Notes on How to Irritate a Group of Committed Artists: Politics of Emotions at the Ghetto Biennale in Port-au-Prince
| العنوان: | Notes on How to Irritate a Group of Committed Artists: Politics of Emotions at the Ghetto Biennale in Port-au-Prince |
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| المؤلفون: | David Frohnapfel |
| المصدر: | Space and Culture. 23:61-76 |
| بيانات النشر: | SAGE Publications, 2019. |
| سنة النشر: | 2019 |
| مصطلحات موضوعية: | Cultural Studies, Group (mathematics), media_common.quotation_subject, 05 social sciences, Geography, Planning and Development, Art history, 050801 communication & media studies, 06 humanities and the arts, Art, 060104 history, Urban Studies, Politics, 0508 media and communications, Arts and Humanities (miscellaneous), Port au prince, Tourism, Leisure and Hospitality Management, Film director, 0601 history and archaeology, media_common |
| الوصف: | The Ghetto Biennale was founded in 2009 by British photographer, filmmaker, and curator Leah Gordon in collaboration with members of the Haitian artist group Atis Rezistans. The biennale is rooted in considerations around contemporary art as a place of klas privilege and social exclusion. The organizers took on the complicated task of bringing together artists from different socioeconomic strata in a short-time residency project in an informal neighborhood. Many of the visiting artists produce art that can be described as a socially engaged artistic praxis. By analyzing the Ghetto Biennale as a curated social situation that produces artistic poverty tourism, I discuss the varied hierarchical inter- klas relationships between the participating visiting and local Haitian artists. These relationships are often informed, I argue, by the politics of pity and a competitive sentiment of touristic shame that produces in return critical suspicion and a spiral of moral accusation within the visiting artistic milieu: Who collaborates most sincerely and decently with inhabitants of a neighborhood living in abject poverty? The visiting artists try to escape this spiral by self-censoring all potential self-interests in their praxes through a renunciation of authority and authorship and by declaratively presenting their projects as altruistic spaces of community empowerment that give a voice to “subaltern” artists. The members of Atis Rezistans in this narrative are seen to be constantly at risk of further marginalization by powerful actors from higher socioeconomic strata. But they actively deploy their own agency by negotiating these politics of pity for their own socioeconomic benefits. |
| تدمد: | 1552-8308 1206-3312 |
| URL الوصول: | https://explore.openaire.eu/search/publication?articleId=doi_________::fc9f10ab1aecba358479923e0c1afdb0 https://doi.org/10.1177/1206331219871435 |
| حقوق: | CLOSED |
| رقم الأكسشن: | edsair.doi...........fc9f10ab1aecba358479923e0c1afdb0 |
| قاعدة البيانات: | OpenAIRE |
| تدمد: | 15528308 12063312 |
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