Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood
Autor(a) principal: | |
---|---|
Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10451/34671 |
Resumo: | This essay examines how Caribbean artists have employed withdrawal in critical, insurgent ways. I confront several Caribbean projects developed in different chronologies and locations that have attempted to use withdrawal in order to challenge uneven institutional dynamics. The examples I discuss here – Cuban art dedicates itself to baseball (Havana, José A. Echevarría Stadium (Vedado), 1989), Silvano Lora’s Marginal Biennial (Santo Domingo, multiple locations, 1992), Joëlle Ferly’s L’Art de faire la grève (Martinique, Fondation Clément, 2009) and L’Artocarpe (Guadeloupe, ongoing) – problematize the role of artistic agency, the reach of the exhibition form and the influence of foreign expectations. Traditionally, Caribbean art has been subjected to a process of commodification and exoticization. Through the examination of those four practices, I will assert that an alternative genealogy of active, productive interventions concerned with staging emancipative spatial dynamics beyond representational constraints and objecthood can be found. |
id |
RCAP_6158136b4d6fdbeb847e42727feb6214 |
---|---|
oai_identifier_str |
oai:repositorio.ul.pt:10451/34671 |
network_acronym_str |
RCAP |
network_name_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository_id_str |
7160 |
spelling |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond ObjecthoodArt institutionsCaribbean studiesSpectatorshipWithdrawalThis essay examines how Caribbean artists have employed withdrawal in critical, insurgent ways. I confront several Caribbean projects developed in different chronologies and locations that have attempted to use withdrawal in order to challenge uneven institutional dynamics. The examples I discuss here – Cuban art dedicates itself to baseball (Havana, José A. Echevarría Stadium (Vedado), 1989), Silvano Lora’s Marginal Biennial (Santo Domingo, multiple locations, 1992), Joëlle Ferly’s L’Art de faire la grève (Martinique, Fondation Clément, 2009) and L’Artocarpe (Guadeloupe, ongoing) – problematize the role of artistic agency, the reach of the exhibition form and the influence of foreign expectations. Traditionally, Caribbean art has been subjected to a process of commodification and exoticization. Through the examination of those four practices, I will assert that an alternative genealogy of active, productive interventions concerned with staging emancipative spatial dynamics beyond representational constraints and objecthood can be found.Taylor & FrancisRepositório da Universidade de LisboaGarrido Castellano, Carlos2018-08-29T13:45:29Z20172017-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10451/34671engGarrido Castellano, Carlos. "Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood". Interventions: International Journal of Postcolonial Studies (2017): 1-19.10.1080/1369801X.2017.1348243info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-11-08T16:29:56Zoai:repositorio.ul.pt:10451/34671Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T21:49:15.753580Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood |
title |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood |
spellingShingle |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood Garrido Castellano, Carlos Art institutions Caribbean studies Spectatorship Withdrawal |
title_short |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood |
title_full |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood |
title_fullStr |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood |
title_full_unstemmed |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood |
title_sort |
Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood |
author |
Garrido Castellano, Carlos |
author_facet |
Garrido Castellano, Carlos |
author_role |
author |
dc.contributor.none.fl_str_mv |
Repositório da Universidade de Lisboa |
dc.contributor.author.fl_str_mv |
Garrido Castellano, Carlos |
dc.subject.por.fl_str_mv |
Art institutions Caribbean studies Spectatorship Withdrawal |
topic |
Art institutions Caribbean studies Spectatorship Withdrawal |
description |
This essay examines how Caribbean artists have employed withdrawal in critical, insurgent ways. I confront several Caribbean projects developed in different chronologies and locations that have attempted to use withdrawal in order to challenge uneven institutional dynamics. The examples I discuss here – Cuban art dedicates itself to baseball (Havana, José A. Echevarría Stadium (Vedado), 1989), Silvano Lora’s Marginal Biennial (Santo Domingo, multiple locations, 1992), Joëlle Ferly’s L’Art de faire la grève (Martinique, Fondation Clément, 2009) and L’Artocarpe (Guadeloupe, ongoing) – problematize the role of artistic agency, the reach of the exhibition form and the influence of foreign expectations. Traditionally, Caribbean art has been subjected to a process of commodification and exoticization. Through the examination of those four practices, I will assert that an alternative genealogy of active, productive interventions concerned with staging emancipative spatial dynamics beyond representational constraints and objecthood can be found. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017 2017-01-01T00:00:00Z 2018-08-29T13:45:29Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10451/34671 |
url |
http://hdl.handle.net/10451/34671 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
Garrido Castellano, Carlos. "Caribbean Artistic Genealogies of Withdrawal. Rethinking Caribbean Visuality Beyond Objecthood". Interventions: International Journal of Postcolonial Studies (2017): 1-19. 10.1080/1369801X.2017.1348243 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Taylor & Francis |
publisher.none.fl_str_mv |
Taylor & Francis |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
repository.mail.fl_str_mv |
|
_version_ |
1799134424520982528 |