Humour and the Commodification of Suffering Strategies of Cultural Resilience in Contemporary Art
Humour and the Commodification of Suffering Strategies of Cultural Resilience in Contemporary Art
复制标题
幽默与当代艺术中文化韧性的苦难策略的商品化
DOI：
10.1080/09528822.2021.1985250
复制
发表时间：
2021
期刊：
影响因子：
0.2
通讯作者：
Lionis C
中科院分区：
文献类型：
--
作者：
Lionis C
强调当代艺术中的不稳定性和冲突意味着来自危机现场的艺术家经常被框定为“当地信息提供者”，期望通过讲述边缘化和政治冲突的经历来实现文化资本。这意味着，与大众文化领域相比，边缘化群体被期望通过幽默来“表现”他们的身份。（例如POC，女性，酷儿单口相声演员），“真诚”，“真实”和真实的表演仍然是当代艺术中跨文化相遇的核心。（模因，涂鸦等），这篇文章认为幽默是如何作为一种政治策略的艺术家从不同的危机地点：希腊，巴勒斯坦和澳大利亚土著。通过分析艺术家Khaled Hourani、Richard Bell和Kostis Stafylakis的作品，它展示了当代艺术中的幽默如何有助于三种形式的文化适应力：“真实性”、“表演”和“造地”。
The emphasis on precarity and conflict in contemporary art has meant that artists from sites of crisis are frequently framed as ‘local informants’, expected to perform cultural capital by narrating experiences of marginality and political conflict. This has meant that in contrast to the sphere of popular culture where marginalised groups are expected to engage humour to ‘perform’ their identity (eg POC, female, queer stand-up comedians), performances of ‘sincerity’, ‘authenticity’ and truth remain central to intercultural encounters in contemporary art. Framed by discussion of how humour in contemporary art differs to ‘everyday’ visual forms (memes, graffiti etc), this article considers how humour is used as a political strategy by artists from diverse sites of crisis: Greece, Palestine and Indigenous Australia. Analysing the work of artists Khaled Hourani, Richard Bell, and Kostis Stafylakis, it demonstrates how humour in contemporary art contributes to three forms of cultural resilience: ‘authenticity’, ‘enactment’, and ‘placemaking’.