漂泊的画布:Vamona Navelcar,艺术家的未框架的海洋

R. Ferrão, Vishvesh Kandolkar
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引用次数: 1

摘要

摘要:瓦莫娜·纳维尔卡1929年出生于葡萄牙果阿,上世纪60年代葡萄牙非殖民化时期在葡萄牙大都市接受艺术训练,70年代流亡到后殖民时期的莫桑比克,成为一名横跨三大洲的艺术家并非完全出于她的选择。尽管他的作品记录了这些不同的地点,但正是这些过境使Navelcar的遗产濒临消失。正如本文所述,构成纳维尔卡生活地图的三个大陆地点的民族主义政治定义了这位艺术家的轨迹,并模糊了他的全部作品。虽然Navelcar的生活和艺术联系跨越了多语印度洋世界,展示了它的多样性和融合性,但正是国家的固结性破坏了这种遗产和艺术家遗产的复杂性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Canvas Adrift: Vamona Navelcar, Artist of the Unframed Ocean
Abstract:Born in Portuguese Goa in 1929, trained in art in metropolitan Portugal while the empire was being decolonized in the 1960s, and then exiled in postcolonial Mozambique in the 1970s, Vamona Navelcar became an artist of three continents not solely by choice. Even as his work chronicles these diverse locations, these very transits have made Navelcar's legacy verge on disappearance. As this article argues, it is the politics of nationalism at the three continental sites that constitute Navelcar's life cartography that has defined this artist's trajectory and obscured his oeuvre. Although Navelcar's life and artistic connections across the Lusophonic Indian Ocean world demonstrate its multiplicities and convergences, it is the fixity of nation(s) that has undermined the complexity of such heritage and the artist's legacy.
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