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引用次数: 0
摘要
在这篇文章中,我探讨了丹麦皇家美术学院(Royal Danish Academy of Fine Arts)可以说是建立在其基础上的暴力事件。我建议将丹麦皇家美术院所在的夏洛滕堡城堡(Charlottenborg Castle)的建筑视为殖民历史的“物质见证”(Schuppli)。我认为,这座建筑构成了殖民主义物质“文化档案”(Wekker)的一部分,可以被视为一个纠缠的档案,同时也是一个重叠历史的纠缠,也是一个工具,通过在被殖民的社区及其创造性表达之间产生激进的切割,来解开受殖民主义影响的社区的纠缠和脱节。通过将殖民时代的绘画与当代艺术作品并置,本文探讨了以下问题:在这样有争议的基础上进行艺术教育意味着什么?殖民现代性在当今艺术机构中产生了什么影响?它如何继续(间接或直接)分发和确定什么是艺术品,谁是主体?
In this essay, I explore the founding violence that the Royal Danish Academy of Fine Arts can be said to rest on. I propose to view the building of Charlottenborg Castle which houses the Royal Danish Academy of Fine Arts as a “material witness” (Schuppli) to colonial history. I suggest that the building forms part of a material “cultural archive” (Wekker) of colonialism that can be seen as an entangled archive, that is simultaneously an entanglement of overlapping histories, and an instrument that disentangled and disconnected communities affected by colonialism by producing a radical cut between the colonized communities and their creative expression. By juxtaposing paintings from the colonial era with contemporary art works the essay explores the following questions: What does it mean to conduct art education on such contested grounds? What are the ramifications of colonial-modernity within the art institutions today? And how does it continue (indirectly or directly) to distribute and determine what counts as a work of art and who counts as a subject?