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

该研究项目探讨了跨文化的“chronotopos”黑大西洋的审美时间性的相关性。它特别指的是人工制品、艺术作品以及美学理论概念及其关系动态、它们的时间潜力及其媒介。“黑大西洋”一词指的是殖民主义和奴隶贸易以及非洲、欧洲和美洲大陆之间多种多样的政治和文化关系，这些关系深深地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，超越了迄今为止从根本上塑造了西方艺术史的民族国家身份政治。其出发点是对所谓的“全球”当代艺术的新理解，当代艺术现在被理解为浓缩的历史交织过程，可以取代以前静态的艺术历史时代模型。超越二分种族概念及其人类学决定的时间性。它的目的是指出艺术品和手工艺品的独特的、“当下”的审美潜力及其与现代和当代的相关性。此外，还应具体说明它们对知识体系产生的影响。然而，对“图像/图片”媒介及其跨文化媒介的探索是这项事业的中心。应该调查图片/人工制品及其迁移观念如何能够在（后）殖民民族学、艺术史和哲学中产生知识概念，如“拜物教”和“图腾崇拜”，这些概念不仅在“西方”形成。相反，应该问的是，它们以何种方式凝聚在黑大西洋不同地区的“美学制度”中。此外，还应阐述其与学科史的相关性、其方法和美学概念。该项目的时间框架将提供的概念，黑人，这到目前为止很少被调查和开发的审美建设的时间在“黑色大西洋”在20世纪30年代在巴黎。这一概念及其跨国“代理人”的影响应在1960年代的非殖民化和政治“新开端”时期加以审查，在这一时期，艺术实践、艺术作品和手工艺品引发了“其他”历史性概念。最后，随着对内格里德的解构，它在使这门学科及其图像/图像概念非殖民化方面的作用应该继续得到研究。

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.