Third TextPub Date : 2022-03-04DOI: 10.1080/09528822.2022.2049160
Kriss Ravetto-Biagioli
{"title":"Phantom Images, Phantom Limbs, Phantoms of Empire","authors":"Kriss Ravetto-Biagioli","doi":"10.1080/09528822.2022.2049160","DOIUrl":"https://doi.org/10.1080/09528822.2022.2049160","url":null,"abstract":"Abstract Kader Attia’s Refléchir la Mémoire (Reflecting Memory, 2016) and Cyprien Gaillard’s 3D motion picture Nightlife (2015) engage the politics of memory by invoking the musical practice of dubbing to convey a sense of haunting. Yet this is not a haunting that simply conjures ghostly voices, images or sounds from the past. It is, instead, a practice of mixing, remixing and distorting − making something hidden or invisible critically present. Rather than attempting to restore or repair those who suffer from historical or even physical traumas they focus on transformations that are not simple acts of self-overcoming nor reclaiming one’s sense of self, but ones that complex set of affective relations. These remediated voices and images do not conjure ghosts to make singular demands on the present but produce ghost effects that generate multiple possible readings of the always present politics of memory.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"124 - 144"},"PeriodicalIF":0.2,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46239173","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}
Third TextPub Date : 2022-03-04DOI: 10.1080/09528822.2022.2050625
Erika Zerwes
{"title":"Militancy from the Margins in Brazil","authors":"Erika Zerwes","doi":"10.1080/09528822.2022.2050625","DOIUrl":"https://doi.org/10.1080/09528822.2022.2050625","url":null,"abstract":"Abstract This article discusses some aspects of the political commitment visible in the lives and work of two female photographers in Brazil: Claudia Andujar and Nair Benedicto. It analyses two photographic series that were sent by these photographers to the Latin American Photography Colloquia in 1978 and 1981: Andujar’s work with the Yanomamis, the Amazonian Indigenous people; and Benedicto’s work with young offenders incarcerated in the Brazilian cities of São Paulo and Ribeirão Preto. For both photographers, training their lenses on some of the most marginalised sectors of Brazilian society at that moment also meant engaging politically with the military dictatorship. However, in both cases their political engagement was not limited to photography; it transcended to social and political militancy.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"161 - 175"},"PeriodicalIF":0.2,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47806714","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}
Third TextPub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027672
Kristin Plys
{"title":"Nostalgia for Futures Past","authors":"Kristin Plys","doi":"10.1080/09528822.2022.2027672","DOIUrl":"https://doi.org/10.1080/09528822.2022.2027672","url":null,"abstract":"Abstract This article investigates the intellectual and political legacies of Maoist and other left Third Worldist thought of the 1970s through an analysis of Naeem Mohaiemen’s 2020 film, Afsan’s Long Day, The Young Man Was. The film presents a narrative of the history of the 1970s anti-imperialist left, and in Brechtian fashion, compels the viewer to take an emotionally distanced assessment of the left’s chaotic trajectory through a unique engagement with themes of time, history, and repetition. In the article, I explore several aspects of the film − its relationship to the ‘essay film’ as a genre, the historical context of the global 1970s as depicted in the film, and then conclude with a discussion of the theoretical concept, hauntology, in order to interrogate the political praxis of the film. The 1970s Global left represents a future that never came to be but yet continues to animate contemporary left thought.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"41 - 55"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43590650","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}
Third TextPub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027673
P. O’Kane
{"title":"On Mask-Ocracy","authors":"P. O’Kane","doi":"10.1080/09528822.2022.2027673","DOIUrl":"https://doi.org/10.1080/09528822.2022.2027673","url":null,"abstract":"Abstract The title of the article is On Mask-Ocracy and follows-on from two shorter pieces (http://thirdtext.org/OKane-carnival & http://www.thirdtext.org/okane-maskocracy) that I recently published in Third Text Online. This new, longer article draws on a wide range of references, from carnival and the carnivalesque to recent protests in Hong Kong, from Australian wildfires to the worldwide pandemic, all on the way to speculating that the growing prevalence of masks in contemporary society brings new (and renewed) attention to and implications for, our current, modern understanding of identity, political representation, and democracy. ‘Mask-Ocracy’ is a neologism introduced as an intellectual gambit that this writing seeks to justify and render useful to current and emerging political and social debates.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"56 - 64"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412203","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}
Third TextPub Date : 2022-01-02DOI: 10.1080/09528822.2021.2016329
D. Gabriel
{"title":"After the Fall","authors":"D. Gabriel","doi":"10.1080/09528822.2021.2016329","DOIUrl":"https://doi.org/10.1080/09528822.2021.2016329","url":null,"abstract":"Abstract In the early 1990s, a pair of Korean reunification-themed art exhibitions in Japan took up the question of art’s capacity to contribute to national reconciliation, an issue that appeared crucial in light of the contemporaneous surge of rhetoric celebrating the end of the Cold War. The first of these events, which opened in 1992, brought together Minjung (literally ‘People’s’) artists from South Korea and artists with official ties to North Korea living in Japan. The second exhibition, which took place the following year, featured Minjung artists and North Korean artists. In failing to congeal as expressions of national homogeneity, the works on view prompted audiences to question what an aesthetics of reunification would or should look like. In contrast to spectacles of national unity, as state-sponsored reunification events often strive to project, these exhibitions suggested that engaging an aesthetics of reunification would entail vexatious encounters with artworks forged from within an enduring Cold War impasse.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"65 - 82"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43952402","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}
Third TextPub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027668
Laia Manonelles Moner
{"title":"Chen Zhen, Transcultural Dialogues under Construction","authors":"Laia Manonelles Moner","doi":"10.1080/09528822.2022.2027668","DOIUrl":"https://doi.org/10.1080/09528822.2022.2027668","url":null,"abstract":"Abstract Chen Zhen (1955 Shanghai−2000 Paris) emigrated to France in 1986. His work engages with the notion of ‘cultural homelessness’ and transcends the boundaries between the physical and the psychic. This idea of being in movement between different cultures links directly with the term ‘Transexperience’, coined by Chen Zhen, which refers to a new way of considering the emotions and experiences that emerge from the experience of the immigrant as he/she makes new cultural connections. He uses art as a form of cultural resistance, that is, an instrument to generate debate and critical thinking. This article explores the exhibition discourse of his first show in Spain Chen Zhen: In-Between (2014−2015), and its impact on the media. It examines the artist reception and draws on the notion of transculturalism to analyse recurrent post-Orientalist clichés.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"1 - 17"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45306820","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}
Third TextPub Date : 2022-01-02DOI: 10.1080/09528822.2022.2027670
Kathryn Brimblecombe-Fox
{"title":"Night Vision, Ghosts and Data Proxies","authors":"Kathryn Brimblecombe-Fox","doi":"10.1080/09528822.2022.2027670","DOIUrl":"https://doi.org/10.1080/09528822.2022.2027670","url":null,"abstract":"Abstract In 2008 visual artist Jon Cattapan was deployed to Timor-Leste as an official Australian war artist. The fact that the Australian soldiers were conducting peacekeeping activities in Timor-Leste meant Cattapan could accompany them on patrols outside military bases. While on night patrols Cattapan, like the soldiers, wore a night vision monocle. This article addresses how, in subsequent paintings, Cattapan’s saturation of night vision green paint speaks to broader issues of accelerating developments in contemporary militarised technology. Particular attention is paid to militarised technologies designed to augment or replace the capabilities of human vision. Jean Baudrillard’s ideas of the ‘violence of the global’ are used to interrogate how Cattapan’s paintings Night Patrols (Around Maliana) (2009) and Night Figures (Gleno) (2009) pose questions about current and future ramifications of perpetual war fought in physical and virtual spaces. This interrogation is conducted through close visual analyses of the two paintings.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"36 1","pages":"19 - 39"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47753061","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}
Third TextPub Date : 2021-11-02DOI: 10.1080/09528822.2021.2020490
Jacob G Warren
{"title":"Nuclear Aesthetics against the Colonial Desert","authors":"Jacob G Warren","doi":"10.1080/09528822.2021.2020490","DOIUrl":"https://doi.org/10.1080/09528822.2021.2020490","url":null,"abstract":"Abstract From 1956 until 1963, nuclear weapons developed by Britain were being detonated in the mulga and saltbush plain of Maralinga, South Australia. A large tract of the Western Desert was bombed, burnt and radioactively contaminated. This article analyses how this history has been engaged with in the works of artist Jonathan Kumintjara Brown (Pitjantjatjara, 1960–1997) whose ancestral lands were directly impacted by the Maralinga nuclear testing program. Through close examination of selected works I show how Brown critically interrogated nuclear colonialism in Australia. Nuclear colonialism describes the claiming of politically peripheral land for nuclear mining, testing and development. The work of Brown is argued to be an example of nuclear aesthetics and is shown to redress the material, cultural and historical invisibility of radioactive contamination at Maralinga, revealing the impacts that it has had on the ecological, cultural and physiological health of the South Australian desert and its people.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"667 - 688"},"PeriodicalIF":0.2,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47344507","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}
Third TextPub Date : 2021-11-02DOI: 10.1080/09528822.2021.2017197
V. K. Sheng
{"title":"Yin Xiuzhen’s Portable Cities","authors":"V. K. Sheng","doi":"10.1080/09528822.2021.2017197","DOIUrl":"https://doi.org/10.1080/09528822.2021.2017197","url":null,"abstract":"Abstract This article examines Yin Xiuzhen’s Portable Cities created since 2001. A range of miniature cities, constructed from restitched washed worn clothes, rise from unfolded suitcases. The discussion draws on Iris Marion Young’s conception of preservation—an important, but often overlooked dimension of care and cultivation in the formation of home and one’s sense of belonging. It investigates how Yin’s artistic practice of domestic preservation might make and remake oneself ‘at home’ in an ever-shifting urbanising and globalising world, bringing to the fore an iterative temporality of embodied inhabitation. Built upon recent feminist debates about affective labour, this article casts new light on women’s relation to home and domesticity and women’s status and contribution in the current stage of neoliberalism. It considers how Yin’s works might challenge normative accounts of social advancement, global capitalism and international migration which often push women aside, forging interpersonal intersubjective connections across cultural and geographical boundaries.","PeriodicalId":45739,"journal":{"name":"Third Text","volume":"35 1","pages":"733 - 750"},"PeriodicalIF":0.2,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43859266","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}
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