In an age of 'ethnic cleansing' and forced migration, of contested borders and nations in turmoil, how have issues of place and identity, and of belonging and exclusion, been represented in visual culture? In Terra Infirma, Irit Rogoff examines geography's truth claims and signifying practices, arguing that geography is a language in crisis, unable to represent the immense changes that have taken place in a post-colonial, post-communist, post-migratory world. She uses the work of international contemporary artists to explore how art in the twentieth century has confronted and challenged issues of identity and belonging. Rogoff's dazzling and richly-illustrated study takes in painting, installation art, film and video by a wide range of artists including Charlotte Salomon, Ana Mendieta, Joshua Neustein, Yehoshua Glotman, Mona Hatoum, Hans Haacke, Ashley Bickerton, Alfredo Jaar and Guillermo Gomez-Pena. Structuring her argument through themes of luggage, mapping, borders and bodies, Rogoff explores how artists have confronted twentieth century phenomena such as the horror of the Holocaust, the experience of diaspora at New York's Ellis Island, and, in the present day, disputed and fraught boundaries in the Middle East, the two Germanies, the Balkan states and the US-Mexican border.
具體描述
讀後感
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用戶評價
theory for the theory’s sake is malicious!
评分theory for the theory’s sake is malicious!
评分the site is a producing procedure of meanings
评分A subject is expected to have the immersive experiences when reading and representing the city. Since such experiences are not identical but rather specific and personal, ‘the specificity of the subjectivity refuses the lofty disembodied viewpoint in urban public space’, which implies the ‘negation of meta-vision and of totalizing vision’.
评分A subject is expected to have the immersive experiences when reading and representing the city. Since such experiences are not identical but rather specific and personal, ‘the specificity of the subjectivity refuses the lofty disembodied viewpoint in urban public space’, which implies the ‘negation of meta-vision and of totalizing vision’.
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