Decolonising education: visual arts, cohesion, transformation
- Authors: Nsele, Zamansele
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146456 , vital:38527 , https://savah.org.za/2016/01/18/call-for-papers-savah-conference-2016/#more-174
- Description: Rethinking Art History and Visual Culture in a Contemporary Context. The Rhodes Must Fall” and “Fees Must Fall” campaigns which arose in South Africa in the course of 2015, while focused on transformative agendas in a broad sense, also emphasised how various inheritances from the West have played a fundamental role in shaping universities – not only in terms of their curricula but also their institutional cultures more generally. Occurring in a context where the humanities are under threat and where neoliberal forces may upset what we understand as fundamental to the academic project, these recent calls for critical engagement with institutional histories and practices suggest that reconsideration of disciplinary knowledges and understandings have become increasingly urgent.
- Full Text:
- Date Issued: 2016
- Authors: Nsele, Zamansele
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146456 , vital:38527 , https://savah.org.za/2016/01/18/call-for-papers-savah-conference-2016/#more-174
- Description: Rethinking Art History and Visual Culture in a Contemporary Context. The Rhodes Must Fall” and “Fees Must Fall” campaigns which arose in South Africa in the course of 2015, while focused on transformative agendas in a broad sense, also emphasised how various inheritances from the West have played a fundamental role in shaping universities – not only in terms of their curricula but also their institutional cultures more generally. Occurring in a context where the humanities are under threat and where neoliberal forces may upset what we understand as fundamental to the academic project, these recent calls for critical engagement with institutional histories and practices suggest that reconsideration of disciplinary knowledges and understandings have become increasingly urgent.
- Full Text:
- Date Issued: 2016
Post-apartheid nostalgia and the sadomasochistic pleasures of archival art
- Authors: Nsele, Zamansele
- Date: 2016
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/458648 , vital:75758 , https://hdl.handle.net/10520/EJC199624
- Description: The burgeoning genre of archival art practice in post-apartheid South Africa has catalysed the evocation of nostalgia in abundance. The archive has been at the centre of numerous exhibitions in contemporary art. This paper explores the meaning of an emerging nostalgic turn in post-apartheid South Africa. The discussion considers the pleasure afforded by the sentimentality underpinning nostalgia and attends to the manner in which nostalgia coheres with the creative and aesthetic techniques of archival art. Scopophilia and the covert function of the sadomasochistic gaze are outlined. It is suggested that such acts of retrieval and repetition generally override ethical considerations in part because they unfold from the realm of the unconscious. The paper draws on psychoanalysis by way of Frantz Fanon.
- Full Text:
- Date Issued: 2016
- Authors: Nsele, Zamansele
- Date: 2016
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/458648 , vital:75758 , https://hdl.handle.net/10520/EJC199624
- Description: The burgeoning genre of archival art practice in post-apartheid South Africa has catalysed the evocation of nostalgia in abundance. The archive has been at the centre of numerous exhibitions in contemporary art. This paper explores the meaning of an emerging nostalgic turn in post-apartheid South Africa. The discussion considers the pleasure afforded by the sentimentality underpinning nostalgia and attends to the manner in which nostalgia coheres with the creative and aesthetic techniques of archival art. Scopophilia and the covert function of the sadomasochistic gaze are outlined. It is suggested that such acts of retrieval and repetition generally override ethical considerations in part because they unfold from the realm of the unconscious. The paper draws on psychoanalysis by way of Frantz Fanon.
- Full Text:
- Date Issued: 2016
Post-apartheid nostalgia and the sadomasochistic pleasures of archival art:
- Authors: Nsele, Zamansele
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145598 , vital:38450 , DOI : 10.4314/eia.v43i3.6
- Description: The burgeoning genre of archival art practice in post-apartheid South Africa has catalysed the evocation of nostalgia in abundance. The archive has been at the centre of numerous exhibitions in contemporary art. This paper explores the meaning of an emerging nostalgic turn in post-apartheid South Africa. The discussion considers the pleasure afforded by the sentimentality underpinning nostalgia and attends to the manner in which nostalgia coheres with the creative and aesthetic techniques of archival art. Scopophilia and the covert function of the sadomasochistic gaze are outlined. It is suggested that such acts of retrieval and repetition generally override ethical considerations in part because they unfold from the realm of the unconscious. The paper draws on psychoanalysis by way of Frantz Fanon.
- Full Text:
- Date Issued: 2016
- Authors: Nsele, Zamansele
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145598 , vital:38450 , DOI : 10.4314/eia.v43i3.6
- Description: The burgeoning genre of archival art practice in post-apartheid South Africa has catalysed the evocation of nostalgia in abundance. The archive has been at the centre of numerous exhibitions in contemporary art. This paper explores the meaning of an emerging nostalgic turn in post-apartheid South Africa. The discussion considers the pleasure afforded by the sentimentality underpinning nostalgia and attends to the manner in which nostalgia coheres with the creative and aesthetic techniques of archival art. Scopophilia and the covert function of the sadomasochistic gaze are outlined. It is suggested that such acts of retrieval and repetition generally override ethical considerations in part because they unfold from the realm of the unconscious. The paper draws on psychoanalysis by way of Frantz Fanon.
- Full Text:
- Date Issued: 2016
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