Third Text最新文献

{"title":"Arthur Bispo do Rosário","authors":"Carolin Overhoff Ferreira","doi":"10.1080/09528822.2023.2287376","DOIUrl":"https://doi.org/10.1080/09528822.2023.2287376","url":null,"abstract":"Arthur Bispo do Rosário is one of the best-known and most studied Brazilian artists. His work has been discussed and exhibited as art of the unconscious, popular art, modern and contemporary art an...","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"251 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138520233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Lowest Depths","authors":"Atul Bhalla","doi":"10.1080/09528822.2023.2256186","DOIUrl":"https://doi.org/10.1080/09528822.2023.2256186","url":null,"abstract":"In this article, I conceptualise my installation Objects of fictitious togetherness–I that centres on the interplay between memory, postmemory and the search for truth around the Freedom Struggle, ...","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"8 6","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138520239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Why do you fall in love? Why do you worship Vishnu and Shiva?’","authors":"Manuela Ciotti","doi":"10.1080/09528822.2023.2251855","DOIUrl":"https://doi.org/10.1080/09528822.2023.2251855","url":null,"abstract":"Jagdish Mittal, Vijay Kumar Aggarwal and Om Prakash (O P) Jain's biographies share a major commitment: the creation of art institutions in post-independent India. Labelled as India's ‘interior desi...","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"9 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138520228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zinc Vignettes","authors":"Natasha Eaton","doi":"10.1080/09528822.2023.2273059","DOIUrl":"https://doi.org/10.1080/09528822.2023.2273059","url":null,"abstract":"This article explores the agency (often self-effacing) of zinc as the critical material and currency of British imperialism. For Primo Levi zinc embodies a rite of passage between metals and his ow...","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"460 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138520238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Phantom in the Landscape","authors":"Archana Hande","doi":"10.1080/09528822.2023.2253088","DOIUrl":"https://doi.org/10.1080/09528822.2023.2253088","url":null,"abstract":"AbstractThe body of artworks entitled The Golden Feral Trail emerges out of my journeys tracing the relationship between South Asia and Western Australia (WA). Linked by trade and migration flows since the early 1800s, the trail unfolds along the Gold Rush in WA and the detritus it has left behind. Drawing upon visits to cemeteries, abandoned graves, deserted mining pits, ghost towns as well as on institutional archives, oral histories and personal photo albums in WA, I collected traces of the South Asian cameleers and traders, referred to as ‘Afghans’. A shorthand for very diverse nomadic sects found in British records, together with local Wongutha ‘Afghans’ led British explorers in their gold exploration missions into the outback. This article argues that much has gone feral in the contemporary Australian landscape, including seeds, animals, abandoned mines and mining towns. The Golden Feral Trail – a history of nomadic economy, loss and erasure – runs beneath the Australian red soil. What is left on the surface is landscape phantoms.Keywords: Archana HandeCameleersPhantomFeralAfghanNomadicAbandonmentGhost-TownsSouth AsiaWestern AustraliaCalcutta PortCamel-trading AcknowledgementI am grateful to the following people and institutions for their support to my research: Rucha Vibhuti, Christine Boase, Doreen Harris, Laurinda Hill, Julie Ovans, Tegan Dodd, Joanna Seczkowski, Elli Hill, Annette Nykiel, Ann Delroy, Ian Day, Spaced 2 Future recall, International Art Space (WA), LLCCA: Laverton – Leonora Cross Cultural Association, (WA), Asialink, Melbourne, http://www.cameleers.net/, Australia’s Muslim Cameleers, pioneers of the inland, 1860s – 1930s, Eastern Goldfield Historical society, State Library of Western Australia, Battye Library, Eastern Goldfield Historical society, Shire of Laverton Archives, Poseidon Nickel Ltd, Windarra Nickel Project, Western Mining Corp, Laverton Public Library, Laverton Community Resource Center, Western Australian Museum, Western Australian Museum Kalgoorlie Boulder, WA Museum (Dwyer collection), and the Local History Archives, City of Kalgoorlie-Boulder.Notes1 The Phantom, The ghost who walks, https://thephantom.fan/2 The ‘Ghost Who Walks’, also known as ‘The Phantom’, is a character who operates from the fictional country of Bangalla. Lee Falk created the character for the adventure comic strip The Phantom, which debuted in newspapers on 17 February, 1936. 3 ‘Horses and Camels’, https://depts.washington.edu/silkroad/exhibit/trade/horcamae.html, accessed 15 May 20234 Alexander Cook, Andrew Reeves, Iain McCalman, eds, Gold: Forgotten Histories and Lost Objects of Australia, Cambridge University Press, Cambridge, 20115 Paul Kelly, Kev Carmody and Maireah Hanna, ‘This Land is Mine’, from One Night the Moon [soundtrack], MusicArtsDance films, Sydney, 20116 ‘The Desert Frontier: A History of Travel and Nomadism’, https://www.sahapedia.org/the-desert-frontier-history-of-travel-and-nomadism, accessed 15 May 20237 Stephanie ","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"55 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136235715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Buried Appraisals of Popular Art","authors":"Prakruti Ramesh","doi":"10.1080/09528822.2023.2254068","DOIUrl":"https://doi.org/10.1080/09528822.2023.2254068","url":null,"abstract":"AbstractThis article explores some ways in which even positive publicity may entail the censorship of the persons and things being publicised. It focuses on the case of the nationally celebrated Indian artist Mario Miranda, some of whose productions reflected his attachment to his home-state, Goa. Since the 2000s, a fraction of his oeuvre has been used as a means of branding and individuating the region for a tourist clientele. I discuss the disjuncture between a limited repertoire of displayed images and a much larger archive of the artist’s work. As Miranda’s illustrations are made ever more widely available in the form of souvenirs and ‘public art’, the images themselves are bowdlerised and their political content evacuated. This repertoire of Miranda’s work, created in the likeness of the tourism industry against which he fulminated, has the retroactive effect of authoring the author and circumscribing the extent to which he is known.Keywords: Prakruti RameshMario MirandaGoapublic arttourism industrypublicitycensorshiplatent archivesactualised repertoiresauthorshipcommodificationIndia Notes1 The images are ‘familiar’ in a double sense. Firstly, they constitute a ‘family of images’, in that they appear related to each other in style and content. Secondly, at least to some of their viewers, the images look familiar, in that they have been seen before in print publications.2 Under orders from the central government in New Delhi, the Indian military forcibly expelled the Portuguese colonial administration in 1961. This event is officially commemorated as Goa’s ‘Liberation’, but it is described by some commentators, and remembered by some of those who identify as Goan, as the commencement of India’s ‘Annexation’ or ‘Occupation’ of Goa. While noting that ‘Liberation’ is contested nomenclature, this article continues the use of the term as a proper noun because it is currently the most common way to designate the inaugural moment of ‘decolonisation’ in Goa. It is, however, beyond the scope of this article to reflect on whether the events of 1961 truly index Goa’s liberation from colonial subjection. For more extensive comments, see Prakruti Ramesh, ‘Public Monuments, Palliative Solutions: Political Geographies of Memory in Goa, India', History and Anthropology, 2023, DOI: 10.1080/02757206.2023.22203433 Noel B Salazar and Yujie Zhu, ‘Heritage and Tourism’, in Lynn Meskell, ed, Global Heritage: A Reader, Wiley-Blackwell, West Sussex, 2015, p 2414 Raminder Kaur and William Mazzarella, eds, Censorship in South Asia: Cultural Regulation from Sedition to Seduction, Indiana University Press, Bloomington, 2009, p 95 A large corpus of literature investigates how heritage projects perpetuate selective and problematic modes of remembering the ‘lost’ past. See, for example, Edward M Bruner, ‘Tourism in Ghana: The Representation of Slavery and the Return of the Black Diaspora’, American Anthropologist, vol 98, no 2, 1996, pp 290–304; Katharina Schramm, ‘Slave Ro","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"47 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135367950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Impossible Stillness","authors":"Marco Musillo","doi":"10.1080/09528822.2023.2251858","DOIUrl":"https://doi.org/10.1080/09528822.2023.2251858","url":null,"abstract":"AbstractIn exploring displays in European and North-American museums with regards to Chinese arts, this article discusses how cultural hierarchies from Western hegemonies structure the concept of global art. Here the main focus is on the Meat-Shaped-Stone, carved in Beijing during the late Qing dynasty, and on its travelling trajectory through the international stage. By considering how Western cultural institutions shape practices and languages of incorporation of the other, this article looks at the appearance and disappearance of objects, in the context of the creation of narratives of virtuous national identities, and imaginaries of political salvation through art.Keywords: Marco MusilloChinese artcultural marketingcuratorial practicesEast-West encountersedible objectsglobal tourismMeat-Shaped Stonenational museumsSu ShiTripadvisor Notes1 ‘Stimulation and Reanimation: Cultural and Artistic Exchanges between Asia and Europe’, Conference, 28–30 October 2015, National Palace Museum, Taiwan2 The Cuiyu Baicai, which stands on a cloisonné flowerpot, was probably a dowry gift for Guangxu Emperor’s (光緒帝, r 1875–1908) Consort Jin (瑾妃,1873–1924): it symbolises purity, and through the locust and the katydid presents blessings for having many children.3 This event marked the beginning of an exchange of cultural treasures by Taiwan and Japan that, in 2016, resulted in the Taiwanese exhibition of Japanese artefacts titled: ‘Japanese Art at Its Finest: Masterpieces from The Tokyo and Kyushu National Museums’ (日本美術之最: 東京, 九州國立博物館精品展). The catalogue, with the same title, was published in Chinese and Japanese by the National Palace Museum and curated by Ho Chuan-Hsing and Lin Tieng-Jen.4 As an indication of its importance, in Tokyo the Jadeite-cabbage was housed in the Honkan (本館), the space dedicated to the main display of Japanese art.5 See the catalogue: Jay Xu and Li He, eds, Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei. Masterworks of the Song, Yuan, Ming and Qing Dynasties, Asian Art Museum of San Francisco, San Francisco, California, 20166 On such a reduction, see Wanda J Orlikowski and Susan V Scott, ‘What Happens When Evaluation Goes Online? Exploring Apparatuses of Valuation in the Travel Sector’, Organization Science, vol 25, no 3, 2014, p 8697 Ibid, p 8708 ‘Mi aspettavo di più!’, Tripadvisor review of National Palace Museum, Taipei, 8 September 2016, https://www.tripadvisor.it/Attraction_Review-g13806879-d321216-Reviews-or20-National_Palace_Museum-Shilin_Taipei.html, accessed 9 September 20219 See for example ‘A Fervor to Glimpse “China’s Mona Lisa”’, New York Times, 10 January 2015, https://www.nytimes.com/2015/10/01/world/asia/chinas-mona-lisa-draws-long-lines-and-heightened-fervor-for-culture.html10 See Qin Shao, ‘Exhibiting the Modern: The Creation of the First Chinese Museum, 1905–1930’, The China Quarterly, vol 179, 2004, p 691; Jung-jen Tsai, ‘The Construction of Chinese National Identity and the Design of Nationa","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135405667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Make No Mystique!","authors":"Manuela Ciotti","doi":"10.1080/09528822.2023.2248777","DOIUrl":"https://doi.org/10.1080/09528822.2023.2248777","url":null,"abstract":"We live at the con fl uence of planetary concerns about disappearing eco-systems and the development of practices for the ethical upkeep, display and at times restitution of the visual-material worlds violently sequestered through colonial conquest. The inquiry of this special issue is situated on the cusp of these only-apparently-competing trends and offers a capacious analytic for the fragile human and nonhuman actors caught in between them that strive to navigate this age. This analytic consists of collect ables : it stands for an eclectic catalogue of humans and non-humans that have experienced processes of dispersion, destruction, morphing, and rejuvenation engendered by the histories of several empires, migration as well as decolonisation. The choice of collect ables is certainly no celebration of an ableist ethos: rather, it acknowledges the multiple required to effectively capture the affective bind between individuals and communities and visual-material worlds. Through collect ables , this special issue aims to queer established notions around collections, collectors and collectables – and dispel the mystique around them – to foreground other epistemes and avenues of inquiry. This intervention is shaped by the contributors ’ diverse positionalities, disciplinary backgrounds, practice (the issue includes both scholars and visual artists), entanglements across the global south and global north, and a theoretical prism that falls outside logics of symbolic and physical conquest that have largely dominated the study of collecting in the geocultural areas under analysis. Concerning these, the collect ables analysed here fi nd their origins in wide-ranging processes such as the Dutch colonisation of South-East Asia, the Transatlantic slave trade, the labour and trade migration from South Asia to Australia, and the Partition of India, to name just a few.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135592541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between the Social Limbo and the Art Canon","authors":"Roberto Conduru","doi":"10.1080/09528822.2023.2252690","DOIUrl":"https://doi.org/10.1080/09528822.2023.2252690","url":null,"abstract":"AbstractFrom Luiz Alphonsus’s Rio de Janeiro Police Museum photographic series, this article discusses the complex framing of artifacts used in Brazilian religious communities linked to belief systems in some African regions, which exist between the social limbo and the Brazilian art canon. After briefly reviewing how random sets of objects violently and unsystematically seized by the Police were considered criminal evidence, museum items, or national heritage from the late-nineteenth century to mid-twentieth century, we analyse texts published by Raymundo Nina Rodrigues, Manuel Querino, Mário Barata, and Arthur Ramos, who pioneered the artistic dimension of Afro-Brazilian religious artifacts based on European artistic principles. Concluding, we focus on how, under varied processes of institutionalisation, these artifacts still undergo different conceptual frameworks, being presented as criminal evidence or artworks, historical documents, or anthropological records, but are also at the center of disputes regarding their institutional relocation, shared custody, and sociocultural framing.Keywords: Afro-Brazilian sacred artAfro-Brazilian art historiography‘Magia Negra’ (Black Magic) CollectionMuseu da Polícia Civil do Estado do Rio de JaneiroLuiz AlphonsusRaimundo Nina RodriguesManuel QuerinoMário BarataArthur Ramos‘Liberte Nosso Sagrado’ (Free Our Sacred) campaign Notes1 Yvonne Maggie, Medo do feitiço: relações entre magia e poder no Brasil, Arquivo Nacional, Rio de Janeiro, 1992, p 261; Roberto Conduru, ed, Relicário multicor. A Coleção de Cultos Afro-Brasileiros do Museu da Polícia Civil do Estado do Rio de Janeiro, Centro Cultural Municipal José Bonifácio, Rio de Janeiro, 2008; Alexandre Fernandes Corrêa, O museu mefistofélico e a distabuzação da magia: análise do tombamento do primeiro patrimônio etnográfico do Brasil, EDUFMA, São Luís, 2009; Amy Buono, ‘Historicity, Achronicity, and the Materiality of Cultures in Colonial Brazil’, Getty Research Journal 7, 2015, pp 29–312 Luis Alphonsus, https://www.luizalphonsus.com.br/, accessed 11 April 20233 Heloisa Buarque de Hollanda and Alberto M Carlos, ed, Patrulhas Ideológicas. Marca reg. Arte e engajamento em debate, Brasiliense, São Paulo, 19804 Conceitual Caboclo, 1980–2019, Exposição Cartografia Poética, Galeria BNDES, https://www.luizalphonsus.com.br/exposicoes?pgid=k5zmuhzz-d06f955b-3bc7-49f2-878e-92f77c6baa795 Daniela Name, Conceitual e caboclo, https://www.luizalphonsus.com.br/conceitual-e-caboclo (translated by author)6 Ibid7 Francisco Bittencourt, ‘A geração tranca-ruas’, Jornal do Brasil, 9 May 19708 Elena Shtromberg, Art Systems: Brazil and the 1970s, The University of Texas Press, Austin, 20169 Luiz Alphonsus, Bares Cariocas, Funarte, Rio de Janeiro, 198010 E-book Bares Cariocas, https://www.luizalphonsus.com.br/e-book-bares-cariocas, accessed 11 April 202311 Yvonne Maggie, Patrícia Monte-Mór and Marcia Contins, Arte ou magia negra?, Funarte, Rio de Janeiro, 197912 Yvonne Maggie, Medo d","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135695564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crypt, Cornucopia and the Surface of Pattern","authors":"A. Kabir","doi":"10.1080/09528822.2023.2229168","DOIUrl":"https://doi.org/10.1080/09528822.2023.2229168","url":null,"abstract":"This article argues that the development of highly patterned ‘African print’ textiles known as Dutch Wax print, which bring together designs from Indonesian batik, Indian ornamental protocols and West African chromatics with European fabric finishing techniques (often transferred from paper-making), is also the story of how Dutch mercantilism shaped commodities and taste across continents and cultures. I combine a symptomatic reading of the archives and design work at the Helmond headquarters of Vlisco, the most prestigious producer of Dutch wax, with an investigation into the relationship between mercantilism, religious wars and ornamentalism in the Low Countries. A thanatal, hallucinatory transoceanic design history emerges, attesting to Europe’s fraught relationship to African and Asian material culture. It asks us to read the textiles on which design coagulates as the very ground for the (re)ordered inscription of violence, guilt, trauma and material excess which the disorderly cornucopia of the design archive keeps generating.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48681802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}