التفاصيل البيبلوغرافية
| العنوان: |
Tashkent-Kassel: Make-Believe Ethnography, Assembly and Archival Research. |
| المؤلفون: |
Palvan-Zade, Furqat |
| المصدر: |
Afterall: A Journal of Art, Context, & Enquiry; Spring/Summer2024, Vol. 57 Issue 1, p6-25, 20p |
| مصطلحات موضوعية: |
STATE power, INDIAN filmmakers (Asians), MASS media, 20TH century art, AFRICAN Americans in motion pictures, PRISONER abuse, COSMOPOLITANISM, SOCIAL movements, IMAGINATION |
| مستخلص: |
This essay examines the connections between documenta fifteen, an art exhibition in Germany, and the Tashkent Festival for Asian, African, and Latin American Films in Uzbekistan. It explores questions about the geographical scope, circulation of ethnographic images, self-organization, and research-based art. The essay emphasizes the internationalist genealogies and nostalgia in the curatorial approach of ruangrupa, the organization behind documenta fifteen, and discusses the complexities of exhibiting art from the Global South in the West. It also discusses the work of artist Saodat Ismailova and her films that recreate pre-Islamic rituals, raising questions about the sources of knowledge used in their creation. The essay explores the intersection of art and political activism, highlighting the Tashkent Film Festival as an example of a sociopolitical event that opposed hierarchies and competition. It emphasizes the importance of collective activism and the creation of ideal working conditions as a form of resistance against neoliberal cultural funding and the precarity of artistic work. The text also discusses the Tashkent Film Festival's role in promoting Third World cinema and international solidarity, particularly regarding the Palestinian cause. It explores the concept of research-based art and its relationship to historical narratives and the construction of knowledge. [Extracted from the article] |
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| قاعدة البيانات: |
Complementary Index |
