Aesthetic temporalities in the transnational space of the "Black Atlantic"

该研究项目考察了跨文化的“时态”黑大西洋中审美时间性的相关性。它特别是指人工制品、艺术作品以及美学理论概念及其关系动态、它们的时间潜力和它们的中介。“黑大西洋”一词是指殖民主义和奴隶贸易以及非洲、欧洲和美洲大陆之间的多种政治和文化关系，这些关系深深地铭刻在一个跨国空间结构中。该模型关注的是动态的文化网络，超越了那些从根本上塑造了西方艺术史的民族国家身份政治。新的起点是对所谓的“全球”当代艺术的重新理解，它现在被理解为浓缩的历史交织过程，可以取代以前的静态艺术历史时代模式。超越二分法的种族概念及其人类学决定的时间性--I.A.用“原始非洲”的概念表达--意在指出艺术品和手工艺品独特的、“现在的”审美潜力及其与现代性和当代的相关性。此外，它还应具体说明它们对知识体系生产的影响。然而，探索“图像/画报”的媒介及其跨文化机构是这项工作的中心。应该对此进行调查，这样，图片/文物及其迁徙感知就可以产生(后)殖民民族学、艺术史和哲学中的知识概念，如“拜物教”和“图腾崇拜”，这些概念不仅在“西方”中形成。相反，应该问的是，它们是以何种方式凝聚在黑大西洋不同地区的“审美体制”中。此外，还应阐述其与学科历史、方法和美学概念的相关性。该项目的时间框架将由黑人的概念提供，到目前为止，很少有人将其作为20世纪30年代巴黎“黑大西洋”中的临时美学结构进行研究和发展。这一概念及其跨国“代理人”的影响应在20世纪60年代的非殖民化和政治“新开端”时期加以考察，在这一时期，艺术实践、艺术品和手工艺品引发了具有历史性的“其他”概念。最后，随着Négritde的解构，应该继续研究它在去殖民化学科及其图像/图像概念方面的作用。

The research project examines the relevance of aesthetic temporalities in the transcultural "chronotopos" Black Atlantic. It refers in particular to artefacts, artistic works, as well as aesthetic theory concepts and their relational dynamics, their potentialities of time and their agency. The term "Black Atlantic" refers to colonialism and slave trade and the manifold political and cultural relations between the continents of Africa, Europe and the Americas, which are deeply inscribed in a transnational spatial construct. The model focuses on dynamic, cultural networks beyond those nation-state identity politics that have fundamentally shaped the Western art history so far. The starting point is a new understanding of the so-called "global" contemporary art, which now is to be understood as condensed historical intertwining processes that can replace former static art historical epoch models. Beyond dichotomous racial concepts and their anthropological determined temporality - i.a. expressed in the concept of a "primitive Africa" - it is intended to point out the idiosyncratic, "present" aesthetic potential of artistic objects and artifacts and their relevance to modernity and the contemporary. Furthermore it should specify their influence on the production of systems of knowledge. Yet the exploration of the medium of the "image/ pictorial" and its transcultural agency is the centre of the undertaking. It should be investigated, in which way pictures/ artefacts and their migratory perception could engender concepts of knowledge in (post)-colonial ethnology, art history and philosophy such as "fetishism" and "totemism", which took shape not only in the "West". Rather, it should be asked, in which manner they condensed in "aesthetic regimes" in different areas in the Black Atlantic. Furthermore, its relevance for the history of the disciplines, its methods and aesthetic concepts should be elaborated. The temporal framing of the project will be provided by the concept of Negritude, which until now has rarely been investigated and developed as aesthetic construction of tem-porality in the "Black Atlantic" in the 1930s in Paris. The influence of this concept and its transnational "agents" should be examined for the period of decolonization and political "new beginning" of the 1960s, where artistic practices, works of art and artifacts induced "other" concepts of historicity. Finally, with the deconstruction of Négritde its role should be continously investigated in decolonizing the discipline and its concepts of the picture/ image.