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This panel proposes to examine utopia and temporalities through that which is left in the dark: the ruined, the overlooked, the uncanonical. What is the generative potential of the dystopian, peripheral-those sites, practices, and ideas left in the shadows of the present? Responses to global challenges, social change, and utopian visions seldom focus on the shadowy, unseen, or dystopian. We value and aspire to trajectories of progress, clarity, and (decolonial) struggles against oppression and for recognition. But what about the ambivalence of light and the potential of the opaque? This panel highlights anthropological perspectives on unassuming visionaries, micro-utopias, and phantom agencies across the fields of art, heritage, and material culture. Drawing on ethnographic field-research, we wish to juxtapose different considerations of lesser-known, peripheral, or unlikely visionary potential for crafting responses to global challenges. We are interested in the ambivalent potentials and dynamics between light and shadow in the context of art, heritage, and materiality. What happens when counter-hegemonic perspectives become normative; when the uncanonical is suddenly in the spotlight? How are sites, stories, and ideals about heritage and materiality pulled back into the shadow and made to appear illegitimate? Being in the light implies confrontation with visibility, normativity, and intelligibility-and thus not necessarily the most suitable conditions for visionary perspectives on sociality and futurity. We thus want to consider the diverse potentials and ambivalences that lie in the blurry indeterminacy of the shadow: possibilities arising from marginalised and dark materialities in urban regeneration; revisionist nostalgias feeding into old/new exclusionary political dystopias; or artistic practices revelling in dark pasts and dystopian presents. For this panel, we invite proposals exploring the idea of shadows of the present in relation to ethnographic research on art, heritage, and materiality.
Traces, Legacies, and Futures: A Conversation on Art and Temporality
Traces, Legacies, and Futures: A Conversation on Art and Temporality2020 •
The departure for this publication and the conversation on which it is based is a series of public encounters that I conceived and curated at the gallery of the institute for foreign cultural relations (ifa) in Berlin in 2017 and 2018. Entitled ‘Gallery Reflections’, these encounters took place in between each of the four chapters, or exhibitions, that constituted curator and director Alya Sebti’s long-term programme ‘Untie to tie: On Colonial Legacies and Contemporary Societies’, which inaugurated the discursive and political reorientation of the institution under her guidance. The series was originally conceived as a form of critical collaboration between an anthropologist (Jonas Tinius) and a curator (Alya Sebti), which formed part of a bigger research project based at the Centre for Anthropological Research on Museums and Heritage (CARMAH) and funded by the Alexander von Humboldt Foundation at the Humboldt-Universität zu Berlin. Seating the white anthropologist as a marked sparring partner amidst artists, curators, activists and scholars, we sought to think about ethnographic research as a form of instigation of situations; an interlocutor rather than an observer or audience member, and thus unable to withdraw from critique and debate. The series soon served a broader interest, however, which, borrowing from the metaphor of a reflection, tried to refract, break and divert both our and a wider public’s perspective onto curatorial engagements with colonial legacies and contemporary art today.
The departure for this publication and the conversation on which it is based is a series of public encounters that I conceived and curated at the gallery of the institute for foreign cultural relations (ifa) in Berlin in 2017 and 2018. [1] Entitled ‘Gallery Reflections’, these encounters took place in between each of the four chapters, or exhibitions, that constituted curator and director Alya Sebti’s long-term programme ‘Untie to tie: On Colonial Legacies and Contemporary Societies’, which inaugurated the discursive and political reorientation of the institution under her guidance. The series was originally conceived as a form of critical collaboration between an anthropologist (Jonas Tinius) and a curator (Alya Sebti), which formed part of a bigger research project based at the Centre for Anthropological Research on Museums and Heritage (CARMAH) and funded by the Alexander von Humboldt Foundation at the Humboldt-Universität zu Berlin. Seating the white anthropologist as a marked sparring partner amidst artists, curators, activists and scholars, we sought to think about ethnographic research as a form of instigation of situations; an interlocutor rather than an observer or audience member, and thus unable to withdraw from critique and debate. [2] The series soon served a broader interest, however, which, borrowing from the metaphor of a reflection, tried to refract, break and divert both our and a wider public’s perspective onto curatorial engagements with colonial legacies and contemporary art today.
"Cultural Heritage and the Future". Edited By Cornelius Holtorf & Anders Högberg, Routledge.
Decolonizing the future. Folk art environments and the temporality of heritage2020 •
In this chapter, I would like to examine folk art environments from the point of view of heritage. Folk environments are built spaces created by non-professional artists or architects, often peculiar characters living in the margins of society. To create such spaces, the artists make lavish use of recycled materials, including modern construction materials, broken artefacts, cheap decorations and objects in varying states of decay. Although there are several historical precedents, folk art environments seem to have developed mostly from the late 19th century onwards and can be considered, in many ways, a by-product of modernity, democratization and the industrial revolution. I argue that the logic of folk art environments has much to tell archaeologists and heritage practitioners about value, emotion and temporality, which are all fundamental principles in the production of heritage. They are are useful both for interrogating assumed concepts of past, present and future in heritage studies and for proposing novel and more imaginative ways of dealing with heritage.
2023 •
2016 •
How do aesthetic practices contribute to the social labors of memory in the aftermath of violence? How do they emerge, in what context and for which public? What kind of disturbances can these works bring to more established narratives? These are some of the questions explored by Art from a fractured past: Memory and Truth-Telling in Post-Shining Path Peru edited by Cynthia Milton (Canada Research Chair on Latin American History at University of Montreal).
2019 •
Dipped in a cybernetically aestheticized postmodern world, a false dilemma torments whoever thinks of art today: what shall we do? Shall we resist through an exacerbated rationality at the sirens song of hyper reality, or shall we surrender and alienate in the irresistible wake of spectacle and entertainment art? Despite being originated in the specific modernity conflict, symptoms of the roots of this dilemma noticeably transcended its time and settled on the contemporary debate about art and society. The diagnosis, according to which we live in a society of sensations beyond dialectics and dispute, broadcasted great skepticism about the possibility of a socio-historical classification of art.
1992 •
ΒΙΒΛΙΟ τα απειροελάχιστα μεγέθη Γ.Μπαντές
ΒΙΒΛΙΟΤα απειροελάχιστα μεγέθη Γ.Μπαντες μαθηματικός19th Century Chinese and Japanese Settlements in California
Chinese and Japanese Ghost Towns in Northern California2024 •
Journal of Crop Science and Biotechnology
Effects of plant growth regulators and light intensity on the micropropagation of date palm (Phoenix dactylifera L.) cv. Mejhoul2015 •
International Journal of Molecular Sciences
β-Carotene, a Potent Amyloid Aggregation Inhibitor, Promotes Disordered Aβ Fibrillar StructureNucleic Acids Research
Genome-wide prediction and characterization of interactions between transcription factors in Saccharomyces cerevisiae2006 •
2023 •
Journal of the American Society for Horticultural Science
Genes for Hormone Biosynthesis and Regulation Are Highly Expressed in Citrus Flowers Infected with the Fungus Colletotrichum acutatum, Causal Agent of Postbloom Fruit Drop2003 •
2015 •
Annales de Dermatologie et de Vénéréologie
Évaluation De La Tolérance Du Sécukinumab Chez Les Patients Atteints De Psoriasis en Plaques Modéré À Sévère : Résultats À 2 Ans2016 •
Agricultura Familiar: Pesquisa, Formação e Desenvolvimento
Implantação inicial de cercas vivas de gliricídia (Gliricidia sepium) em criações de bovinos de agricultores familiares através do método da pesquisa-ação2020 •