绘画史学:Meleko Mokgosi的民主直觉

Meleko Mokgosi, Ashleigh Barice
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摘要

这次采访特别关注《民主直觉》(2013-20),这是Meleko Mokgosi史诗般的八章绘画周期,其标题引用了Gayatri Spivak关于教育与民主之间必要关系的演讲。教育、对理论和实践的反思以及与年轻从业者的接触都是Mokgosi工作的重要组成部分。访谈讨论了《民主直觉》的章节格式如何受到电影过程的影响,以及他的工作所依据的研究和批判性分析;这包括史学;西方历史绘画流派;叙事修辞和海登·怀特的作品;以及更准确地构建黑色肤色的绘画技巧。它还讨论了西方经典中的种族话语和对白人的假设;以及黑人主体是否有可能在不被黑人历史和种族话语过度决定的情况下,占据讽喻的再现空间。Stuart Hall的作品对Mokgosi来说很重要,因为它分析了文化生产和消费所处的话语的复杂性。这有助于反思西方艺术传统在启蒙运动和西方人文主义话语中的位置,这些话语提供了特定的流通和消费规则以及权威结构。这样的话语假设观众有必要的工具或素养来阅读,以达到文化对象所提出的意义。尽管如此,作为一个来自博茨瓦纳的特殊主题,Mokgosi在一定程度上参与了持续的反思,他已经设法在狭隘的绘画实践中找到了意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Painting historiography: Meleko Mokgosi’s Democratic Intuition
This interview focuses particularly on Democratic Intuition (2013-20), Meleko Mokgosi's epic, eight-chapter painting cycle, the title of which references Gayatri Spivak's lecture on the necessary relationship between education and democracy. Education, reflection on theory and practice and engagement with young practitioners are all important parts of Mokgosi's work. The interview discusses the way the chapter format of Democratic Intuition is influenced by film processes, and the research and critical analysis on which his work is based; this includes historiography; the western genre of history painting; narrative tropes and the work of Hayden White; and painting techniques that more accurately construct Black skin tones. It also discusses discourses of race and assumptions about whiteness in the western canon; and whether there is a possibility for the Black subject to inhabit allegorical representational space without being overdetermined by histories of Blackness and race discourse. Stuart Hall's work has been important to Mokgosi because of its analysis of the complexities of the discourses within which cultural production and consumption is located. This has been helpful for reflecting on the location of the western art tradition within discourses of the Enlightenment and western humanism, which provide specific rules of circulation and consumption, and structures of authority. Such discourses assume that the viewer has the necessary tools or literacies to read in order to arrive at the meanings proposed in cultural objects. Mokgosi is engaged in continuous reflection on the extent to which, in spite of this, he, as a particular subject from Botswana, has managed to locate meaning within the narrow practice of painting.
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