SwePub - sökning: L773:2002 0953

Numrering	Referens	Omslagsbild	Hitta
1.	Fanni, Maryam, 1988, et al. (författare) Mapping the Unjust City – Thoughts on Representations of Ownership 2018 Ingår i: Parse journal. - 2002-0953. ; :8 Tidskriftsartikel (refereegranskat)
2.	Lorenzoni, Patricia, 1975- (författare) What’s in a Landscape? : Indigenous Art and the Coevalness of Colonial Expansion 2018 Ingår i: PARSE Journal. - Göteborg. - 2002-0953. ; :8 Tidskriftsartikel (refereegranskat)abstract Taking as a point of departure the ambiguity of notions of center and periphery, this article discusses the place of the landscape in contemporary Amazonian indigenous art. Jaider Esbell’s gallery in Boa Vista, Brazilian state of Roraima, has since its opening in 2013 become a hub in a growing movement of indigenous art in Brazil. In a context where a mythology of racial miscegenation has symbolically placed indigenous people at the very heart of national formation, but where indigenous people became full citizens only in 1988, indigenous artists break through an imposed invisibility traditionally relegating them to a past doomed to disappear with the coming of modernity. Discussing the work of three artists – Carmézia Emiliano, Jaider Esbell and Amazoner Okaba – I argue that the coevalness of territorial colonial expansion in Brazil brings a special meaning to the ways in which indigenous art work with and through the landscape. Where there is no “post-“ to colonialism, and where colonial territorial expansion is a dynamic shaping the present, representations of the landscape cannot escape its disputed character. Art, in this context, becomes a site of both healing and resistance, taking the form of a claim: “we are still here, and we are still indigenous”.

Lorenzoni, Patricia, 1975- (författare)
What’s in a Landscape? : Indigenous Art and the Coevalness of Colonial Expansion
2018
Ingår i: PARSE Journal. - Göteborg. - 2002-0953. ; :8
Tidskriftsartikel (refereegranskat)abstract
- Taking as a point of departure the ambiguity of notions of center and periphery, this article discusses the place of the landscape in contemporary Amazonian indigenous art. Jaider Esbell’s gallery in Boa Vista, Brazilian state of Roraima, has since its opening in 2013 become a hub in a growing movement of indigenous art in Brazil. In a context where a mythology of racial miscegenation has symbolically placed indigenous people at the very heart of national formation, but where indigenous people became full citizens only in 1988, indigenous artists break through an imposed invisibility traditionally relegating them to a past doomed to disappear with the coming of modernity. Discussing the work of three artists – Carmézia Emiliano, Jaider Esbell and Amazoner Okaba – I argue that the coevalness of territorial colonial expansion in Brazil brings a special meaning to the ways in which indigenous art work with and through the landscape. Where there is no “post-“ to colonialism, and where colonial territorial expansion is a dynamic shaping the present, representations of the landscape cannot escape its disputed character. Art, in this context, becomes a site of both healing and resistance, taking the form of a claim: “we are still here, and we are still indigenous”.

Träfflista för sökning "L773:2002 0953 srt2:(2018)"

Avgränsa träffmängd