Cubist Counterpoint: Transnational Aesthetics in Video, Sculpture and Installation Art by Mounir Fatmi
Cubist Counterpoint: Transnational Aesthetics in Video, Sculpture and Installation Art by Mounir Fatmi
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立体派对位：视频、雕塑和装置艺术中的跨国美学 作者：Mounir Fatmi
DOI：
10.1093/fmls/cqt025
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发表时间：
2013
影响因子：
0.2
通讯作者：
Shilton S
中科院分区：
文献类型：
--
作者：
Shilton S
这篇文章以独特的视觉方式阐述了如何用一种抵制单一解读的方式来呈现“伊斯兰教”。它主要关注巴黎艺术家穆尼尔·法特米(1970年生于摩洛哥丹吉尔)的作品。本文结合视觉研究和后殖民研究(法语和英语)，探讨当代艺术作品如何利用影像、雕塑和装置等媒介特有的特征，产生视觉的或多感官的克里奥尔，与更常被研究的文学作品平行。它展示了这种媒体上的艺术作品如何在一个不均衡的全球化框架中超越了后殖民概念，如“跨文化”和“对位”。它认为，后殖民的跨国艺术既与后殖民思想产生共鸣，又与持久的艺术关注点和实践产生共鸣，以打造一种视觉语言，用来唤起变化，或“代表不可代表的事物”。
This article addresses distinctively visual means of presenting ‘Islam’ in ways that resist singular readings. It focuses primarily on the work of Paris-based artist Mounir Fatmi (b. 1970 Tangiers, Morocco). Drawing on a combination of visual studies and postcolonial studies (both Francophone and Anglophone), this article asks how contemporary artwork draws on features specific to the media of video, sculpture and installation to produce visual, or multisensorial, ‘creoles’, in parallel to its more commonly studied literary counterparts. It shows how artwork in such media exceeds postcolonial concepts such as ‘transculturation’ and ‘counterpoint' in an uneven, globalized frame. It argues that ‘postcolonial’, transnational art resonates both with postcolonial thought and with enduring artistic preoccupations and practices in its forging of a visual language with which to evoke alterity, or to ‘represent the unrepresentable’.