Eternal lands wiki ranging8/27/2023 The particular temporality of video is engaged through historical and psychoanalytical concepts of trauma. It is concerned primarily with Bennett and Pollock’s privileging, from their particular theoretical perspectives, of the affects and internal logics/worlds of art objects, which prompt critical thought, and theoretical and historical inquiry. This inquiry is underpinned by art historical approaches to the relationship between art and trauma, and, in particular, the work of Jill Bennett (2005) and Griselda Pollock (2013). The study is concerned with the critical significance and temporality of memory in relation to trauma as a historical and psychoanalytical concept applicable to ongoing conditions of historical and political violence and its continuous, apparently irresolvable repetition in political-historical life. Each of the videos engaged enter into a dialogue with historical narratives embedded within the experience and memory of violence and racial oppression in South Africa. ![]() I seek to contribute to critiques of the post-apartheid democracy, and the impetus to move forward from the past, to forgive and reconcile its violence, while not actively and critically engaging historical trauma, and its relation to memory. I consider the visual, sonic, temporal, durational, spatial, sensory and affective capacities of these works, and their encounter with historical events/episodes and figures the significance and affective charge of which move across the eras differentiated as apartheid and post-apartheid. It focuses on Jo Ractliffe’s Vlakplaas: 2 June 1999 (drive-by shooting), Berni Searle’s Mute (2008), Penny Siopis’ Obscure White Messenger (2010) and Minnette Vári’s Chimera (the white edition, 2001 and the black edition 2001-2002). This dissertation explores four recent examples of video art by four South African women artists. Thus the government sanctioned a project over which it exercised no jurisdiction. Although the project was largely state sponsored, the SVK insisted upon its autonomy. Although the Voortrekker stamps were issued with the approval of the postal authorities, they were actually commissioned by the Sentrale Volksmonumentekomitee, which had close ties to the National Party (NP) opposition. The paper provides a semiotic reading of the designs of the stamps and shows how they shaped the cultural imaginary of Afrikaners. They reified an iconography of the Voortrekkers and the narrative of the Great Trek already embedded in a canon of texts, images and rituals. Although stamps are, ordinarily, symbols of banal nationalism, the Voortrekker stamps resonated strongly with the sentiments the Afrikaner volk (people). ![]() It provides a case study of stamps issued to commemorate the centenary of the Great Trek in 1938 that sought to raise awareness of and funds for the Voortrekker Monument project. This paper posits the importance of visual representations in cultivating a national consciousness among white Afrikaners in South Africa.
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