抽象的国家：黎巴嫩、叙利亚和土耳其的现代主义

IF 0.2 2区艺术学 0 ART

ARTMargins Pub Date : 2024-04-10 DOI:10.1162/artm_r_00375

Gemma Sharpe

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引用次数: 0

摘要

在现代主义艺术史试探性地接受后殖民主义现代主义十年之后，一批新书正在利用这一学科接受度来研究该领域迄今为止被遮蔽的方面。安妮卡-伦森（Anneka Lenssen）的《美丽的躁动》（Beautiful Agitation：叙利亚的现代绘画与政治》（2020 年）、Zeina Maasri 的《大都会激进主义：贝鲁特全球六十年代的视觉政治》（2020 年）和 Sarah-Neel Smith 的《现代性的尺度》：战后土耳其的艺术与发展》（2022 年）对后殖民现代主义暴露于殖民和民族主义机构、冷战文化网络以及经典现代主义的等级效应进行了坦率的评价。本文一并评述的这几本书揭示了现代主义在毗邻的叙利亚、黎巴嫩和土耳其的独特取向，以及形式主义方法在主张艺术能动性方面的方法论价值。通过对艺术作品和其他材料的折射式解读，Lenssen、Maasri 和 Smith 颠覆了对后殖民艺术的政治主体性的学科焦虑，为后殖民艺术对其所受制于的制度力量的不稳定性和抽象性的感知力提供了论据。

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Abstract States: Modernism in Lebanon, Syria, and Turkey

A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's, Metrics of Modernity: Art and Development in Postwar Turkey, (2022) offer candid appraisals of postcolonial modernism's exposure to colonial and nationalist institutions, Cold War cultural networks, and the hierarchical effects of canonical modernism. Reviewed together in this article, these books reveal the distinctive orientations of modernism in contiguous Syria, Lebanon and Turkey along with the methodological value of formalist methods to assert artistic agency. Through refractive readings of artworks and other materials, Lenssen, Maasri and Smith invert disciplinary anxieties about postcolonial art's political subjection, making a case for postcolonial art's perceptiveness to the instability and abstraction of the institutional forces to which they are subject.

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来源期刊

ARTMargins ART-

CiteScore

0.10

自引率

0.00%

发文量

期刊介绍： ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.