viale's marble sculpture was first exhibited in 2017 in an art gallery in Milan.<sup>1</sup> Later, it was set up and photographed as part of a poster installation titled <i>Lucky Ehi</i>, in which the marble <i>Pietà senza Cristo</i> is presented with a naked man lying on Mary’s lap in the place of the dead Jesus. Ehi, the man at the center of the photograph, is a refugee from Nigeria who crossed the Mediterranean Sea like many others to reach the land of his dreams, Italy. Conceived as an art installation, the poster was accompanied by an audio file narrating Ehi’s risky journey.<sup>2</sup> Viale's <i>Pietà</i> was then used off the coast of Lampedusa, in a further artistic action known as <i>In mare la Pietà</i> (<i>The Pietà at Sea</i>).</p><p>In both works, <i>Lucky Ehi</i> and <i>In mare la Pietà</i>, the marble sculpture <i>Pietà senza Cristo</i> was put in conversation with migration in the Mediterranean; the iconic representation of the desperate mother holding the corpse of her son in her arms depicts, in the words of the artist, “rather a synthesis of a dramatic historic moment.”<sup>3</sup> For Viale, a floating, “empty” <i>Pietà</i> on the Mediterranean transforms a sculpture into a symbolic act of participation and empathy towards people crossing the sea. At the same time, this work can be understood as a message to the inhabitants of Europe, as a plea to question their attitudes towards refugees.<sup>4</sup></p><p>A few months later, at the 58th International Art Exhibition at <i>La Biennale di Venezia</i> 2019, the Swiss artist Christoph Büchel presented the work <i>Barca nostra</i> (<i>Our Boat</i>) in an open air zone of the Arsenale, the location where the city of Venice used to produce its famous naval fleet and where today the Biennale takes place. The art work consists of the original wreck of a Lybian ship that sank on April 18, 2015, in the Sicilian Channel with at least 700 people on board. Pulling the ship—in fact, the grave of so many people—out of the sea and transporting it to the Venetian lagoon was received as a strong, controversial action. The shipwreck simultaneously depicted the fragility of the boat and human life, as well as the fragility of the hope of its passengers. Presenting an empty tomb as a work of art, the piece challenged indifference (Fig. 1).<sup>5</sup></p><p>These artistic elaborations on migration question both European policies regulating migration and i","PeriodicalId":42142,"journal":{"name":"Cross Currents","volume":"70 3","pages":"263-275"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/cros.12436","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130208779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Souvenirs of the Apocalypse 启示录纪念品
Cross Currents Pub Date : 2020-11-19 DOI: 10.1111/cros.12440
Rachel Wagner
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引用次数: 1
Once The Buddha Was Born as Keanu Reeves 饰演基努·里维斯
Cross Currents Pub Date : 2020-11-12 DOI: 10.1111/cros.12437
Sharon A. Suh
{"title":"Once The Buddha Was Born as Keanu Reeves","authors":"Sharon A. Suh","doi":"10.1111/cros.12437","DOIUrl":"10.1111/cros.12437","url":null,"abstract":"","PeriodicalId":42142,"journal":{"name":"Cross Currents","volume":"70 3","pages":"276-288"},"PeriodicalIF":0.0,"publicationDate":"2020-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/cros.12437","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123317656","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: 2
Film as a Ritual of Seeing Beyond the Visible 电影作为一种超越可见的仪式
Cross Currents Pub Date : 2020-11-12 DOI: 10.1111/cros.12433
Hwasun Choe
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引用次数: 0
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