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Exemplarity and (Un)translatability: Rasheed Araeen's Transnational Itineraries

典范性和（不可）可译性：拉希德·阿拉恩的跨国行程

基本信息

批准号：
2291825
负责人：
金额：
--
依托单位：
University of Manchester
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-2291825
关键词：
Exemplarity Un translatability Rasheed Araeen

项目摘要

In the past decade, Rasheed Araeen has seen a surge of recognition for his work as an artist, curator, theorist, and founding editor of the journal Third Text. Following successive waves of feminist, postcolonial and decolonial critiques of Euro-American art institutions and institutional art history, the Karachi-born, London-based artist is now widely acknowledged as a pivotal figure in artistic developments since the postwar era. Yet his historical significance continues to be framed by the narratives and categories of a predominantly North American art historical canon, indicating challenges to the work of dissembling exclusionary mechanisms within art history.This thesis approaches Araeen's career through the lenses of its singularity-as irreducible to generalised categories and narratives-and exemplarity-as a potentially generalisable model. It specifically considers Araeen's use of the grid-recognised in Anglo-American art discourses as a quintessentially modernist form-as an elemental unit of his artistic vocabulary. Tracing Araeen's various deployments of the grid across his career, it examines how this form evolved through the mediations of multiple transnational artistic networks. Engaging recent theorisations of translatability and untranslatability in art and architectural history, it considers how Araeen's exemplarity foregrounds multiple, divergent, and under-recognised pathways within, and internally disruptive of, art history from the standpoint of the post-colonial metropole.

在过去的十年里，拉希德·阿拉恩作为艺术家、策展人、理论家和杂志《第三文本》的创始编辑，他的作品获得了越来越多的认可。在经历了一波又一波的女权主义、后殖民主义和对欧美艺术机构和机构艺术史的非殖民主义批评之后，这位出生于卡拉奇、总部位于伦敦的艺术家现在被广泛认为是战后以来艺术发展的关键人物。然而，他的历史意义仍然被一部以北美为主的艺术史经典的叙事和类别所框定，这表明了对艺术史中排外机制的掩饰工作的挑战。本文通过奇点的透镜--不可还原为泛化的类别和叙事--和典范--作为一个潜在的概括性模型来探讨阿兰的职业生涯。它特别考虑了阿拉恩对网格的使用--在英美艺术话语中被认为是典型的现代主义形式--作为他艺术词汇的基本单位。追踪阿拉恩在他的职业生涯中对网格的各种部署，它考察了这种形式是如何通过多个跨国艺术网络的调解而演变的。它结合了艺术和建筑史中最新的可译性和不可译性理论，从后殖民大都市的角度考虑了阿拉恩的典范是如何突出艺术史内部和内部颠覆的多条、不同和不被认可的道路。