Guernica Remakings, North with South: research into the practice of cross-cultural translation through making, impact and engagement.

后种族隔离时代的南非(1994)和后殖民时代的毛里求斯(1968)在各自的历史上都留下了压迫的社会政治遗产。在1994年前，大多数南非人被剥夺了接触艺术的机会，严重的失衡仍然存在。在毛里求斯，奴隶制和契约奴役的遗留问题仍然是社会分裂的根本原因。毛里求斯真相和司法委员会2011年发表的报告将这段历史描述为“如果不采取蓄意措施促进民族和解，伤口仍未愈合，伤口可能会溃烂”(31)。根据两国的艺术和文化政策，都强调促进艺术和文化，以解决社会不公正问题。值得注意的是，在主流贸易和工业政策多年被忽视之后，创意产业现在也被认为是包括南非和毛里求斯在内的中低收入国家经济的一个重要增长领域。正是在这一背景下，并与两国的艺术和文化政策相一致，该项目侧重于可持续发展中的艺术实践：鼓励优秀的创作，赋予创造性的个人权力，并促进和发展艺术方面的国际网络。这将通过参观格尔尼卡重塑展览、成立一个伴随展览的学习实验室以及分发展览和实验室的视频文件来实现。学习实验室有意识地创造一个民主的环境，促进关于艺术和社会变革的讨论，通过与常驻艺术家的对等合作和交流来支持专业艺术实践的发展，并扩大参与艺术家和项目合作伙伴的艺术网络。洞察力和最佳做法将从参与者渗透到同行和相关组织；通过传播学习实验室和格尔尼卡翻修展览的纪录片，受益者将呈指数级增长。这个项目，格尔尼卡改造，北与南，建立在AHRC资助的研究基础上：格尔尼卡改造，南非，并继续与项目合作伙伴凯斯卡玛艺术项目合作。艺术项目位于南非最贫穷地区的东开普省，自2010年以来已经四次重塑格尔尼卡。他们对毕加索标志性的反法西斯艺术作品的翻译，改变了其地理、时间和叙事：从西班牙到南非，从20世纪初到21世纪初，从反法西斯主义到艾滋病毒/艾滋病危机。该研究项目通过创作第五部凯斯卡玛·格尔尼卡来关注这一跨文化翻译过程，并询问为什么是格尔尼卡？在12集的视频纪录片中捕捉到了一些通过艺术项目发展起来的支持性、协作性的艺术创作实践。因此，这一后续项目的目标包括：1.通过有效的跨文化翻译《格尔尼尼》，传递关于关键的促进合作的激进艺术做法的知识。2.接触到传统画廊参观者以外的新受众。3.与艺术家领导的组织建立深入和相互的伙伴关系，共同编写关于艺术在可持续国际发展中的作用的知识和理解，以提供最佳做法。4.共同创建一个资源，介绍有关艺术在可持续国际发展中的作用的最佳做法。

Post-apartheid South Africa (1994) and post-colonial Mauritius (1968) both have a socio-political legacy of oppression within their respective histories. Access to the arts was denied to the majority of South Africans prior to 1994 and stark imbalances still remain. In Mauritius the legacy of slavery and indentured servitude are still found at the root cause of societal divisions. This history is described in the Mauritian Truth and Justice Commission Report published in 2011 as "still open wounds that may fester if deliberate measures are not taken for national reconciliation"(31). In line with arts and culture policy in both countries there is an emphasis placed on the promotion of the arts and culture to address social injustice. Notably after years of neglect within mainstream trade and industry policy the creative industries are also now being recognised as an important growth area for the economies of Low and Middle income countries, including South Africa and Mauritius. It is within this context and in line with arts and culture policy in both countries this project focuses on art practice in sustainable development: encouraging creative excellence, empowering creative individuals and promoting and developing international networks in the arts. This will be realised through a tour of the exhibition Guernica Remakings, the formation of a Learning Lab that accompanies the exhibition and the distribution of the video documentation of the exhibition and the Lab.The Learning Lab consciously creates a democratic environment that will foster discussion on art and social change, support the development of professional art practice through peer to peer collaboration and exchange with artists in residence, and expand the artistic networks of participating artists and Project Partners. Insights and best practice will permeate beyond participants to peers and related organisations; beneficiaries will grow exponentially through the dissemination of the documentary videos of the Learning Lab and the Guernica Remakings exhibition. This project, Guernica Remakings, North with South, builds upon the AHRC funded research: Guernica Remakings, South Africa and continues work with the Project Partner the Keiskamma Art Project. Located in the Eastern Cape, in the poorest region of South Africa, the Art Project has remade Guernica four times since 2010. Their translation of Picasso's iconic anti-fascist artwork transforms its geography, time and narrative from: Spain to South Africa, from the early 20th century to the beginning of the 21st century, from anti-fascism to the HIV/AIDS crisis. The research project focused upon this process of cross-cultural translation through the creation of a fifth Keiskamma Guernica and asked why Guernica? Captured in the 12 part video documentary are some of the supportive, collaborative art making practices developed through the Art Project. Consequently the aims of this follow-on project include:1.To transfer learning about key empowering collaborative activist art practices through the effective cross-cultural translation of Guernica.2.To reach new audiences beyond conventional gallery visitors.3.To develop deep and mutual partnerships with artist led organisations to co-produce knowledge and understanding of the role of art in sustainable international development to inform best practice.4.To co-create a resource to inform best practice regarding the role of art in sustainable international development.