The locations of memory: Migration and transnational cultural memory as challenges for art history
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The locations of memory: Migration and transnational cultural memory as challenges for art history. / Petersen, Anne Ring.
In: Crossings, Vol. 4, No. 2, 2013, p. 121-137.Research output: Contribution to journal › Journal article › Research › peer-review
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TY - JOUR
T1 - The locations of memory: Migration and transnational cultural memory as challenges for art history
AU - Petersen, Anne Ring
N1 - Reelt først udgivet i 2014, i trykte udgave står 2013
PY - 2013
Y1 - 2013
N2 - In the contemporary world, a considerable number of artists are on the move, due tothe triple processes of globalization, decolonization and migration. Migrant artists,and also cosmopolitan artists that travel widely, are transnational cultural workerswith ties to several places. As ‘bridging persons’, migrant artists have more thanone sense of home, and they play a seminal role in the translation between cultures,and in the transformations between the local and the global. However, the multiplecultural references in their works also raise the difficult question of the provenanceof their art. This article addresses the issue of how transnational cultural memory isarticulated in works by migrant artists, as well as how to access it analytically. Afteroutlining the general issues concerning the impact of migration on contemporary art,the article explores the usefulness of three conceptual frameworks: hybridity (HomiBhabha, Stuart Hall); migratory aesthetics (Mieke Bal); and the notion of the workof art as a migrant’s event (Syed Manzurul Islam). Taking British Palestinianartist Mona Hatoum as my example, it is my contention that her exhibition ‘InteriorLandscape’ (Venice, 2009) constitutes a migrant’s event.
AB - In the contemporary world, a considerable number of artists are on the move, due tothe triple processes of globalization, decolonization and migration. Migrant artists,and also cosmopolitan artists that travel widely, are transnational cultural workerswith ties to several places. As ‘bridging persons’, migrant artists have more thanone sense of home, and they play a seminal role in the translation between cultures,and in the transformations between the local and the global. However, the multiplecultural references in their works also raise the difficult question of the provenanceof their art. This article addresses the issue of how transnational cultural memory isarticulated in works by migrant artists, as well as how to access it analytically. Afteroutlining the general issues concerning the impact of migration on contemporary art,the article explores the usefulness of three conceptual frameworks: hybridity (HomiBhabha, Stuart Hall); migratory aesthetics (Mieke Bal); and the notion of the workof art as a migrant’s event (Syed Manzurul Islam). Taking British Palestinianartist Mona Hatoum as my example, it is my contention that her exhibition ‘InteriorLandscape’ (Venice, 2009) constitutes a migrant’s event.
KW - Faculty of Humanities
KW - migration
KW - migratory aesthetics
KW - migrationslitteratur
KW - hybriditet
KW - kulturel erindring
KW - transnationalitet
KW - samtidskunst
KW - global art
KW - migration
KW - migratory aesthetics
KW - migration literature
KW - hybridity
KW - cultural memory
KW - transnationality
KW - contemporary art
KW - global art
U2 - 10.1386/cjmc.4.2.121_1
DO - 10.1386/cjmc.4.2.121_1
M3 - Journal article
VL - 4
SP - 121
EP - 137
JO - Crossings
JF - Crossings
SN - 2040-4344
IS - 2
ER -
ID: 110962053