Future Anterior最新文献_第5页

Dhāranā: The Agency of Architecture in Decolonization Dhāranā:非殖民化建筑机构

IF 0.1 4区艺术学

Future Anterior Pub Date : 2021-03-18 DOI: 10.5749/futuante.16.2.0087

Vikramaditya Prakash

引用次数: 0

High-Tech Heritage: Planes, Photography, and the Ancient Past in the French Mandate for Syria and Lebanon 高科技遗产:飞机、摄影和法国在叙利亚和黎巴嫩托管的古老过去

IF 0.1 4区艺术学

Future Anterior Pub Date : 2021-03-18 DOI: 10.5749/futuante.16.2.0001

Sarah Griswold

引用次数: 2

Heritage, Preservation, and Decolonization: Entanglements, Consequences, Action? 遗产、保护与非殖民化:纠缠、后果、行动?

IF 0.1 4区艺术学

Future Anterior Pub Date : 2021-03-18 DOI: 10.5749/futuante.16.2.0iii

W. Carruthers, Sarah Griswold, Amal Sachedina, Sudeshna Guha, Emilio Distretti, A. Petti, G. Spivak, Vikramaditya Prakash, Luise Rellensmann

引用次数: 1

The Afterlife of Fascist Colonial Architecture: A Critical Manifesto 法西斯殖民建筑的来世:一份批判宣言

IF 0.1 4区艺术学

Future Anterior Pub Date : 2021-03-18 DOI: 10.5749/futuante.16.2.0047

Emilio Distretti, A. Petti

{"title":"The Afterlife of Fascist Colonial Architecture: A Critical Manifesto","authors":"Emilio Distretti, A. Petti","doi":"10.5749/futuante.16.2.0047","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0047","url":null,"abstract":"Abstract:The listing of the capital of Eritrea Asmara as UNESCO World Heritage Site in 2017 has raised a series of contradictory questions around Italian fascist colonial heritage: is the nomination part of the longer path of Eritrea’s decolonization and reappropriation of its colonial history or does this lead to the celebration of modernist architecture and its entanglements with colonialism and fascism? This essay draws inspiration from the case of Asmara, as a way to stir a debate around the afterlife of colonial fascist architecture, and its critical reuse. By discussing the interrelated concepts of repair, reparations, and prothesis within the debates in heritage studies and to the practices of architectural preservation, this essay claims a space for architectural heritage in the entangled struggles of decolonization and de-fascistization. Moreover, it reads fascism’s architectural heritage—and its histories of dispossession and violence—as part of modernism’s controversial history of segregation that cut across the southern and northern hemispheres. In so doing this essay introduces the concept of de-modernization into the debate around critical architectural preservation as part of a transnational struggle for justice against old and new forms of fascisms and colonialisms.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"13 1","pages":"46 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76529364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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: 3

Banking on Postmodernism: Saving Stanley Tigerman’s Illinois Regional Library for the Blind and Physically Handicapped (1978) 寄希望于后现代主义:为盲人和残障人士拯救斯坦利·蒂格曼的伊利诺伊州地区图书馆(1978)

IF 0.1 4区艺术学

Future Anterior Pub Date : 2020-08-21 DOI: 10.5749/futuante.16.1.0087

David Serlin

{"title":"Banking on Postmodernism: Saving Stanley Tigerman’s Illinois Regional Library for the Blind and Physically Handicapped (1978)","authors":"David Serlin","doi":"10.5749/futuante.16.1.0087","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0087","url":null,"abstract":"Abstract:In 2012, the Illinois Regional Library for the Blind and Physically Handicapped in Chicago, designed in the 1970s by US architect Stanley Tigerman (1930–2019), was converted into the flagship offices of a regional bank. During its heyday, Tigerman’s library was widely recognized as an innovative example of empathic design that engaged the sensory and mobility impairments of its intended patrons. In its conversion to a bank, however, contemporary architects sought to capitalize upon the library as an eccentric icon of mid-1970s postmodernism. In the process, they jettisoned many notable features of Tigerman’s original design. This essay endeavors to show what was lost in the conversion, since the bank chose to preserve that which is most superficially associated with histories of postmodernism while erasing the library’s material commitments to histories of disability. By recovering the original context and guiding principles behind the library’s design and execution, the essay asserts the importance of thinking about disability within practices of historic preservation while also restoring Tigerman’s library to its rightful place within historical assessments of late-twentieth-century urban architecture.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"89 1","pages":"108 - 87"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88835178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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: 1

Exhibiting Trauma: The Berlin Painting and Sculpture Collections Seventy Years after World War II, a Curatorial Reflection 展览创伤:第二次世界大战后70年柏林绘画和雕塑收藏，策展反思

IF 0.1 4区艺术学

Future Anterior Pub Date : 2020-08-21 DOI: 10.5749/futuante.16.1.0001

J. Chapuis, D. Gissen

{"title":"Exhibiting Trauma: The Berlin Painting and Sculpture Collections Seventy Years after World War II, a Curatorial Reflection","authors":"J. Chapuis, D. Gissen","doi":"10.5749/futuante.16.1.0001","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0001","url":null,"abstract":"Abstract:For the Berlin Museums, the memory of May 1945 is linked to the loss of objects from their collections. In the days just before and after the end of the war, two fires in a bunker destroyed countless works of art that had been stored there for safekeeping. Over the course of 1945, large parts of the museum holdings came under control of the Allies. The majority of these works only returned to the then-divided Berlin in the 1950s. The effects of the war and the postwar period on the collections of the Berlin Museums are felt to this day. The Gemäldegalerie lost about four hundred paintings, the Skulpturensammlung a third of its holdings. Among the works that did return, many were severely damaged.Held at the Bode Museum in 2015, the exhibition The Lost Museum shed light on the historical circumstances of the fires in 1945 and the subsequent fate of the works of art. With the help of plaster casts and photographic reproductions of works in their original size, masterpieces of the Berlin sculpture and painting collections were brought back into public consciousness. The exhibition also explored the ethical and practical problems behind the restoration and presentation of war-damaged art.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"63 1","pages":"1 - 15"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82369300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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

Disability and Preservation 残疾与保存

IF 0.1 4区艺术学

Future Anterior Pub Date : 2020-08-21 DOI: 10.5749/futuante.16.1.0iii

Gissen

引用次数: 1

More than Meets the Eye: Georgina Kleege 不仅仅是满足眼睛:乔治娜·克里格

IF 0.1 4区艺术学

Future Anterior Pub Date : 2020-08-21 DOI: 10.5749/futuante.16.1.0057

D. Gissen

引用次数: 0

The Radical Accessibility of Video Art (for Hearing People) 视频艺术的根本可及性(对听觉人而言)

IF 0.1 4区艺术学

Future Anterior Pub Date : 2020-08-21 DOI: 10.5749/futuante.16.1.0111

Emily Watlington

{"title":"The Radical Accessibility of Video Art (for Hearing People)","authors":"Emily Watlington","doi":"10.5749/futuante.16.1.0111","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0111","url":null,"abstract":"Abstract:The implementation of video as an artistic medium is often described as motivated by radical ambitions toward art’s accessibility. Yet when these works are displayed in museums, they seldom include closed captions necessary to make their content accessible to deaf/Deaf audiences. Historic works of video art are thus often not accessible, as it remains taboo to alter an “original” work of art by adding captions. This logic privileges the work’s original aesthetic experience over its accessibility in spite of the fact that (1) many works of historic video art were first, or additionally, shown on television, where closed captions are required by the Americans with Disabilities Act (ADA), and (2) such works are almost never shown in their original format anyway. When spirits of radical access are claimed yet closed captions are not provided, a message is sent about who counts as “everyone” when art is meant for all. This article will examine the aversion to captions when displaying historic works of video arts in museums, consider the rights and responsibilities of video artists and curators, and, ultimately, ask that we rethink our aesthetic (and thereby ethical) paradigm which privileges faithfulness to an “original” over accessibility. Ultimately, I insist that captioning embodies the spirit of access that motivated so many artists to use video in the first place, and museums should preserve this spirit rather than faithfulness to an “original.”","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"17 9 1","pages":"111 - 121"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83902479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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: 1

“Commercial Battles of Self-Support”: Concrete Construction and the Disabled World War I Veteran “自给自足的商业战争”:混凝土建筑与一战伤残老兵

IF 0.1 4区艺术学

Future Anterior Pub Date : 2020-08-21 DOI: 10.5749/futuante.16.1.0017

J. Graham

引用次数: 0