权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Challenging Geopolitical Consciousness: Latency in the Representation of Geopolitics and Power in the Photographic Work of Ursula Schulz-Dornburg from

挑战地缘政治意识：乌苏拉·舒尔茨-多恩堡 (Ursula Schulz-Dornburg) 摄影作品中地缘政治和权力表征的潜伏期

基本信息

批准号：
2299746
负责人：
金额：
--
依托单位：
University of Westminster
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：
未结题

来源：
https://gtr.ukri.org/projects?ref=studentship-2299746
关键词：
Challenging Geopolitical Consciousness Latency Representation

项目摘要

I will investigate the political and temporal dimensions of the work of German photographer UrsulaSchulz-Dornburg (1938), focussing on latency and its power as a political tool. Schulz-Dornburg isa living artist, known for her mostly black-and-white conceptual photographs. She has madeseries-based projects since the 1970s, with an oeuvre of architecture and landscape which spansthe past 50 years. Through her work, she has travelled to countries as diverse as Russia, Armenia,Saudi Arabia, Burma, Kazakhstan, Iraq and Azerbaijan. In my research, her archive will function asa model for examining images of place and their changing contexts across time. The concept oflatency, as defined in this project, draws from the German word Erwartung, from waiting, meaningexpectation, anticipation, speculation; it is underlying, yet-to-be-manifest, ever-present. Byconsidering what is concealed within an image - like the invisible but no less real geopoliticalborders in the background of her photographs - I will question the intersection between Schulz-Dornburg's artistic practice and her activism. I will contrast her work with that of others who havecaptured the same sites in the Middle East and Caucasus, historically and present-day. I willexplore how, as a function of latency, meaning in these images is still becoming manifest and willcontinue to do so.

我将调查德国摄影师乌苏拉舒尔茨-多恩堡(UrsulaSchulz-Dornburg，1938)作品的政治和时间维度，重点关注潜伏期及其作为政治工具的力量。舒尔茨-多恩伯格是一位在世的艺术家，以她的大部分黑白概念照片而闻名。自20世纪70年代以来，她一直从事以疯狂系列为基础的项目，在过去的50年里，她创作了大量的建筑和景观。通过她的工作，她去过俄罗斯、亚美尼亚、沙特阿拉伯、缅甸、哈萨克斯坦、伊拉克和阿塞拜疆等国。在我的研究中，她的档案将作为研究地点图像及其随时间变化的背景的模型。这个项目中定义的平易近人的概念来自德语单词Erwartung，来自等待、有意义的期望、预期、猜测；它是潜在的、尚未显现的、一直存在的。通过考虑隐藏在图像中的东西--就像她照片背景中看不见但同样真实的地缘政治边界--我将质疑舒尔茨-多恩伯格的艺术实践和她的激进主义之间的交集。我将把她的工作与其他在中东和高加索夺取相同遗址的人的工作进行对比，无论是历史上还是现在。我将探索，作为延迟的函数，这些图像中的意义如何仍然变得明显，并将继续这样做。