| 1. |
- Aman, Robert, 1982-
(author)
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Swedish Colonialism, Exotic Africans and Romantic Anti-Capitalism: Notes on the Comic Series Johan Vilde
- 2016
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In: Third Text. - : Informa UK Limited. - 0952-8822 .- 1475-5297. ; 30:1-2, s. 60-75
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Journal article (peer-reviewed)abstract
- The award-winning Johan Vilde comic series deals with what has been referred to as a concealed part of Swedish history – namely Sweden’s involvement in the slave trade during the seventeenth century. The protagonist is a cabin boy on a Swedish merchant ship who is forced to escape after being accused of mutiny. After jumping ship, he floats ashore in Cabo Corso – located in modern-day Ghana – where he is eventually adopted by a local clan and grows up in an African kingdom. From there, he will go on to witness the harshness and brutality of the slave trade with his own eyes. Comprising four albums published between 1977 and 1982, the comic aligns itself with, and is a prime popular cultural example of, what can be classified in broad terms as a wave of international solidarity movements in Sweden. What this essay discusses is how the anti-colonial and anti-capitalist underpinnings of the Johan Vilde series rekindle a much older Romanticist position. This essay will argue that this well-intended ethically dimension of attempting to subvert the imperially established border between civilisation and where the wild things roam also relies on a position produced by colonial discourse.
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| 2. |
- Cassegård, Carl, 1971
(author)
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Activism Beyond the Pleasure Principle? Homelessness and Art in the Shinjuku Underground
- 2013
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In: Third Text. - : Informa UK Limited. - 0952-8822 .- 1475-5297. ; 27:5, s. 620-633
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Journal article (peer-reviewed)abstract
- Cultural movements in today's Japan are often said to give a prominent place to fun and humour, and to represent a shift towards prefigurative rather than instrumental forms of politics. The author relativizes this portrayal by focusing on how art was used in the struggle around the cardboard village in the Shinjuku underground passages in Tokyo in the mid-1990s. In particular he focuses on the artist Take Jun'ichir who with his friends painted more than a hundred cardboard houses in the homeless encampment. He argues that the cardboard village art was immensely political, but in a sense that cannot be exhausted by conventional concepts such as instrumental or prefigurative politics. Instead, the article suggests that a concept of therapeutical activism is needed to make sense of the centrality in the cardboard art of themes such as death, monsters and uncanny births.
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| 3. |
- Hübinette, Tobias, et al.
(author)
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Transracial adoption, white cosmopolitanism and the fantasy of the global family
- 2012
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In: Third Text. - : Informa UK Limited. - 0952-8822 .- 1475-5297. ; 26:6, s. 691-703
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Journal article (peer-reviewed)abstract
- This article takes at its point of the departure the practice of transracial adoption of children and adults. During the colonial period, it was not only non-white native children or adults who were adopted by white colonisers and settlers; the opposite also occurred. The existence of these ‘inverted’ transracial adoptions is well-documented in literary and autobiographical texts and historical documents, as well as in art and visual culture. At that time, the white transracial adoptee who had been transformed into the Other was stigmatised and even demonised as something of an ethno-racial monster transgressing the boundaries between Europeans and non-Europeans. This article aims to re-conceptualise transracial adoption within the framework of the fundamental inability of Europeans to attach to the lands and peoples outside Europe by making use of the concepts of indigenisation and autochtonisation.
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| 4. |
- Jewesbury, Daniel, 1972
(author)
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Dreaming the Magic: Belfast, Brexit, Bordering and Beyond
- 2018
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In: Third Text. - : Informa UK Limited. - 0952-8822 .- 1475-5297. ; 32:5/6
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Journal article (peer-reviewed)abstract
- The article explores the impossibility and inevitability of Brexit from the perspective of the Northern Irish border, and the insoluble dimension of Northern Ireland's sovereignty in the wake of the Good Friday Agreement of 1998.
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| 5. |
- Jonsson, Stefan, 1961-
(author)
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Disclosing the World Order : Decolonial Gestures in the Artistic Work of Pia Arke
- 2013
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In: Third Text. - London : Taylor & Francis. - 0952-8822 .- 1475-5297. ; 27:2, s. 242-259
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Journal article (peer-reviewed)abstract
- This essay discusses the visual artwork of Greenlandic-Danish Pia Arke (1958–2007), and the ”India Cycle” by Marguerite Duras. It suggests that Duras’ and Arke’s respective works constitute global narratives, and that both approach what may be termed ”the essential trait” of contemporary global history. This essential trait is made present through the pertinent figure of a subaltern female subject, occupying a “decolonial position” at the margin of the global order. The essay presents a model through which this figure may be understood and emphasizes the figure’s importance for urgent political and theoretical problems, such as the veil and islamophobia. The essay also discusses Arke’s striking originality, which has not achieved the attention it deserves. Through calculated ambiguity, meticulous research practices and incorporation of oral history, Arke provided a visual record of the construction of the Arctic native and the role of ethnography and photography in colonial conquest.
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| 6. |
- Kosmala, Katarzyna
(author)
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Expanded Cities in Expanded Europe: Resisting Identities, Feminist Politics and their Utopias
- 2010
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In: THIRD TEXT. - : Taylor and Francis. - 0952-8822 .- 1475-5297. ; 24:5, s. 541-555
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Journal article (peer-reviewed)abstract
- Research into the (re)construction of the professional and private lifeworlds as well as additional categories of the political, technological and performative has opened up the field of video as a space of organisation of forms for resistance to the dominant discourse in contemporary arts. This article examines the examples of video installation works from new EU territories of Central and Eastern Europe (CEE) that attend to both ambiguous constructions of self and the difficulty of political identifications with realities of post-Socialist transformation in the context of expanded cities, as reflected in the works of Marina Grzinic and Aina Smid (Slovenia), Julita Wojcik (Poland) and Ene-Liis Semper (Estonia). Artistic strategies enveloped in feminist politics discussed here can offer a productive perspective to reflect on the complexity of identity representation in Europe. The author will examine paradoxes of identity construction in the expanded cities of expanded Europe represented in the selected video/installation works, and their inconsistencies in terms of the conjunction between memory, self, and (un)conscious reflection.
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| 7. |
- Odumosu, Temi
(author)
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What Lies Unspoken : A Remedy for Colonial Silence(s) in Denmark
- 2019
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In: Third Text. - : Taylor & Francis. - 0952-8822 .- 1475-5297. ; 33:4-5, s. 615-629
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Journal article (peer-reviewed)abstract
- This article provides a reflective overview of What Lies Unspoken: Sounding the Colonial Archive, a sound intervention which I initiated and produced in collaboration with curators at the Statens Museum for Kunst and Royal Library of Denmark, whilst conducting artistic research within the Living Archives Research Project at Malmö University. The project was part of commemorative activities during 2017, marking the centennial of the sale and transfer of Denmark’s former Caribbean sugar colonies (St Croix, St Thomas, and St John) to the United States. The intervention aimed to address the uncomfortable silences surrounding institutional and societal engagements with colonial history in Denmark. In the article I describe how and under what particular cultural conditions this project was developed, share some of the thinking that underpinned its making, and finally reflect on the realities of what it takes for cultural heritage institutions to share interpretive power.
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| 8. |
- Sonjasdotter, Åsa
(author)
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The order of potatoes: On purity and variation in plant breeding
- 2018
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In: Third Text. - : Informa UK Limited. - 0952-8822 .- 1475-5297. ; 32, s. 254-272
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Journal article (peer-reviewed)abstract
- © 2018 Third Text. This article addresses questions of memory, matter, temporality and narrative as they emerge in stable plant variation throughout processes of cultivation and breeding. I have come to investigate these topics through a practice that combines plant breeding and artistic research. Over the last eight years, I have engaged in the cultivation and breeding of farm-bred potatoes with gardeners Bennar Markus and Mathias Wilkens in the self-organised and publicly open Prinzessinnengärten in Berlin.1 The direct engagement with plants has been a way for us to reconnect with human-plant knowledges that are difficult to trace among human records, since not much is written or otherwise documented of the history of breeding practices of pre-industrial farmers in Europe. However, it is indisputable that before the appropriation of this knowledge by scientific and corporate organisations, farmers in Europe were breeding, with the old plant varieties that survive bearing witness to this. This circumstance brings awareness of the fact that the memory of knowledge accumulation that these varieties carry is still alive and functional in the plant, even though it has been widely marginalised or even lost to humans. This in turn makes visible how farming and breeding are intra-species skills that are cultivated in a dialogue between plants and humans that also involves microorganisms, soil, weather, geological conditions and so on.
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| 9. |
- Wallin Wictorin, Margareta, 1958-
(author)
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“Dak’Art, the Biennial Exhibition of Contemporary African Art in Dakar - a Platform for Critical Global Views”
- 2014
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In: Third Text. - Abingdon, Oxon, UK : Taylor & Francis. - 0952-8822 .- 1475-5297. ; 28:6, s. 563-574
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Journal article (peer-reviewed)abstract
- This article describes Dak'Art's role as a platform for critical global views. The author examines the biennial's origins and development in recent years, and shows, by interpreting some of the exhibited artworks from 2008, 2010 and 2012, that Dak'Art represents an alternative kind of global exhibition that shifts the perspective from insistent demands of the north to critical global viewpoints. Many of the artworks communicated messages critical of the European Union, particularly with regard to historical and contemporary problems with borders and boundaries. Pan-African unity was often proposed as an alternative solution. The biennial redefines the concept of internationalism through this Pan-African orientation, and serves as a platform for tackling urgent contemporary issues around politics, ethics, globalization, identity and postcolonial conditions.
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| 10. |
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