- Alexandra Karentzos, Dr. phil., is Professor of Art History, Fashion and Aesthetics at the Technische Universität Dar... moreAlexandra Karentzos, Dr. phil., is Professor of Art History, Fashion and Aesthetics at the Technische Universität Darmstadt in Germany. She was previously Junior Professor of Art History at the University of Trier and Assistant Curator at the Alte Nationalgalerie and the Nationalgalerie Hamburger Bahnhof – Museum of Contemporary Art (both in Berlin). Her research interests cover the art of the nineteenth century to the present, focusing especially on gender and post-colonial issues (irony and postcolonialism, orientalism, gender studies and system theory, construction of body and gender, art and tourism). She was fellow at Dartmouth College, Hanover, NH, USA (Research group "No Laughing Matter. Visual Humor in Ideas of Race, Nationality, and Ethnicity"), guest researcher at the Institute of Art History at the Universidade Federal de São Paulo/Brazil, and fellow at the Alfried Krupp Wissenschaftskolleg Greifswald/Germany. She is member of the scientific network “Entangled Histories of Art and Migration: Forms, Visibilities, Agents” funded by the German Research Society (DFG), and Co-founder and member of the board of the Centre for Postcolonial and Gender Studies (CePoG) Trier, and Co-founder and editor of the new magazine for contemporary art and popular culture Querformat. Selected publications: Schlüsselwerke der Postcolonial Studies, Wiesbaden 2012 (co-edited with Julia Reuter); Topologien des Reisens. Tourismus – Imagination – Migration / Topologies of Travel. Tourism – Imagination – Migration, online-publication Trier University 2010 (co-editors Alma-Elisa Kittner, Julia Reuter); Fremde Männer – Other Men, issue of the journal kritische berichte, 4/2007 (co-edited with Sabine Kampmann); Der Orient, die Fremde. Positionen zeitgenössischer Kunst und Literatur, Bielefeld 2006 (co-edited with Regina Göckede); Kunstgöttinnen. Mythische Weiblichkeit zwischen Historismus und Secessionen, Marburg 2005.edit
In 1886, twelve of Gottfried Lindauer's portraits formed part of the presentation of the British colony New Zealand at the Colonial and Indian Exhibition in London. For the European public, in this context these portraits represented... more
In 1886, twelve of Gottfried Lindauer's portraits formed part of the presentation of the British colony New Zealand at the Colonial and Indian Exhibition in London. For the European public, in this context these portraits represented 'Otherness', for they were exhibited – and in this way 'naturalized' – together with cultural artefacts, members of the indigenous population performing handcrafts, and specimens of nature in greenhouses. The paintings were functionalized into ethnographic-documentary, 'authentic' representations of Māori culture. Within this exhibition glorifying colonial power, they were turned into objects displaying British scientific knowledge and prestige. This essay reads Lindauer's paintings in the context of nineteenth-century European portraiture, a genre where exotic colonial goods and plants were appropriated as luxury items. The resultant constellation marked by exoticizing self-representation in Europe and exoticizing representation of 'indigenous' Others reveals the uniqueness of Lindauer's work, which defies such a schematic classification of exoticization: the portraits were in part commissioned by Māori who wished a pictorial representation of themselves or their relatives. By presenting the Māori nobly as large-sized figures in the portrait genre, Lindauer's paintings simultaneously offer the scope for various readings.
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As concepts, migration and transculturality share a common origin in the permanent transgression of national and cultural boundaries, together with the instability of the latter, and both take into account the phenomena of cultural... more
As concepts, migration and transculturality share a common origin in the permanent transgression of national and cultural boundaries, together with the instability of the latter, and both take into account the phenomena of cultural contact as well as the processes of cultural negotiation. Migration implies the global movement of people. Along with this movement of people, images and aesthetic concepts, things and everyday practices are also part of such migration processes. In this respect, migration in particular sets in motion processes of transculturation. Phenomena of cultural as well as artistic adoption and 'blending' (mestizaje, creolisation, métissage, hybridity, migration) are treated globally and constitute a specific field of research.
The contributions to the session "Migration and Transculturalidad(e): Agents of Transcultural Art and Art History', negotiate the multi-layered forms of transcultural entanglements and migratory processes in different ways and with different emphases.
In the context of theorising transculturality, we have shown how closely interwoven it is with the wanderings of people, concepts, aesthetics and artworks themselves. Such concepts of transculturalidad(e), a term that is itself hybrid, accordingly assume a permanent transgression of national and cultural borders, with their inherent instability, and focus on phenomena of cultural contact and 'mixing' as well as cultural negotiation processes. The chapter thus aspires to elaborate entangled art histories concerning historical as well as geographical aspects, and socio-political or aesthetical issues.
The contributions to the session "Migration and Transculturalidad(e): Agents of Transcultural Art and Art History', negotiate the multi-layered forms of transcultural entanglements and migratory processes in different ways and with different emphases.
In the context of theorising transculturality, we have shown how closely interwoven it is with the wanderings of people, concepts, aesthetics and artworks themselves. Such concepts of transculturalidad(e), a term that is itself hybrid, accordingly assume a permanent transgression of national and cultural borders, with their inherent instability, and focus on phenomena of cultural contact and 'mixing' as well as cultural negotiation processes. The chapter thus aspires to elaborate entangled art histories concerning historical as well as geographical aspects, and socio-political or aesthetical issues.
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Der »Orient« als kulturgeografische Kategorie ist zugleich diffus und überdeterminiert: changierend zwischen den Klischees von Tyrannei und Despotismus einerseits, Sinnlichkeit und Weisheit andererseits. Obwohl die Idee einer... more
Der »Orient« als kulturgeografische Kategorie ist zugleich diffus und überdeterminiert: changierend zwischen den Klischees von Tyrannei und Despotismus einerseits, Sinnlichkeit und Weisheit andererseits. Obwohl die Idee einer orientalischen Entität ideologiekritisch hinterfragt worden ist, wird der Topos heute nicht nur verklärend als touristisches Reiseziel in Katalogen gepriesen, sondern auch in der aktuellen politischen Situation als Bild des arabischen, orientalischen Anderen massenmedial fortgeschrieben. In diesem Kontext erhalten Kunst und Literatur eine wichtige Funktion als Reflexionsmedien, mit denen Fremdbilder kritisch hinterfragt werden können.
In zehn interdisziplinären Beiträgen analysiert der vorliegende
Sammelband künstlerische und literarische Praktiken der Differenzsetzung der »orientalischen Fremde«.
In zehn interdisziplinären Beiträgen analysiert der vorliegende
Sammelband künstlerische und literarische Praktiken der Differenzsetzung der »orientalischen Fremde«.
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German and English publication English abstract: Travel is more than ever mirroring a world in perpetual motion and its evocation of limitless mobility. It’s not only about physical movements between places but also about the discursive... more
German and English publication
English abstract:
Travel is more than ever mirroring a world in perpetual motion and its evocation of limitless mobility. It’s not only about physical movements between places but also about the discursive network of meaning associated with these movements, the ideas and narratives, which define places as home or abroad, as provincial or as holiday paradises, places of refuge or meeting places. rnThis volume offers a trans- and interdisciplinary approach with multiple perspectives on the topologies of travel, which evoke utopian and dystopian constructions of place and identity. In addition to reflections on how specific tourist spaces are configured and used in geography and tourism studies, it includes considerations on how the familiar and the foreign are represented in art and literature, as well as ethnological studies of specific groups in migration. Lines of questioning from postcolonial and gender studies frequently underlie these investigations, not least because they, along with the political dimension of travel, reveal how hitherto explanations have decidedly foreshortened perspectives; for example in how some forms of travel are analytically separated from the subject’s perspective, and even blatantly ignored specific travel forms. At the same time, such a postcolonial approach offers a critique of, how in the past, the historical placement of travel practices and the socio-structural position of travellers and “travellees” have tended to remain in the background. rnThe volume represents not only the various forms and ideas of travel in the age of mass tourism, migration and virtualisation, but a new, theoretically and empirically innovative perspective on a global phenomenon.
Deutsches Abstract:
Reisen ist zum Spiegelbild einer Welt in Bewegung und ihrer Beschwörung grenzenloser Mobilität geworden. Dabei geht es nicht nur um die konkrete Bewegung zwischen Orten, sondern auch um das damit verbundene Bedeutungsnetzwerk, jene Imaginationen und Narrationen, die die Orte als Heimat und Ferne, Provinzen oder Urlaubsparadiese, Flucht- oder Treffpunkte erst entstehen lassen. Der vorliegende Band bietet einen multiperspektivischen Blick auf diese Topologien des Reisens, die utopische wie dystopische Raum- und Identitätsentwürfe evozieren. Neben geographischen und tourismuswissenschaftlichen Überlegungen zur Gestaltung und Nutzung von konkreten Tourismusräumen versammelt er vor allem kunst- und literaturwissenschaftliche Reflexionen über die Darstellung von Heimat und Fremde in Kunst und Literatur wie auch ethnologische Studien über das Leben spezifischer Personengruppen in der Migration. Häufig werden dabei Fragestellungen aus Postcolonial und Gender Studies zugrunde gelegt, die neben der politischen Dimension des Reisens auch die perspektivische Engführung bisheriger Erklärungsansätze aufzeigen, die beispielsweise in der analytischen Trennung von Reiseformen und Akteursperspektiven sowie in der Ignoranz gegenüber bestimmten Reiseformen ihren Ausdruck fand. rnSo steht der Band nicht nur für die Vielfalt an zeitgenössischen Reiseformen und -imaginationen im Zeitalter von Massentourismus, Migration und Virtualisierung, sondern auch für eine andere, theoretisch wie empirisch kritische Betrachtung eines globalen Phänomens.
English abstract:
Travel is more than ever mirroring a world in perpetual motion and its evocation of limitless mobility. It’s not only about physical movements between places but also about the discursive network of meaning associated with these movements, the ideas and narratives, which define places as home or abroad, as provincial or as holiday paradises, places of refuge or meeting places. rnThis volume offers a trans- and interdisciplinary approach with multiple perspectives on the topologies of travel, which evoke utopian and dystopian constructions of place and identity. In addition to reflections on how specific tourist spaces are configured and used in geography and tourism studies, it includes considerations on how the familiar and the foreign are represented in art and literature, as well as ethnological studies of specific groups in migration. Lines of questioning from postcolonial and gender studies frequently underlie these investigations, not least because they, along with the political dimension of travel, reveal how hitherto explanations have decidedly foreshortened perspectives; for example in how some forms of travel are analytically separated from the subject’s perspective, and even blatantly ignored specific travel forms. At the same time, such a postcolonial approach offers a critique of, how in the past, the historical placement of travel practices and the socio-structural position of travellers and “travellees” have tended to remain in the background. rnThe volume represents not only the various forms and ideas of travel in the age of mass tourism, migration and virtualisation, but a new, theoretically and empirically innovative perspective on a global phenomenon.
Deutsches Abstract:
Reisen ist zum Spiegelbild einer Welt in Bewegung und ihrer Beschwörung grenzenloser Mobilität geworden. Dabei geht es nicht nur um die konkrete Bewegung zwischen Orten, sondern auch um das damit verbundene Bedeutungsnetzwerk, jene Imaginationen und Narrationen, die die Orte als Heimat und Ferne, Provinzen oder Urlaubsparadiese, Flucht- oder Treffpunkte erst entstehen lassen. Der vorliegende Band bietet einen multiperspektivischen Blick auf diese Topologien des Reisens, die utopische wie dystopische Raum- und Identitätsentwürfe evozieren. Neben geographischen und tourismuswissenschaftlichen Überlegungen zur Gestaltung und Nutzung von konkreten Tourismusräumen versammelt er vor allem kunst- und literaturwissenschaftliche Reflexionen über die Darstellung von Heimat und Fremde in Kunst und Literatur wie auch ethnologische Studien über das Leben spezifischer Personengruppen in der Migration. Häufig werden dabei Fragestellungen aus Postcolonial und Gender Studies zugrunde gelegt, die neben der politischen Dimension des Reisens auch die perspektivische Engführung bisheriger Erklärungsansätze aufzeigen, die beispielsweise in der analytischen Trennung von Reiseformen und Akteursperspektiven sowie in der Ignoranz gegenüber bestimmten Reiseformen ihren Ausdruck fand. rnSo steht der Band nicht nur für die Vielfalt an zeitgenössischen Reiseformen und -imaginationen im Zeitalter von Massentourismus, Migration und Virtualisierung, sondern auch für eine andere, theoretisch wie empirisch kritische Betrachtung eines globalen Phänomens.
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Postkoloniale Fragestellungen bedeuten fur die heutige Kunstgeschichtsschreibung eine Grundlagenreflexion, eine Auseinandersetzung mit der eigenen Geschichte und den Prinzipien, von denen man lange Zeit ausgegangen war – ist doch... more
Postkoloniale Fragestellungen bedeuten fur die heutige Kunstgeschichtsschreibung eine Grundlagenreflexion, eine Auseinandersetzung mit der eigenen Geschichte und den Prinzipien, von denen man lange Zeit ausgegangen war – ist doch Kunstgeschichte bis in die Gegenwart hinein eng mit kolonialistischen Ordnungsmustern, Wertungen und Reprasentationsformen verknupft. Die postkoloniale Revision solcher Prinzipien ist in verschiedenen Feldern in Gang gekommen, die im Folgenden skizziert werden sollen: Zum einen haben sich postkoloniale Fragen im Feld der Ausstellungspraxis und der Museen artikuliert (1), zum anderen ist die Konstruktion von Kunstgeschichte als solcher und die Kanonbildung fundamental von diesen Fragen betroffen (2) und nicht zuletzt stellen auch postkoloniale Stromungen zeitgenossischer Kunst eine Herausforderung fur die Kunstwissenschaft dar, die eigene Theoriebildung postkolonial weiterzudenken (3).
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This special issue compiles papers presented at the 2015 "Gottfried Lindauer – Painting New Zealand" conference organized by the Technische Universität Darmstadt and the Nationalgalerie Berlin. Both the issue and the conference... more
This special issue compiles papers presented at the 2015 "Gottfried Lindauer – Painting New Zealand" conference organized by the Technische Universität Darmstadt and the Nationalgalerie Berlin. Both the issue and the conference itself constitute an extension of the acclaimed exhibition "Gottfried Lindauer – The Māori Portraits", shown between 20 November 2014 and 12 April 2015 in the Alte Nationalgalerie Berlin, and present an array of scholarly and theoretical perspectives. The essays reflect in microcosm current larger research and archival work and are thus able to place the work of the artist, hitherto discussed mostly in an ethnographic context, into an already globalized framework shaped by transcultural contacts.
Alexandra Karentzos: “Traveling Fashion: Exoticism and Tropicalism”, in: Elke Gaugele Monica Titton (Hg.): Fashion and Postcolonial Critique. Berlin: Sternberg Press 2019, S. 230-245.
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This special issue compiles papers presented at the 2015 "Gottfried Lindauer – Painting New Zealand" conference organized by the Technische Universität Darmstadt and the Nationalgalerie Berlin. Both the issue and the conference... more
This special issue compiles papers presented at the 2015 "Gottfried Lindauer – Painting New Zealand" conference organized by the Technische Universität Darmstadt and the Nationalgalerie Berlin. Both the issue and the conference itself constitute an extension of the acclaimed exhibition "Gottfried Lindauer – The Māori Portraits", shown between 20 November 2014 and 12 April 2015 in the Alte Nationalgalerie Berlin, and present an array of scholarly and theoretical perspectives. The essays reflect in microcosm current larger research and archival work and are thus able to place the work of the artist, hitherto discussed mostly in an ethnographic context, into an already globalized framework shaped by transcultural contacts.
In 1886, twelve of Gottfried Lindauer's portraits formed part of the presentation of the British colony New Zealand at the Colonial and Indian Exhibition in London. For the European public, in this context these portraits represented... more
In 1886, twelve of Gottfried Lindauer's portraits formed part of the presentation of the British colony New Zealand at the Colonial and Indian Exhibition in London. For the European public, in this context these portraits represented 'Otherness', for they were exhibited – and in this way 'naturalized' – together with cultural artefacts, members of the indigenous population performing handcrafts, and specimens of nature in greenhouses. The paintings were functionalized into ethnographic-documentary, 'authentic' representations of Māori culture. Within this exhibition glorifying colonial power, they were turned into objects displaying British scientific knowledge and prestige. This essay reads Lindauer's paintings in the context of nineteenth-century European portraiture, a genre where exotic colonial goods and plants were appropriated as luxury items. The resultant constellation marked by exoticizing self-representation in Europe and exoticizing repres...
In April 2016, Anna Wintour, editor-in-chief of American Vogue, uses the term “migrant chic” to describe the fashion show of Kanye West where the hip-hop star presented both his clothing line for the Adidas “Yeezy Season 3” and his new... more
In April 2016, Anna Wintour, editor-in-chief of American Vogue, uses the term “migrant chic” to describe the fashion show of Kanye West where the hip-hop star presented both his clothing line for the Adidas “Yeezy Season 3” and his new album Life of Pablo. The attribute of “migrant” obviously refers to the ‘used look’ of street-style clothing. Wintour’s remark became the subject of critical discussion on social media, demonstrating that the term “migrant chic” is associated with a wide variety of sentiments and judgements: here the exclusion, rejection or degradation of migrants can play role, but so too – in the form of “ghetto fashion” – the self-empowerment or self-awareness of marginalised groups. Directed by the performance artist Vanessa Beecroft, West’s show relates to the latter, sending only black models down the catwalk. Kanye West's "Yeezy Season 3" collection is an example of how the connection between migration, poverty and flight is negotiated as street style in contemporary fashion. In my contribution, I focus on the importance street style the particular kind of tracksuit worn. The tracksuit pants can be seen as a rouge diverging from bourgeois conventions, for instance when youths wear them in everyday life. When the tracksuit pant is associated with leisure time and, outside of sporting activities, with apparel worn at home, then wearing them on the street demonstrates how porous the boundary between public and private space has become. The photographers Tobias Zielony and Jens Hanning have explored different manifestations of this tension amongst migrant youths. Shifts are initiated as fashion signs circulate through society and examples of this will be analysed, with care and sensitivity given to the specifics of a respective context. My thesis is that, in the various examples of re-contextualising training wear, cultural boundaries prove to be porous on the one hand and yet remain remarkably stable on the other: the tracksuit transgresses demarcation lines conventionally used to mark out the categories of race, class, gender and age. The tracksuit has become a global sign, but one that is ambiguous, for the tracksuit is not only uniforming, as it were, but also embedded in a play of different ascriptions.
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Die Beiträge des Themenheftes 'Fremde Männer' untersuchen ethnisch codierte Männlichkeiten in Kunst und visueller Kultur und fragen nach deren Entstehungsprozessen und -bedingungen. Aus welchem Wechselspiel von Maskulinität und Ethnizität... more
Die Beiträge des Themenheftes 'Fremde Männer' untersuchen ethnisch codierte Männlichkeiten in Kunst und visueller Kultur und fragen nach deren Entstehungsprozessen und -bedingungen. Aus welchem Wechselspiel von Maskulinität und Ethnizität entstehen ‹Typen› wie der Boxer, der Held oder der Künstler? Welche ethnisch geprägten Männlichkeitskonzepte entwickeln sich etwa entlang der Figur des Juden, des 'Zigeuners', des Cowboys, des Migranten oder des Terroristen? Inwiefern werden bestimmte ‹Typen› mit nationaler Identität verknüpft, die sie wiederum bestätigen und untermauern sollen? Die Aufsätze dieses Heftes analysieren diese spezifischen Konstruktionen des Mannseins in Kunst, Film und Literatur, in Massenmedien und Alltagskultur. Sie konzentrieren sich auf Bilder ‹fremder Männer› in einem weit gefassten Sinne, weshalb eine interdisziplinäre Zusammensetzung der Autorinnen und Autoren für dieses Thema von besonderer Bedeutung ist. Überdies spiegelt sich hier auch das nicht nur kunst-, sondern auch kulturwissenschaftliche Selbstverständnis der kritischen berichte.
... Anmerkungen zur Rushdie-Affaire 67 Liesbeth Minnaard Mein Istanbul, mein Berlin.Emine Sevgi Özdamar's literary re-negotiations of Turkish-German division 83 Maryam Mameghanian-Prenzlow Zwischen Wort und Bild. Iranische ...
Alexandra Karentzos: “Traveling Fashion: Exoticism and Tropicalism”, in: Elke Gaugele Monica Titton (Hg.): Fashion and Postcolonial Critique. Berlin: Sternberg Press 2019, S. 230-245.
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Alexandra Karentzos: „Familienportraits. Fotografische Inszenierungen bei Richard Billingham und Tina Barney“, in: Julia Reuter, Katja Wolf (Hg.): Geschlechterleben im Wandel. Zum Verhältnis von Arbeit, Familie und Privatsphäre. Tübingen:... more
Alexandra Karentzos: „Familienportraits. Fotografische Inszenierungen bei Richard Billingham und Tina Barney“, in: Julia Reuter, Katja Wolf (Hg.): Geschlechterleben im Wandel. Zum Verhältnis von Arbeit, Familie und Privatsphäre. Tübingen: Stauffenburg 2006, S. 231-248.
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In April 2016, Anna Wintour, editor-in-chief of American Vogue, uses the term “migrant chic” to describe the fashion show of Kanye West where the hip-hop star presented both his clothing line for the Adidas “Yeezy Season 3” and his new... more
In April 2016, Anna Wintour, editor-in-chief of American Vogue, uses the term “migrant chic” to describe the fashion show of Kanye West where the hip-hop star presented both his clothing line for the Adidas “Yeezy Season 3” and his new album Life of Pablo. The attribute of “migrant” obviously refers to the ‘used look’ of street-style clothing. Wintour’s remark became the subject of critical discussion on social media, demonstrating that the term “migrant chic” is associated with a wide variety of sentiments and judgements: here the exclusion, rejection or degradation of migrants can play role, but so too – in the form of “ghetto fashion” – the self-empowerment or self-awareness of marginalised groups. Directed by the performance artist Vanessa Beecroft, West’s show relates to the latter, sending only black models down the catwalk. Kanye West's "Yeezy Season 3" collection is an example of how the connection between migration, poverty and flight is negotiated as street style in contemporary fashion.
In my contribution, I focus on the importance street style the particular kind of tracksuit worn. The tracksuit pants can be seen as a rouge diverging from bourgeois conventions, for instance when youths wear them in everyday life. When the tracksuit pant is associated with leisure time and, outside of sporting activities, with apparel worn at home, then wearing them on the street demonstrates how porous the boundary between public and private space has become. The photographers Tobias Zielony and Jens Hanning have explored different manifestations of this tension amongst migrant youths. Shifts are initiated as fashion signs circulate through society and examples of this will be analysed, with care and sensitivity given to the specifics of a respective context.
My thesis is that, in the various examples of re-contextualising training wear, cultural boundaries prove to be porous on the one hand and yet remain remarkably stable on the other: the tracksuit transgresses demarcation lines conventionally used to mark out the categories of race, class, gender and age. The tracksuit has become a global sign, but one that is ambiguous, for the tracksuit is not only uniforming, as it were, but also embedded in a play of different ascriptions.
In my contribution, I focus on the importance street style the particular kind of tracksuit worn. The tracksuit pants can be seen as a rouge diverging from bourgeois conventions, for instance when youths wear them in everyday life. When the tracksuit pant is associated with leisure time and, outside of sporting activities, with apparel worn at home, then wearing them on the street demonstrates how porous the boundary between public and private space has become. The photographers Tobias Zielony and Jens Hanning have explored different manifestations of this tension amongst migrant youths. Shifts are initiated as fashion signs circulate through society and examples of this will be analysed, with care and sensitivity given to the specifics of a respective context.
My thesis is that, in the various examples of re-contextualising training wear, cultural boundaries prove to be porous on the one hand and yet remain remarkably stable on the other: the tracksuit transgresses demarcation lines conventionally used to mark out the categories of race, class, gender and age. The tracksuit has become a global sign, but one that is ambiguous, for the tracksuit is not only uniforming, as it were, but also embedded in a play of different ascriptions.
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In dem Beitrag für die begleitend zur Ausstellung "Contemporary Muslim Fashion" im Museum Angewandte Kunst Frankfurt erschienene Publikation gehen Alexandra Karentzos und Elke Gaugele zunächst der Frage nach, wie sich lokale... more
In dem Beitrag für die begleitend zur Ausstellung "Contemporary Muslim Fashion" im Museum Angewandte Kunst Frankfurt erschienene Publikation gehen Alexandra Karentzos und Elke Gaugele zunächst der Frage nach, wie sich lokale Kleidungsgeschichte von Migrant*innen aus der Türkei und dem Nahen Osten im Frankfurter Stadtbild und auf Familienfotografien der 1970er und 1980er Jahre – also lange bevor es den Begriff der „Muslim Fashion“ gab – widerspiegelt. Dabei stützen sie sich auf die Arbeiten der beiden Dokumentarfotografinnen Barbara Klemm und Inge Werth. Den Wandel hin zu einer aktuellen kleinen Modest-Fashion-Szene in Frankfurt (und darüber hinaus) beleuchten sie anschließend anhand exemplarischer Akteur*innen, wie Blogger*innen, Modedesigner*innen, lokalen Schneiderwerkstätten und Geschäften. Abschließend stellen sie postmigrantische, queere Perspektiven in der zeitgenössischen Mode-, Kunst- und Kulturproduktion zur Diskussion.
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Hélio Oiticica’s complex installation Tropicália from the year 1968, which gave the Tropicalism movement its name, combines exotic attributes such as simple wooden huts as a reminiscence of Brazilian favélas, palm trees, fine sand and... more
Hélio Oiticica’s complex installation Tropicália from the year 1968, which gave the Tropicalism movement its name, combines exotic attributes such as simple wooden huts as a reminiscence of Brazilian favélas, palm trees, fine sand and parrots. I would like to discuss in my paper how Oititica uses these objects ironically to call identities and colonialist power relations into question. At the same time the “white cube” of the museum, connected to the claim of aesthetic universality, is occupied and redefined by Oiticica’s installation. Oiticica puts his art in the context of a Brazilian Avantgarde, which converts the term antropophagy. Conceptions of cannibalism were powerful instruments of colonialism, used to exemplify the barbarity and inhumane cruelty of other, so-called “primitive” cultures.
Brazilian artists appropriated this thematic, once used to legitimise colonial strategies of power, and gave the term “anthropophagy” what we might call “a metaphorical turn”. Thus in his Manifesto Antropófago, published in 1928, the writer Oswald de Andrade called for European influences to be devoured as a way of transforming them into an autonomous Brazilian identity. Some sixty years later, the tropicalismo movement gave this kind of ironical “cannibalism” itself another ironical and anti-essentialist ‘turn’. It is revealing to put this deontologising concept in relation to the current theory constructions in Cultural Studies and Constructivism.
Brazilian artists appropriated this thematic, once used to legitimise colonial strategies of power, and gave the term “anthropophagy” what we might call “a metaphorical turn”. Thus in his Manifesto Antropófago, published in 1928, the writer Oswald de Andrade called for European influences to be devoured as a way of transforming them into an autonomous Brazilian identity. Some sixty years later, the tropicalismo movement gave this kind of ironical “cannibalism” itself another ironical and anti-essentialist ‘turn’. It is revealing to put this deontologising concept in relation to the current theory constructions in Cultural Studies and Constructivism.
Schlüsselwerke der Postcolonial Studies Postkoloniale Studien setzen sich kritisch mit kolonialen Gesellschaftsstrukturen und Repräsentationen von Andersheit bzw. Eigenem auseinander, die sich bis in die Gegenwart fortschreiben. Für die... more
Schlüsselwerke der Postcolonial Studies
Postkoloniale Studien setzen sich kritisch mit kolonialen Gesellschaftsstrukturen und Repräsentationen von Andersheit bzw. Eigenem auseinander, die sich bis in die Gegenwart fortschreiben. Für die Identitätssetzung der ‚westlichen Gesellschaft‘ so zentrale Unterscheidungen wie Fortschritt/Primitivität, Orient/Okzident, Natur/Kultur, Eigenes/Fremdes etc. stehen dabei zur Disposition.
Der Band veranschaulicht die Vielstimmigkeit des postkolonialen Diskurses, indem er einerseits einen orientierenden Überblick über die zentralen Werke und AutorInnen der Postcolonial Studies, wie Edward W. Said, Homi K. Bhabha, Gayatri Chakravorty Spivak, Stuart Hall, bell hooks, und ihre ideengeschichtlichen Referenzen verschafft. Andererseits wird die Rezeptionsgeschichte postkolonialer Perspektiven in geistes- und sozialwissenschaftlichen Disziplinen nachgezeichnet: u.a. in Literatur-, Politik-, Medien-, Religionswissenschaft, Ethnologie, Soziologie oder auch Kunstgeschichte. Der Band versteht sich nicht nur als Nachschlagewerk für Studierende und Interessierte; er leistet auch einen eigenen Beitrag zur Theoriebildung.
Postkoloniale Studien setzen sich kritisch mit kolonialen Gesellschaftsstrukturen und Repräsentationen von Andersheit bzw. Eigenem auseinander, die sich bis in die Gegenwart fortschreiben. Für die Identitätssetzung der ‚westlichen Gesellschaft‘ so zentrale Unterscheidungen wie Fortschritt/Primitivität, Orient/Okzident, Natur/Kultur, Eigenes/Fremdes etc. stehen dabei zur Disposition.
Der Band veranschaulicht die Vielstimmigkeit des postkolonialen Diskurses, indem er einerseits einen orientierenden Überblick über die zentralen Werke und AutorInnen der Postcolonial Studies, wie Edward W. Said, Homi K. Bhabha, Gayatri Chakravorty Spivak, Stuart Hall, bell hooks, und ihre ideengeschichtlichen Referenzen verschafft. Andererseits wird die Rezeptionsgeschichte postkolonialer Perspektiven in geistes- und sozialwissenschaftlichen Disziplinen nachgezeichnet: u.a. in Literatur-, Politik-, Medien-, Religionswissenschaft, Ethnologie, Soziologie oder auch Kunstgeschichte. Der Band versteht sich nicht nur als Nachschlagewerk für Studierende und Interessierte; er leistet auch einen eigenen Beitrag zur Theoriebildung.