Tuesday 14 December 2010

E por falar em "representacoes"...



OTHER VIEWS: ART HISTORY IN (SOUTH) AFRICA AND THE GLOBAL SOUTH



SAVAH, the South African Visual Arts Historians, in association with the International Committee of the History of Art (CIHA), addresses in this colloquium concerns about the unequal distribution of resources around the globe and challenges from postcolonial societies to the older methods and concepts of Western art history. These challenges have relevance in South Africa, Africa and the Global South, which in this context is a cultural construct rather than a geographic term. It refers to communities and artistic production, throughout history and across nations, which, within the dominant narratives of Western art, have been ignored, marginalised, displaced and appropriated. The aim is to shift the centre of discourse and challenge received systems of thought, which are still largely positioned within Western-centred logic. The desired outcome is to complicate the history of art and the relationship between histories in the Global South and the ‘North’ or ‘West’.




The programme includes, among others, the following themes:

How might the history of art in an African context challenge the Western art canon? If so, in what way(s) is art in an African context constituted as both regional and contemporary? What is its relation to global art practice at large?

Reality Exploited: Neo-colonial Problems in Contemporary Art

Who Is Entitled to Tell the Black Artist’s Story?

‘Regardless, the Struggle Continues’: Black Consciousness is a Culture of Resistance

Blackness as a Model: Towards a New Art History

Categories of the ‘Other’

White South African Discourse and the Invention of the Modern African Primitive

Art As an Act of Decolonisation: Perspectives From and On the Global South

‘Art Africanism’, ‘Ethnic Marketing’ and ’Artistic Fakes’ in the Contemporary Arts of Africa and the Diaspora

Africa, Africanness, and Their Representation in the Contemporary Mega Exhibition

Modernist Primitivism and Indigenous Modernisms: Transnational Discourse and Local Art Histories

Memory, Creativity and First Voice: Heritage Domains and Subaltern Discourse

Conflicts in the Making of Global Contemporary Art

Functionality and Social Modernism in the Work of Untrained South African Artists

Modernist Primitivism and Modern Art in Early Post-Independence Senegal

South African Beadwork – Craft, Art, Recycling, Bricolage? Reflections on the Problem of the Conceptual Appropriation of the Art of the Global South

Renegotiating Race and Nationality: Commercial and Press-Photography in Post-Independent Mozambique, 1975-1986

Millennium Base and New Ways of Expressing in the Modern Bantu Art

The Oppression of Blacks in South Africa is to Blame for the Inequalities that Face the Art Discourses Today

Fact and Fantasy – a Life beyond the Fact: Women’s Occupational Dress and the Influence of Identity

International Esteem through Local Significance

A New Generation of Utopia: Young Artists’ Careers in the Context of the Trienal de Luanda

Contesting Imperial Narratives and Display of African Art: A Counter History from Nigeria



[More details here]


POSTS RELACIONADOS:

Festival Mondial des Arts Negres

Representations



OTHER VIEWS: ART HISTORY IN (SOUTH) AFRICA AND THE GLOBAL SOUTH



SAVAH, the South African Visual Arts Historians, in association with the International Committee of the History of Art (CIHA), addresses in this colloquium concerns about the unequal distribution of resources around the globe and challenges from postcolonial societies to the older methods and concepts of Western art history. These challenges have relevance in South Africa, Africa and the Global South, which in this context is a cultural construct rather than a geographic term. It refers to communities and artistic production, throughout history and across nations, which, within the dominant narratives of Western art, have been ignored, marginalised, displaced and appropriated. The aim is to shift the centre of discourse and challenge received systems of thought, which are still largely positioned within Western-centred logic. The desired outcome is to complicate the history of art and the relationship between histories in the Global South and the ‘North’ or ‘West’.




The programme includes, among others, the following themes:

How might the history of art in an African context challenge the Western art canon? If so, in what way(s) is art in an African context constituted as both regional and contemporary? What is its relation to global art practice at large?

Reality Exploited: Neo-colonial Problems in Contemporary Art

Who Is Entitled to Tell the Black Artist’s Story?

‘Regardless, the Struggle Continues’: Black Consciousness is a Culture of Resistance

Blackness as a Model: Towards a New Art History

Categories of the ‘Other’

White South African Discourse and the Invention of the Modern African Primitive

Art As an Act of Decolonisation: Perspectives From and On the Global South

‘Art Africanism’, ‘Ethnic Marketing’ and ’Artistic Fakes’ in the Contemporary Arts of Africa and the Diaspora

Africa, Africanness, and Their Representation in the Contemporary Mega Exhibition

Modernist Primitivism and Indigenous Modernisms: Transnational Discourse and Local Art Histories

Memory, Creativity and First Voice: Heritage Domains and Subaltern Discourse

Conflicts in the Making of Global Contemporary Art

Functionality and Social Modernism in the Work of Untrained South African Artists

Modernist Primitivism and Modern Art in Early Post-Independence Senegal

South African Beadwork – Craft, Art, Recycling, Bricolage? Reflections on the Problem of the Conceptual Appropriation of the Art of the Global South

Renegotiating Race and Nationality: Commercial and Press-Photography in Post-Independent Mozambique, 1975-1986

Millennium Base and New Ways of Expressing in the Modern Bantu Art

The Oppression of Blacks in South Africa is to Blame for the Inequalities that Face the Art Discourses Today

Fact and Fantasy – a Life beyond the Fact: Women’s Occupational Dress and the Influence of Identity

International Esteem through Local Significance

A New Generation of Utopia: Young Artists’ Careers in the Context of the Trienal de Luanda

Contesting Imperial Narratives and Display of African Art: A Counter History from Nigeria



[More details here]


POSTS RELACIONADOS:

Festival Mondial des Arts Negres

Representations

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