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Content Type: Article

Article

Transvaluation and Aesthetic Displacement

Gezi Park and the Power of Art

Stephen Snyder

Vol. 4, no. 2
2019
Online: August 26, 2020

Reading time: 17 minutes

Art can by no means counteract force directly. But likewise, force cannot directly divert an aesthetic expression.

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.

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Article

Semiotics of the Protest

Maria Paschalidou

Vol. 4, no. 2
2019
Online: August 26, 2020

Reading time: 13 minutes

In street demonstrations, people reclaim the public space on their own terms through their embodied collective actions.

Abstract

In the Semiotics of the Protest performed video, I visually examine the key significance of the body and its language for the materialization of the street protest, the vital tool by means of which people reclaim public space and activate it as a political terrain. The video is based on a performance for which I invited a volunteer dancer to “rehearse” public gestures of resistance against oppression. Challenging dominant representations of protestors as “mobs” and protestors’ bodies as irrational and uncontrollable entities, in this performed video, I visually analyse the political demonstration as choreographic tactics executed by bodies which are meaningful and purposeful and which, through their gestures, move forward to social change.

Keywords: participation, performed video, Phantasmagoria, politics and aesthetics, protest as choreography

Maria Paschalidou is a visual artist, photographer and researcher. Relying on expanded uses of lens-based media, her artwork investigates the multifaceted relationship between politics and aesthetics. Her research includes the performativity of visual media and initiatives for participatory acts in art that challenge dichotomies such as artist–audience, image–language and theory-praxis. She has participated in numerous exhibitions in Europe, USA, Canada, Russia, Australia, and Asia and been a visiting lecturer for various academic programs in Greece and abroad. She holds a Ph.D. in Lens-based Media (De Montfort University, UK, 2018), an MFA in Photography (Columbia College Chicago, USA, 2005), and she is now a Postdoc researcher at Panteion University (Athens, 2019–2021) with the support of State Scholarships Foundation (IKY). She lives in Athens working as an art professor.

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Article

Photographs of the Miners’ Raids

Reworking Images of the Past and Negotiating the Present

Ioan Daniel Mihalcea

Vol. 4, no. 2
2019
Online: August 25, 2020

Reading time: 28 minutes

Every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably.

Abstract

This paper investigates the conditions in which photojournalistic images of the past are becoming iconic and it also traces the ways in which such images actively negotiate the meanings of particular events. Starting from Robert Hariman and John Lucaites’ iconic photography methodology (2007), this research aims to clarify how iconicity operates in specific situations defined by cultural and digital circumstances. The proposed case study analyses the photographs of the events known as Miners’ Raids that took place in Bucharest, Romania in the aftermath of the December 1989 Revolution. First, through a close reading of the aesthetic qualities of the photographic composition, I investigate how images themselves are sites where meaning is produced and how they have the power to sustain multiple and sometimes contradictory semiotic transcriptions. Second, I trace the circulation and appropriation of these photographs to argue their capacity to generate debates and absorb new meanings in the course of their afterlives. The purpose is to understand how photography can work as a distinct category that can articulate complex ideas, judgments, and dialogue.

Keywords: close reading, dissent, iconic photography, remobilization, Romanian public culture

Ioan Daniel Mihalcea is a Ph.D. Student at the Center of Excellence in Image Studies, University of Bucharest, the object of his research being Cultural Studies. His thesis is focused on the relationship between politics and aesthetics in documentary photography and photojournalism, especially in times of crisis and conflict. He is interested in how long-term documentary projects are re-imagined in the current digital environment, what visual tropes are articulated and how they contribute to the discourse of the visual public sphere. Starting 2018, he is an affiliated member of the International Association of Photography and Theory based in Cyprus. At present, he is a teaching assistant for the Photographic Image course at the Center of Excellence in Image Studies, where I concentrate on the prominent periods in photographic theory and its histories.
University of Bucharest, Center of Excellence in Image Studies
ioandanielmihalcea@gmail.com or ioan-daniel.mihalcea@drd.unibuc.ro

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Article

Actions. Situations. Possible Scenarios.

Ileana L. Selejan

Vol. 4, no. 2
2019
Online: August 25, 2020

Reading time: 10 minutes

Whenever a wall is erected, there will always be “people arisen” to “jump the wall,” that is, to cross over borders. If only by imagining. As though inventing images contributed – a little here, powerfully there – to reinventing our political hopes. "- Georges Didi-Huberman"

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.

Article

Protest in the Photo Essay

Following Tradition or Breaking New Ground?

Karin Becker

Vol. 4, no. 2
2019
Online: August 25, 2020

Reading time: 22 minutes

Images of protesters in the photo essay, linked to their own words, lend support to the legitimacy of their demands and their status as citizens, in ways news broadcasts of these events rarely achieve.

Abstract

The photo essay, a form of visual journalism that arose during the era of the picture magazines, has reemerged as a regular feature of global news channels, including CNN, BBC World, and, notably, Al Jazeera English, recognized for its live reporting of political unrest. In 2017, a year marked by protest around the world, AJE published over 200 photo-series, including 37 on public protest. An analysis based in a four-year study of protest on screen, revealed that these photo essays share characteristics that in turn distinguish them from video broadcasts of public protests. The photo-reportage on screen, like its classic forerunner in print, employs a variety of visual perspectives and focuses on participants who are often quoted and identified by name. Scenes of public protest are complemented by visual and textual reporting from the private/domestic sphere. This visual strategy, in contrast to the immediacy of video coverage from the streets, supports knowledge of the protest issue and engagement with its participants.

Keywords: Al Jazeera English, global television news, news galleries, photo essay, photojournalism, public protest

Karin Becker is professor emerita of media studies at Stockholm University. She has held positions at Indiana University (Ph.D. 1976), University of Iowa, Konstfack/College of Art and Design (Stockholm) and Linköping University. She has been a Fulbright Senior Scholar at the University of Munich (1983) and Stockholm University (1988). In 2012-2014 she led the Nordic Network of Digital Visuality (NNDV). Her research centers on visual media forms and practices, including documentary photography and photojournalism, vernacular photography, and artistic and performative practices in public space. She has led research projects on public art (Konst genom staden, VR 2006-2008) and on global media events as mediated through public space (Changing Places, VR 2010-2014). Her recent work includes analyzing protest images in global television news within the research project Screening protest (www.screeningprotest.com).

Karin Becker: karin.becker@ims.su.se, Department of Media Studies, Stockholm University, Sweden

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Becker, Karin. 2018. »Icons of Protest in the Visual Cultures of News.« In Screening Protest: Visual narratives of dissent across time, space and genre, ed. A. Robertson. London & New York: Routledge. https://doi.org/10.4324/9781315173894-6
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Sources (projects and photo essays)

aljazeera.com. In Pictures. 2017. Includes photographer’s name, date, headline and lead-in text. Accessed 13 June 2019, aljazeera.com, adding filter “In Pictures” and scrolling back to 2017 and the date.
20170116. Shafi, Showkat. 16 Jan. In the name of Ram: Tattoos in India’s Dalit community. After being denied access to temples, some Dalits began tattooing the name of the Hindu god Ram on their face and body.
20170122a. Lunde, Kelly Lynn. 22 Jan. Washington DC: Women’s March for equal rights. “I came to show solidarity with women and all the other people who resist the bigotry and … intolerance.”
20170122b. (Compilation) 22 Jan. Women marches across the world draw huge crowd. Hundreds of thousands join women’s marches to protest new US president’s stance on gender, minorities and human rights.
20170202. Moldovan, Ioana. 2 Feb. Protests surge as Romania decriminalises corruption Hundreds of thousands decry measures that decriminalise graft offences as judicial watchdog announces court challenge.
20170203. Lunde, Kelly Lynn. 3 Feb. NYC Yemenis close bodegas to protest Trump travel ban Strike supported by more than 2,000 people aimed to highlight the role of immigrant labour in the city.
20170206a. Moldovan, Ioana. 6 Feb. Romania Protests: A family’s fight. A day in the life of a Romanian family who are taking to the streets each night for the future of their children.
20170206b. Dijkstra, Andrea, & Jeroen Van Loon. 6 Feb. Kenya’s Maasai and Samburu becoming women without FGM. “When my parents called the [cutter for my sister], I warned the district officer. Our generation can bring change.”
20170217. (Compilation). 17 Feb. US immigrants stay at home to demonstrate their value. Thousands participated in the protests across United States.
20170327. Zanoun, Ezz. 27 March. “Thousands attend Gaza funeral of slain Hamas official. Palestinians poured into the streets on Saturday for the funeral of Mazen Faqha”.
20170427. Khan, Faisal. 27 April. Female Kashmiri students lead anti-India protests. Students from various female colleges in Indian administered Kashmir take part in mass protests against Indian soldiers.
20170602. Porter, Lizzie (writer), & Leila Molana-Allen (photographer). 2 June. Walking a path of resistance in Palestine. Illegal Israeli settlements surround the Masar Ibrahim trail on all sides.
20170616. Zanoun, Ezz. 16 June. Mass protests on Gaza’s borders over electricity crisis. Palestinians in besieged Gaza Strip protest at borders with Israel as rights groups warn of growing humanitarian crisis.
20170701. Zanoun, Ezz. 1 July. Life in the darkness of Gaza’s power crisis. Palestinians in the besieged territory are receiving just a few hours of electricity a day.
20170721. (Compilation). 21 July. Al-Aqsa: Clashes in Jerusalem’s Old City. At least three Palestinians killed and over a hundred protesters injured in clashes over the al-Aqsa Mosque controversy.
20170815a. (Compilation). 15 Aug. India celebrates Independence Day. Indians mark the day they gained freedom from British colonial rule in 1947.
20170815b. Chao, Steve. 15 Aug. Seventy years of India–Pakistan partition in pictures. Seventy years on, partition and the violence that accompanied it continues to shape India and Pakistan.
20170828. Lunde, Kelly Lynn. 28 Aug. US anti-racists counter Hate. Thousands respond to right wing rallies planned in San Francisco and Berkeley, claiming victory as marches cancelled.
20170903 Glanowski, Sara Maria. 3 Sept. “Inside Afropunk: The most inclusive space in the US?”
20171101. Baxter, Will. 1 Nov. Kenya election: Without dialogue “we will all perish”. At least 50 people have been killed in political violence in Kenya since August’s annulled poll.

Article

An Example of a Diachronic Imagination from the Gezi Uprising

Ayse Lucie Batur

Vol. 4, no. 2
2019
Online: August 25, 2020

Reading time: 17 minutes

The B&W archival photos that pierce through the colored current-day images of the same locations is a reminder of the atrocities that are not really past, and that these popular locations that are frequented by thousands daily are scenes of unsolved crimes.

Abstract

Gezi Uprising was a wave of popular protests and horizontal mobilizations that emerged at the urban center of Istanbul against the destruction of a public park at the end of May 2013 and then quickly spread across the country. Gezi Uprising was marked by a revolutionary visual strategy of commoning images and repurposing them and this helped connect many protesting neighborhoods and locations, and their specific grievances. Along this synchronic imagination of the protest, the circulation of images also fostered a diachronic imagination that connected past struggles and experiences with the current ones, creating a sense of temporal connections of experiences of this newly imagined community. The photocollages of graphic designer and artist Füsun Turcan Elmasoğlu illustrates the mode through which the heightened diachronic imagination was fostered by the collective creativity during the uprising. Elmasoğlu created collages by bringing images that belong to the same place but 38 years apart; images from the large Labor Day demonstration at Taksim Square in 1977, “the Bloody May 1” together with current images of the square.

Keywords: Gezi Park, protest, radical imagination, social movements, visual culture

Ayse Lucie Batur is a translator, editor, and currently a Ph.D. fellow at the Academy of Visual Arts (Hochschule für Bildende Künste – Braunschweig) in Germany. Batur studied philosophy as an undergraduate at the Bogazici University in Istanbul, and earned her MA degree from the Cultural Studies program at the Istanbul Bilgi University. Her ongoing dissertation project investigates the function and uses of photography in times of upheaval and resistance, particularly focusing on the Gezi Uprising in 2013 Turkey. Her latest translations into Turkish include Henri Lefebvre’s Rhythmanalysis.

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Journal of Photography

Journal of Photography

Content Type: Article

Transvaluation and Aesthetic Displacement

Gezi Park and the Power of Art

Semiotics of the Protest

Photographs of the Miners’ Raids

Reworking Images of the Past and Negotiating the Present

Actions. Situations. Possible Scenarios.

Protest in the Photo Essay

Following Tradition or Breaking New Ground?

An Example of a Diachronic Imagination from the Gezi Uprising

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