Meetings of the Art: Cultural Encounters and Contact Zones in an Art Project for Asylum-seeking Minors in Denmark
Meetings of the Art: Cultural Encounters and Contact Zones in an Art Project for Asylum-seeking Minors in Denmark
复制标题
艺术会议：丹麦寻求庇护的未成年人艺术项目中的文化邂逅和接触区
DOI：
10.1080/07256868.2017.1386634
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发表时间：
2017
影响因子：
1
通讯作者：
Zachary Whyte
中科院分区：
文献类型：
--
作者：
Zachary Whyte
摘要 文化相遇通常被理解为跨越差异的变革性会议。本文借鉴丹麦路易斯安那现代艺术博物馆针对寻求庇护的未成年人的艺术项目进行的四个月的民族志实地考察，认为这种框架可能往往会忽视会议双方的重要互动。我使用“接触区”的概念（Clifford, J., 1997。路线：二十世纪末的旅行和翻译。剑桥：哈佛大学出版社）来关注该项目的三个相互纠缠的维度：空间、社会性和物质性。该项目被安排在博物馆，而红十字会庇护中心和学校（学生们大部分时间都花在这些地方）的缺席空间，以特殊的方式构建了它。此外，该项目独特的社交空间使学生能够继续并改变与同龄人和工作人员的各种社会关系。这对于处于短暂性和不确定性的更广泛社会背景下的学生来说具有特别重要的意义。最后，项目的重要性、使用的特定工具和物体对于将项目标记为接触区也很重要。将这些维度放在一起，既启用又限制了艺术项目作为一种文化相遇的变革潜力。
ABSTRACT Cultural encounters are commonly understood as transformative meetings across difference. Drawing on four months’ ethnographic fieldwork at an art project for asylum-seeking minors at the Louisiana Museum of Modern Art in Denmark, this paper argues that these kinds of framings may tend to overlook important interactions on either side of the meeting. I use the notion of the ‘contact zone’ (Clifford, J., 1997. Routes: Travel and Translation in the Late Twentieth Century. Cambridge: Harvard University Press) to focus on three entangled dimensions of the project: space, sociality and materiality. The placement of the project at the museum and the absent spaces of the Red Cross asylum centres and schools, where the students spent the bulk of their time, structured it in particular ways. Further, the distinct social space of the project at once allowed students to continue and transform a variety of social relations with their peers and with staff. This was of particular significance for the students in a wider social context marked by transitoriness and uncertainty. Finally, the materialities of the project, the particular tools and objects used, were also significant in marking out the project as a contact zone. Taken together these dimensions at once enabled and constrained the transformative potential of the art project as a cultural encounter.