南方之光：奥克塔维奥·帕斯的《印度掠影》与关系艺术

IF 0.2 2区艺术学 0 ART

ARTMargins Pub Date : 2023-06-01 DOI:10.1162/artm_a_00350

Sonal Khullar

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引用次数: 0

摘要

摘要本文分析了奥克塔维奥·帕斯（Octavio Paz）的《印度之光》（in Light of India，1995）和《两个花园的故事：来自印度的诗，1952-1995》（A Tale of Two Gardens:Poems from India，1952-19951997）中关于南南关系的阐述，这些散文和诗歌穿越了墨西哥和印度的两极。这些作品强调局部观看、反复比较和培养感官感知。他们塑造了一种瞥见的诗学，一种光影游戏的效果，以及帕斯的特权观看模式。瞥见是指看不清楚、看不到控制或看不到完整的知识。它是在另一个人身上找到自己。帕斯的作品预计了21世纪与全球南方艺术家和知识分子有关的项目，如约翰内斯堡当代艺术基金会的南方学院（2022）项目，灵感来自乌拉圭艺术家若阿金·托雷斯·加西亚1935年的作品。他的比较方法为全球艺术史和后殖民批判提供了新的方向。

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Southern Lights: Octavio Paz's “Glimpses of India” and the Art of Relation

Abstract This article analyzes the articulation of south-south relation in Octavio Paz's In Light of India (1995) and A Tale of Two Gardens: Poems from India, 1952-1995 (1997), works of prose and poetry that traverse the antipodes of Mexico and India. These works emphasize partial viewing, repeated comparison, and cultivated sense-perception. They model a poetics of the glimpse, an effect of the play of light and shadow and a privileged mode of seeing for Paz. To glimpse is to see without clarity, control, or complete knowledge. It is to find oneself in the other. Paz's writing anticipates twenty-first-century projects that relate artists and intellectuals in the global south such as the School of the South (2022) programs of the Johannesburg Contemporary Art Foundation inspired by Uruguayan artist Joaquín Torres-García's formulation from 1935. His comparative method suggests new directions for global art history and postcolonial critique.

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来源期刊

ARTMargins ART-

CiteScore

0.10

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0.00%

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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.