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The Ends of Modernism: Understanding the Political Uses of Modernist Art among Muslim Intellectuals in Bangladesh since 1952.

现代主义的终结：了解 1952 年以来孟加拉国穆斯林知识分子现代主义艺术的政治用途。

基本信息

批准号：
ES/K001000/1
负责人：
Lotte Elisabeth Hoek
金额：
$ 22.2万
依托单位：
University of Edinburgh
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2013
资助国家：
英国
起止时间：
2013 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=ES%2FK001000%2F1
关键词：
Ends Modernism Understanding Political Uses

项目摘要

Political movements in the postcolonial world often bring artist out into the streets along with intellectuals, students and workers. The death of Egyptian artist Ahmed Basiony at the hands of security forces in Tahrir Square is a poignant case in point. Basiony's death added great urgency to his posthumous Egyptian Pavilion at the 2011 Venice Biennale in which the work of art measured the costs of action. But how can we understand the role of the fine arts in political movements and political action? How can we understand the roles artists and objects of arts may play in creating political awareness or spurring social movements? How do objects of art or aesthetic environments make political hope or aspiration tangible and produce affective responses in viewers? And in what ways do artists in postcolonial societies turn to the visual and plastic arts to pursue concrete political goals, often in contexts of political repression?This research project investigates the uses of modernist art in political movements from a social science perspective. Modernist art is often considered to be autonomous and free from social constraint. Its practitioners and critics believe it encourages new ways of seeing the world, presenting viewers with revolutionary new sensations and visions. The radical break with the past that avant-garde modernist artists imagine makes for politically subversive works of art. As a global art form, modernist art has been controversial and groundbreaking in many parts of the world.In Bangladesh, the modernist dream of creating something radically new has been a leitmotif in the various attempts to liberate, develop and transform this part of Bengal. The modernist dream of progress and universal principles is at the heart of contemporary Bangladeshi society and politics. It can be discerned as easily in the politics of donors as in that of its artists . This project focuses specifically on the role of artists and modernist art practices within the politics of remaking East Pakistan/Bangladesh. Since independence from Britain in 1947, artists from this part of the world have been at the forefront of important and radical political movements and contests in the new state of East Pakistan that in 1971 became Bangladesh. Modernist works of art and artists have been at the receiving end of significant state repression in various forms of censorship in East Pakistan/Bangladesh. At the same time, politicians have embraced public works of modern art as a means to increase their own legitimacy. International organizations in Bangladesh have similarly linked the arts to political goals, such as the engagement with local artists by the Goethe Institute or British Council. Modern art has consistently been sought out for political ends in this part of the world.To understand the ways in which the arts are used as tools for political contestation in Bangladesh, I will interview artists, art students and policy makers in Dhaka's galleries, arts organisations, universities and NGOs. Archival work in significant Bangladeshi archives will explore the original writings of key East Bengali intellectuals and artists. I will also observe arts classes at important universities and arts institutes and explore with students how they learn to appreciate, understand and make art. I will observe the uses of public space around important modernist buildings and structures. Combined, these methods will illuminate the ways in which modernist art and artists have been part of the political contests of post-colonial East Pakistan/Bangladesh. This research project will contribute to our understanding of the links between culture and politics in the world today.

后殖民世界的政治运动常常让艺术家与知识分子、学生和工人一起走上街头。埃及艺术家艾哈迈德·巴西尼 (Ahmed Basiony) 在解放广场被安全部队杀害就是一个令人心酸的例子。巴西奥尼的去世为他死后在 2011 年威尼斯双年展上举办的埃及馆增添了极大的紧迫性，在该馆中，艺术品衡量了行动的成本。但我们如何理解美术在政治运动和政治行动中的作用呢？我们如何理解艺术家和艺术品在创造政治意识或刺激社会运动方面可能发挥的作用？艺术对象或审美环境如何使政治希望或愿望变得有形并在观众中产生情感反应？后殖民社会的艺术家如何转向视觉和造型艺术来追求具体的政治目标，通常是在政治镇压的背景下？这个研究项目从社会科学的角度调查了现代主义艺术在政治运动中的运用。现代主义艺术通常被认为是自主的并且不受社会约束。它的实践者和评论家认为它鼓励以新的方式看待世界，为观众呈现革命性的新感觉和愿景。前卫现代主义艺术家想象中与过去的彻底决裂造就了具有政治颠覆性的艺术作品。作为一种全球艺术形式，现代主义艺术在世界许多地方一直备受争议和开创性。在孟加拉国，创造全新事物的现代主义梦想一直是解放、发展和改造孟加拉这片地区的各种尝试的主旋律。现代主义的进步梦想和普遍原则是当代孟加拉国社会和政治的核心。它可以在捐助者的政治中和艺术家的政治中一样容易地被识别出来。该项目特别关注艺术家和现代主义艺术实践在重塑东巴基斯坦/孟加拉国的政治中的作用。自 1947 年脱离英国独立以来，来自世界各地的艺术家一直站在东巴基斯坦新国家（1971 年更名为孟加拉国）重要而激进的政治运动和竞争的最前沿。在东巴基斯坦/孟加拉国，现代主义艺术作品和艺术家一直受到国家各种形式的审查制度的严重镇压。与此同时，政客们也开始接受现代艺术的公共作品，以此作为增强自身合法性的手段。孟加拉国的国际组织也同样将艺术与政治目标联系起来，例如歌德学院或英国文化协会与当地艺术家的接触。在世界的这个地区，现代艺术一直是为了政治目的而寻求的。为了了解孟加拉国如何将艺术用作政治竞争的工具，我将采访达卡画廊、艺术组织、大学和非政府组织的艺术家、艺术学生和政策制定者。孟加拉国重要档案馆的档案工作将探索东孟加拉主要知识分子和艺术家的原创作品。我还将观摩重要大学和艺术院校的艺术课程，与学生一起探讨如何学习欣赏、理解和创作艺术。我将观察重要现代主义建筑和构筑物周围公共空间的使用情况。结合起来，这些方法将阐明现代主义艺术和艺术家如何参与后殖民东巴基斯坦/孟加拉国的政治竞争。该研究项目将有助于我们理解当今世界文化与政治之间的联系。