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Aesthetics and Anthropology
This book focuses on the reconfiguration of aesthetic anthropology into an anthropological problem of cogitation, opening up a fascinating new dialogue between the domains of anthropology, philosophy, and art. Tarek Elhaik embarks on an inquiry composed of a series of cogitations based on fieldwork in an ecology of artistic and scientific practices: from conceptual art exhibitions to architectural environments; from photographic montages to the videotaping of spirit seances; and from artistic interventions in natural history museums to ongoing dialogues between performance artists and marine scientists. The chapters examine the image-work, ethical demands, and aesthetic struggles of interlocutors including artists Mathias Goeritz, Mounir Fatmi, Silvia Gruner, Joan Jonas, and Patricia Lagarde.
Incurable-Image
From the 1990s onwards the 'ethnographic turn in contemporary art' has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, Tarek Elhaik addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Taking his cue from ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls 'the post-Mexican condition', Elhaik conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the 'Incurable-Image,' an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.
The Anthropologist as Curator
Why do contemporary art curators define their work as ethnography? How can curation illuminate the practice of contemporary anthropology? Does anthropology risk disappearing as a specific discipline within the general model of the curatorial? The Anthropologist as Curator collects together the research of international scholars working at the intersection of anthropology and contemporary art in order to explore these questions. The essays in the book challenge what it means to do ethnographic work, as well as the very definition of the discipline of anthropology in confrontation with the model of the curatorial. The contributors examine these ideas from a variety of angles, and the book incl...
Tijuana Dreaming
Tijuana Dreaming is an unprecedented introduction to the arts, culture, politics, and economics of contemporary Tijuana, featuring selections by prominent scholars, journalists, bloggers, novelists, poets, curators, and photographers from Tijuana and greater Mexico.
Sensible Life
We like to imagine ourselves as rational beings who think and speak, yet to live means first and foremost to look, taste, feel, or smell the world around us. But sensibility is not just a faculty: We are sensible objects both to ourselves and to others, and our life is through and through a sensible life. This book, now translated into five languages, rehabilitates sensible existence from its marginalization at the hands of modern philosophy, theology, and politics. Coccia begins by defining the ontological status of images. Not just an internal modification of our consciousness, an image has an intermediate ontological status that differs from that of objects or subjects. The book’s second part explores our interactions with images in dream, fashion, and biological facts like growth and generation. Our life, Coccia argues, is the life of images.
Calypso Drift
Steinberg Henry has composed for us this magical island adventure into song. It is made up of 14 segments and 119 chapters integrating leaps in consciousness, methods and disciplines with skill surprising. Calypso Drift passes by way of an island Parliament, Dread/Rastafari, memorable black-sand beaches, religious systems, the KwÉyòl language business, high-school learning remembrances, a touch of Kalinago sensibility and, American song selections on Caribbean radio in the 70s and 80s. The text leaps to record seven years of Dominican Calypso lyrics, contributing in the process to archiving an island's history. Calypso Drift implores us to listen again to warnings of our song-poets. This is a book for lovers of Calypso globally, one for culture enthusiasts. Those embracing entertainment education, history and the arts in general should find its methods provocative. Students in the natural and social sciences can comfortably uncover themselves herein. And most of all, musicians, song-writers, composers and performers of Calypso find space in its consuming fire. Drift, globality is inside!
Time Is Out of Joint. Il Progetto Espositivo. La Galleria Nazionale, Roma. Ediz. Italiana E Inglese
Time is Out of Joint' presents the heritage of the National Gallery of Modern and Contemporary Art in Rome in light of the new installation curated by its director Cristiana Collu. A revolutionary exhibition plan that has greatly modified the public's fruition of the museum, on the one hand supporting the spatiality of the place and highlighting its architecture, and on the other unhinging the traditional chronological reading of the works in favour of an open path which suggests unprecedented relationships between works, and which enhances the ever-changing point of view of the observer.0The volume, which includes two critical essays, fifteen speeches and an interview with the director, is part of the lively debate aroused by the museum's innovation, and offers the best tool to understand the criteria that guided its implementation. Fernando Guerra's extensive portfolio visually accompanies the reader through the museum's rooms.00Exhibition: National Gallery of Modern and Contemporary Art, Rome, Italy (11.10.2017-15.04.2018).
The Postcolonial Museum
This book examines how we can conceive of a ’postcolonial museum’ in the contemporary epoch of mass migrations, the internet and digital technologies. The authors consider the museum space, practices and institutions in the light of repressed histories, sounds, voices, images, memories, bodies, expression and cultures. Focusing on the transformation of museums as cultural spaces, rather than physical places, is to propose a living archive formed through creation, participation, production and innovation. The aim is to propose a critical assessment of the museum in the light of those transcultural and global migratory movements that challenge the historical and traditional frames of Occidental thought. This involves a search for new strategies and critical approaches in the fields of museum and heritage studies which will renew and extend understandings of European citizenship and result in an inevitable re-evaluation of the concept of ’modernity’ in a so-called globalised and multicultural world.
Incurable-Image
From the 1990s onwards the 'ethnographic turn in contemporary art' has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists.Based on two years of participant-observation in Mexico City, Tarek Elhaik addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Taking his cue from ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls 'the post-Mexican condition', Elhaik conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the 'Incurable-Image,' an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.
No Aging in India
From the opening sequence, in which mid-nineteenth-century Indian fishermen hear the possibility of redemption in an old woman's madness, No Aging in India captures the reader with its interplay of story and analysis. Drawing on more than a decade of ethnographic work, Lawrence Cohen links a detailed investigation of mind and body in old age in four neighborhoods of the Indian city of Varanasi (Banaras) with events and processes around India and around the world. This compelling exploration of senility—encompassing not only the aging body but also larger cultural anxieties—combines insights from medical anthropology, psychoanalysis, and postcolonial studies. Bridging literary genres as well as geographic spaces, Cohen responds to what he sees as the impoverishment of both North American and Indian gerontologies—the one mired in ambivalence toward demented old bodies, the other insistent on a dubious morality tale of modern families breaking up and abandoning their elderly. He shifts our attention irresistibly toward how old age comes to matter in the constitution of societies and their narratives of identity and history.
