- Vol. 1, no. 1
- 2016
- Online: April 2, 2020
- y
- Vol. 4, no. 2
- 2019
- Online: August 25, 2020
Abstract
Zigzagging through personal memory and historical episodes of great consequence – the fall of the Berlin wall, the Romanian revolution and the April 2018 protests in Nicaragua – the essay seeks points of connection between the personal and the political, exploring how the two are intimately and inextricably intertwined. The textual approach can be situated in-between historical analysis and auto-biographical fiction; the aim is to enable multi-layered narratives, and contrasting, conflicting temporalities to co-exist. Illustrative of this intent, Romanian artist Călin Man intervenes upon the more well-known documentary photographs referenced in the text, by conflating them with everyday snapshots from the city of Arad taken at different points along the temporal arc described.
- Keywords: documentary, memory, personal history, photography, revolution, transnationalism
Ileana L. Selejan is a Research Associate in the Department of Anthropology at University College London, where she is a part of the European Research Council (ERC) funded project, »Citizens of Photography: The Camera and the Political Imagination« (Grant no. 695283), and an Associate Lecturer at Central Saint Martins, University of the Arts, London. She was previously the Linda Wyatt Gruber ’66 Curatorial Fellow in Photography at The Davis Museum at Wellesley College where she curated the exhibition »Charlotte Brooks at LOOK: 1951-1971«. She received her PhD in Art History from the Institute of Fine Arts, New York University, and was granted the 2012–13 Joan and Stanford Alexander Award from the Museum of Fine Arts Houston, for her dissertation research in Nicaragua. As an adjunct instructor, she taught in the Photography and Imaging Department at Tisch School of the Arts, and in the Art History Department at NYU, at the Parsons School of Design, and in the Fine Arts Department at West University, Timisoara, Romania.
- Didi-Huberman G. 2016. Soulèvements. With contributions of Nicole Brenez, et. al. Paris: Livres d’Art, Gallimard/Jeu de Paume.
- Pink Floyd. 1973. »Us and Them«. The Dark Side of the Moon.
- Vu magazine 1936. »La Guerre Civile en Espagne.« September 23.
- Vol. 4, no. 2
- 2019
- Online: August 26, 2020
Abstract
The wave of demonstrations that developed out of the Gezi Park sit-ins manifested a form of aesthetic creativity that employed transvaluation and displacement in a way that set them apart from other protests in Turkey and the Arab world. Transvaluation and displacement were arguably among the primary forces that drove the protests following the forceful breakup of the Gezi Park sit-ins. The protests began when police forcefully removed sleeping demonstrators from Gezi Park. To most observers, the police use of violence to clear the park was deemed disproportionate, and the resistance countered the tear gas, truncheons, water cannons, and detentions with a level of aesthetic intensity that surprised detractors as well as supporters. The primary aim of the movement was to protect a park in the center of Istanbul, but the resistance represented a broad coalition of those who opposed what they perceived as the autocratic ruling style of then Prime Minister Recep Tayyip Erdoğan. They ranged from anti-capitalist Muslims to students who simply opposed the Prime Minister’s Islamification of the Turkish public sphere. Examining the way in which transvalution and displacement were used as a response to the force employed by riot police at the direction of the Turkish government shows how political art was employed effectively in the Gezi Park protests.
- Keywords: aesthetics displacement, art and social power, Gezi Park, political, political art, politics and aesthetics, protest
Stephen Snyder specializes in the philosophy of art and social and political philosophy. His research interests lie in examining the role that history and culture play in the transformation of aesthetic communication. His book, End-of-Art Philosophy in Hegel, Nietzsche and Danto, which critically examines the historical relationship of art to philosophy, was published by Palgrave Macmillan in 2018. Also in 2018, De Gruyter Press published New Perspectives on Distributive Justice, a volume of essays on political philosophy that he co-edited. His recent essays appear in ROAR Magazine, Michael Walzer: Sphären der Gerechtigkeit: Ein kooperativer Kommentar, Philosophy in the Contemporary World, CounterText and Croatian Journal of Philosophy. In 2018 he was a Fulbright Scholar in the Republic of Georgia, researching images of resistance in early medieval art. He is currently a visiting assistant professor at Boğaziçi University in Istanbul.
- Danto, Arthur. 1981. The Transfiguration of the Commonplace. Cambridge: Harvard University Press.
- Danto, Arthur. 1999. The Body/Body Problem. Berkeley: University of California Press.
- Goehr, Lydia. 2008. Elective Affinities. New York: Columbia University Press.
- Habermas, Jürgen. 1987. The Theory of Communicative Action. Vol. 2: Lifeworld and System: A Critique of Functionalist Reason. Translated by Thomas McCarthy. Boston: Beacon Press.
- Habermas, Jürgen. 1990. The Philosophical Discourse of Modernity: Twelve Lectures. Translated by Frederick G. Lawrence. Cambridge: MIT Press.
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- Nietzsche, Friedrich. 2000. Friedrich Nietzsche: Werke und Briefe. Digitale Bibliothek Band 31: Nietzsche. Cited by the page and volume of Nietzsche-Werke, edited by Karl Schlechta. Berlin: C. Hanser Verlag. Directmedia.
- Nietzsche, Friedrich. 2008. On the Genealogy of Morality. Translated by Carol Diethe. Cambridge: Cambridge University Press.
- Snyder, Stephen. 2018. The End-of-Art Philosophy in Hegel, Nietzsche and Danto. London: Palgrave MacMillan. https://doi.org/10.1007/978-3-319-94072-4
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- Vol. 3, no. 1
- 2018
- Online: August 6, 2020
- y
About
Artist Biography
Amalia Ulman (1989) is a visual artist born in Argentina. In 2011 she graduated from the Central Saint Martins College in London. In her author’s practice she addresses phenomena such as class struggle, social gender, representation of individual in mass media and on social networks, while using photos, videos, performative practices and modern communication tools, which often go beyond classical gallery practices. Ulman lives and works in Los Angeles.
Miha Colner (born 1978) has graduated from Art History and works as a freelance curator and art critic. Colner works as a curator and programme coordinator at the International Centre of Graphic Arts / Svicarija Creative Centre in Ljubljana. He is also active as a publicist, specialised in photography, printmaking, artists’ moving image and various forms of (new) media art. In the period 2006-2016 he was a curator at Photon – Centre for Contemporary Photography, Ljubljana. Since 2005 he has been a contributor of newspapers, magazines, specialist publications, and his personal blog, as well as part-time lecturer. In 2006, he became a member of the project group Station DIVA at the SCCA Institute in Ljubljana, which is creating an archive and conducts research on Slovenian video art. In 2007, he co-curated and co-organized Break 2.4 festival, held biannually by K6/4 Institute. Since 2005, he has also worked as an art critic and a regular member of the cultural department at Radio Študent – he is an editor of the show on contemporary art Art-Area. He is also a regular external contributor to the daily newspaper Dnevnik and to the magazines Fotografija and Art-Words. He occasionally contributes to other specialist magazines on fine art and music, such as Maska, Forum, Časopis za kritiko znanosti, Flash, Folio, Zarez, Art Kontura, Frakcija (Croatia), Foto dokumenti (Serbia), Flaneur, Cluster (Great Britain), and Sculpture Network (USA).
He lives and works in Ljubljana, Slovenia.
No available references.
- Vol. 3, no. 2
- 2018
- Online: April 27, 2020
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