Displacement and Death: Comparative Questions of Aesthetics, Economics and Personhood in the (Memorial) Art of Lampedusa and Venezlombia 2008-2018

流离失所与死亡：2008-2018年兰佩杜萨和委内瑞拉（纪念）艺术中美学、经济学和人格的比较问题

• 批准号: 2286777
• 金额: --
• 依托单位: Royal Holloway University of London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2286777
• 关键词: Displacement; Death; Comparative; Questions; Aesthetics

Twenty-first century mass deaths of people displaced by global economics and conflict in Lampedusa and the Venezuela/Colombia border (Venezlombia) have led to problematic intersections of art, memorial culture which raise questions of personhood and commodification. Examining contrasting artworks (from figurative painting to installations using bodily remains and underwater sculptures), this thesis explores interdisciplinary questions of aesthetics and economics bound up in (memorial) art representing the deaths of economically-displaced individuals. I explore how patterns of exploitation and disposability rooted in neoliberalism - as well as in (post)colonial exploitation and conflict - cause and fuel the mass displacement of individuals (Klein, 2008; Evans and Giroux 2015; Franco, 2013), and examine how these patterns intersect with market forces involved in artistic attempts to respond to such deaths. Examining contrasting artworks and memorials referencing the displaced dead of Lampedusa and Venezlombia offers new debates to contested conceptions of personhood (Lowe, 1996; Martin, Ludwig, 1997; Noonan, 2003). I interrogate the economic cycles which (memorial) artists more-or-less knowingly express and upon which the circulation and value of their artworks depend. I highlight how these works ('Porta d'Europa' (Paladino, 2008), 'Raft of Lampedusa' (deCaires Taylor, 2016), 'Lampedusa Cross' (Tuccio, 2015), 'Lampedusa' (Muniz, 2015), ('Durch das Leben, durch den Tod' (Margolles, 2017), 'Trayecto' (Margolles, 2018) 'Amor a la Humanidad' (Cantor, 2018) and '30 de enero' (Suprani, 2018)) bring into question relationships between different cultural conceptions of death, memorialisation and personhood and raise concerns of how art representing deaths of displaced people may express a range of impetuses - from care of the individual to displacement of responsibility. My project brings to the fore the problematics of bearing witness to the disposability of the individual in mass displacement; the evacuation of personhood in death; and the potential commodification of the displaced dead individual in the art market.

世纪，全球经济和兰佩杜萨和委内瑞拉/哥伦比亚边境（Venezlombia）的冲突造成了人们的大规模死亡，导致了艺术和纪念文化的交叉问题，引发了人格和商品化的问题。通过对比艺术品（从具象绘画到使用遗体和水下雕塑的装置），本文探讨了与代表经济流离失所者死亡的（纪念）艺术有关的美学和经济学的跨学科问题。我探讨了植根于新自由主义以及（后）殖民剥削和冲突中的剥削和可处置性模式如何导致和助长个人的大规模流离失所（Klein，2008; Evans和Giroux 2015; Franco，2013），并研究了这些模式如何与参与艺术尝试的市场力量相交，以应对这种死亡。考察对比鲜明的艺术品和纪念品，涉及兰佩杜萨和Venezlombia流离失所的死者，为有争议的人格概念提供了新的辩论（Lowe，1996; Martin，Ludwig，1997; Noonan，2003）。我质疑（纪念）艺术家或多或少有意表达的经济周期，以及他们作品的流通和价值所依赖的经济周期。我强调这些是如何工作的，（《欧洲之门》（Paladino，2008年），《兰佩杜萨的木筏》）（deCaires Taylor，2016），“兰佩杜萨十字架”（Tuccio，2015），'兰佩杜萨'（Muniz，2015年），（《生命的终结》，《死亡之路》，Margolles，2017年），《Trayecto》（Margolles，2018）“Amor a la Humanidad”（康托，2018年）和“30 de enero”（Suprani，2018））提出了不同文化死亡概念之间的关系，这一概念的提出，不仅涉及纪念和人格，而且还引起了人们的关注，即表现流离失所者死亡的艺术如何表达一系列的推动力--从对个人的关怀到责任的转移。我的项目突出了见证大规模流离失所中个人的可处置性的问题;死亡中人格的疏散;以及艺术市场中流离失所的死亡个体的潜在商品化。