Art,Cold War Diplomacy and Commonwealth: Australian and Canadian Art at the Tate Gallery 1962–1964

This article analyses the formation, presentation and reception of two seminal exhibitions: Australian Painting: Colonial, Impressionist, Contemporary (1962–1963) and Canadian Painting 1939–1963 (1964). The presentation of these exhibitions at London’s Tate Gallery reflected the institution’s support for “old dominion” Commonwealth members. The exhibitions also highlight the differing visions of the Canadian and Australian governments concerning the relationship between art, diplomacy and politics during the Cold War. In Canada, Vincent Massey (Governor General 1952–1959) played a key role in ensuring that all forms of Canadian art were promoted internationally. Massey wanted to connect with the European and American avant-garde and to be part of a multiracial Commonwealth. This contrasted with the rather “old-fashioned” views of the Australian prime minister, Robert Menzies, and the Commonwealth Art Advisory Board. They supported a Commonwealth dominated by the “white dominions” and the initial exhibition plan for Australian Painting recalled previous British Empire art shows. The British response to the Canadian and Australian exhibitions is also discussed. British critics preferred the nationally identifiable “exotic” art found in Australian art to the transnational forms of international abstraction in Canadian art. Eventually, Australia “caught up” with Canadian cultural policy following the establishment of the Australia Council.     

Hearing the voice of Donbas: art and literature as forms of cultural protest during war

This paper analyzes literary, visual, and street art works of writers and artists from Eastern Ukraine produced during 2014. Two Donetsk artists, Serhii Zakharov and Anzhela Dzherikh, and two Luhansk writers, Serhii Zhadan and Olena Stepova, play with the myth of the proletarian Donbas, on the one hand, and debunk the popular perception of Donbas people as being in consent with the politics of the self-proclaimed Donetsk and Luhansk People’s Republics, on the other. They explore familiar tropes and images of Donbas and use guerrilla tactics (shock effects, provocativeness, and deception) to initiate public reaction to the war. Their works are united by their search for a shared communication space and direct access to the audience on occupied territories. These artists challenge the accepted perception of Donbas as a free but uncivilized space and participate in the creation of a new Donbas text. The interaction between politics, art, and activism makes their voices and vision powerful and infectious and can help achieve civic consolidation in Donbas.     

艺术设计协同育人平台的建设与实践:以广东省外语艺术职业学院为例

针对广东省高职教育发展战略和珠三角文化创意产业需求,广东省外语艺术职业学院围绕提高创新能力这一核心目标,在艺术设计专业群进行试点,创建了艺术设计协同育人平台,经过探索与实践,提出了协同育人平台建设的路径与策略。     

Authorship,Authenticity, and Intellectual Property in Australian Aboriginal Art

This article analyzes research and legal cases about authorship, authenticity, and intellectual property in Aboriginal art. The concepts of Aboriginality, authenticity, and ownership are used to show the complexities of Aboriginal law, legal copyright, and the moral rights framework. The clan ownership of Dreaming makes Aboriginal artists' relationship different to other artists' individual ownership of their work. Research on this topic by members of the Faculty of Business and Law unit of the Centre for Leisure Management Research at Deakin University was undertaken for the Australian Institute of Aboriginal and Torres Strait Islander Studies. This article provides significant contextual analyses of major issues leading to Commonwealth Government inquiries and legislation in Australia during 2006-8.     

试论建立健全我国海外流失文物追索法律制度——从唐贞顺皇后陵墓被盗文物境外成功追回谈起

唐贞顺皇后陵墓被盗文物境外成功追回，得益于法律保障、专业技术和国际合作三个方面。但我国追索海外流失文物的工作仍很严峻。我国在海外流失文物追索过程中面临的主要法律困境包括证据资料搜集困难，缺乏适格诉讼主体，欠缺稳定的专业技术支持以及缺少专门追索机构。我国应借鉴国外先进经验制定《流失文物追索法》，对流失文物的性质、所有权归属以及追索原则等问题予以系统规定，并应成立专门的追索机构，从而有效解决追索过程中的法律依据、证据以及专业技术支持等问题。     

应对数字艺术公共安全隐患的立法策略研究

当下数字艺术的产生和迅速崛起从根本上改变了原子艺术长期以来建构起来的艺术生态和艺术秩序,引发了某些引起人们重大关切的公共安全问题,其中突出的有网瘾问题、网络文化低俗化问题、数字谣言问题以及数字艺术知识产权保护问题等。这些问题不同于原子艺术公共安全隐患发生学上的外生性、随机性和个别性,而是呈现为内生性、公共性、流行性和危害性特征。一条比较可行的防控策略是在对数字艺术实施事前立法规范的同时,对数字艺术公共安全机制同步实施事后追溯监管。此外,加强数字艺术公共安全性及其应对机制的科研攻关和科普宣传,尽快提高全社会对数字艺术特殊规律及其公共安全性的认识和了解也是当务之急。     

‘The dead are coming’: acts of citizenship at Europe’s borders

This article combines the research agenda of the acts of citizenship literature with reflections on emancipatory theatre. I examine the Centre for Political Beauty’s activity-based artwork ‘The dead are coming’ which problematizes the cruelties of the European border regime in symbolically charged spaces in the German public. Focusing particularly on the roles available to ‘actors’ and ‘spectators’, and the directionality of the message conveyed through the artwork, I examine how the performance subverts the ‘sites’ and ‘scales’ of citizenship. My analysis indicates that the artwork’s subversive potential emerges not only from the political vision conveyed by the artist collective, but also from the way in which others become involved in the performance. Acts of political beauty thus most extensively challenge instituted citizenship’s orientalist anchoring, reverse status-based role allocations and subvert the structural violence of borders when the performance enables the enactment of novel forms of political agency and solidarity.     

Reflexivity,participatory art,and the failures of monist representation

ABSTRACT

This essay engages in a dual-disciplinary theorizing of reflexivity as response to crises of democratic representation. We trace this crises through the parallel lenses of democratic theory and art history. As political theorists explore alternative representations of ‘the people,’ contemporary artists have developed their own responses to the crisis of monist representation. In both state institutions and in participatory art – and in the theorizing of both – we find the rejection of monist representations of ‘the people’ and the embracement of pluralist, partial, and proximate representations. These public reflexive spaces give voice to new, partial publics, and call attention to past and present exclusions.     

Black geographies of struggle and pleasure in Nona Faustine’s White Shoes

In Nona Faustine’s photo series of self-portraits, White Shoes, the artist’s body becomes the agent in exposing the instability of racialized historical geography. Faustine revisits New York City’s landmarks to address what is missing or made invisible: a slave ship, a fugitive woman’s rebirth, or African burial grounds. Making herself visible where she is supposed to remain invisible, she highlights the unacknowledged connection between national wealth, nationalism, geography, and black labor. She discloses the topography of her travels as a changeable terrain, where one slips from the national iconic to ambiguous and finally, to the sacred. I suggest that Faustine doesn’t seek to democratize the extant historical maps, but to shift the terms of reading the city’s geography. She lifts the boundaries between the polarized pathways of knowing – the secularized and the sacred, the living and the dead, the verifiable and the missing. This shift is also made possible by the medium of photography and a feminist turn towards pleasures in one’s body. As Faustine comes to terms with the psychic and cultural inheritance of the diaspora, she moves from the collective body of pain towards black women’s pleasure in their own bodies without purging the history of sexual trauma.     

Dis-Assembly Lines: gestures,situations, and surveillances

In “Americanism and Fordism,” Antonio Gramsci offers a brief meditation on the gestural performances of assembly-line workers who, rather than become subordinate to the disciplinary flow of the machine, cultivate perfectly timed gestures that allow workers to hide in plain sight: or, in other words, to inhabit the scene of management otherwise. Rather than extend Gramsci's investment in virtuosic, masterful performances of gesture, this article considers the potentiality of gesture through Lucille Ball's and Tehching Hsieh's performances of bad timing. As different as these performances are in terms of genre and historical situation, each uses gesture as a technique to performatively divide the labor process, producing fleeting temporalities of waste within rhythms marshaled toward production and accumulation. While it tracks the effects of these itinerant gestures, this article reconsiders the oppositions between productive and reproductive work, rationality and emotionality, and work and home that sustain Gramsci's theory, as well as how the collapse of such oppositions introduces alternative historical and artistic trajectories into theories of precariousness.