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

在过去的十年中，拉希德·阿莱恩作为艺术家、策展人、理论家和《第三文本》杂志的创始编辑，他的作品得到了广泛的认可。在对欧美艺术机构和机构艺术史进行了一系列女权主义、后殖民主义和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艺术发展的关键人物。然而，他的历史意义仍然是由一个主要的北美艺术历史佳能的叙述和类别，表明挑战的工作，在艺术history.This论文的独家机制，通过其单一性的镜头，作为不可简化的一般化的类别和叙述和范例，作为一个潜在的一般化的模型接近Araeen的职业生涯。它特别认为Araeen的使用网格公认在英美艺术话语作为一个典型的现代主义形式作为他的艺术词汇的基本单位。追踪Araeen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。参与最近的理论在艺术和建筑史的可译性和不可译性，它认为如何Araeen的典范前景多，分歧，和未被认可的途径内，内部破坏性的，艺术史的立场，后殖民大都市。

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.