Identity 6
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Transcript of Identity 6
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Identity SixIDENTITY AND GLOBALISATION
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GLOCALFrom local identity to global
significance
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Glocal – many
meanings, of course!Glocal Project, Surrey, Canada
From the local to the
global
Singular, multiple,
universal
Vocal/glocal/glowcal
How do I want to use it here?
I want to start with identity and stretch out.
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IDENTITY
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Locating the Local
Identities are based on a complex of
experience – family, language, ethnicity,
community, gender, sexual orientation, age,
experience
Ema Tavola, Patchwork, 2005-2008
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Community
Art reenacts, reinforces aspects
of identity
Art identifies the signifiers of
community – the signs,
symbols, ‘the raiment’ of a
community
Art celebrates the history of a
community – the experience of
a community over time
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The Raiment of a Community
The Pacific Tattoo – Alfred Gell, Wrapping in Images: Tattooing in Polynesia (Oxford:1993)
The Kiwi Tatoo – from ta moko to street art from uhi to needles
The Generational Tattoo – changes in status, usage and style over time
The International Generational Tattoo
http://www.youtube.com/watch?v=bF_lxtWqdV0
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Community
, People,
Place,
History -Aniwaniwa--te hokinga akena. Local becomes glocal…
'Submersion' is used as a metaphor for cultural loss. Aniwaniwa refers to the narrowest point of the Waikato River by the village of Horahora, where Brett Graham’s father was born and his Grandfather worked at the Horahora power station. In 1947 the town was flooded to create a hydro-electric dam. Many historic sites significant to Graham’s hapu ‘Ngati Koroki’ were lost in the process.
In many of Rachael Rakena’s works Māori identity is explored as being in a state of flux, which like the borders of a river, are constantly being redefined.
http://www.youtube.com/watch?v=xljkl3Q5V3U&feature=related
Aniwaniwa
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The Pacific is the Identity: The
Other is the AlterityIdentifying with the Pacific ––
with your non-white heritage –
with the community of your
father or mother, grandfather or
grandmother, with the side of
the self with which, for whatever
reason, you currently identify,
makes the non-Pacific the
Alter/Other.
ReubenPaterson, Karangahake
(2010)
glitter on canvas
stretcher size : 200 x 200 cm
http://www.youtube.com/watch?
v=6hIraUgWPps
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Reuben Paterson
http://www.reubenpaterson.com/
http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=10120092
http-//www.google.co.nz/#15CDAE
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Shigeyuki Kinohara: ‘I want
to provocate people!’
So does Reuben – but
more gently. Maori is his
‘community’ but the world
is his fieldReuben Paterson, The Bed's Spread of Provocation, glitter and acrylic on
canvas, 200 x 200, 2009
http://www.bos17.com.au/biennale/artist/82
http://www.gowlangsfordgallery.co.nz/exhibitions/pastexhibitions/2010/re
ubenpaterson.asp
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Art Building Confidence in Identity
Tracey Tawhiao
Tracey Tawhiao is a writer, poet, lawyer. She is also a painter and visual artist.
Tawhiao is Ngai Te Rangi from Matakana Island. When she spent considerable
time on the island she started her newspaper paintings that now cover the walls
of many people's homes.
Her paintings and poetry featured in the book Taiawhio, conversations with
contemporary Maori Artists, published by Te Papa Press.
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CommunitiesWorking with local communities [Rakena]
Building interracial communities [Yuki:Mov1-0746]
http://australianetwork.com/pacificpulse/stories/30
64674.htm
Working within artists’ communities [Tracey]
Collaboration/mixed media/low tech culture [Giles]
Support –Tautai [Giles:MVI-0878]
http://www.tautaipacific.com
Building audiences [Yuki:MV1-0746: Rakena:MVI-
0723]
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Pacific Philosophies
Giving visual form to Pacific traditions, views of the world, philosophies [Rakena: MVI-0719: Reuben]
Maori aspects of life [Tracey:MVI-0831]
Samoan fa’a Samoa [Yuki:MVI-0763, 0767]
Fa/va/te kori – thresholds [Lonnie:MVI-0790]
Maori/Pacific aesthetic [Lonnie:MVI-0798: Tracey:MVI-0833]
Aesthetics and agency [Rakena: MVI-0724]
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Art and Agency
Art and agency [Yuki:MVI-0764: Rakena: MVI-0724: Giles:MVI-0877]
The authority of the voice [Lonnie:MVI-0806]
The need to engage with people/audiences[Rakena:MVI-0719]/through performance [Yuki:MVI-0764]
Performance – new rituals to live by [Giles:MVI-0880/0881]
The need to provoke [Yuki:MVI-0765]
Working with the disaffected young [Tracey:MVI-o829]
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Multicultual
Ethnicities
What is an ‘ethnicity’? Based on language, history, place, skin colour, bodily characteristics, ‘race’?
Are all ‘ethnicities’ multicultural to a degree?
Does ‘alterity’ always depend on ethnicity or does ‘class’, social status play a role? Wittgenstein – point of view
Yuki Kinohara talks about ‘interracial identities.’ Yuki:MVI-0758
Multicultural – multiethnic – interracial identities are not only very local – they are also global
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Identity: Stretching
Out Interterritorial - from Niu Sila to the homelands and back again and again [Yuki:MVI-0765]
International – from the Pacific to the world and back again and again
Interethnic communities – building bridges [Yuki: MVI-0745]- building conversations [Yuki:MVI-0763]-the artist working at the intersection of cultures [Yuki:MVI-0763]
Working glocally [Yuki:MVI-0763: Giles:MVI-0883/4]
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Identity: Glocal
Locally based but not locally confined
[Lonie:MVI-0793: Rakena: MVI-0726]
Art and the world [Rakena: MVI-0725]
Local in content global in reach and
significance
Local in concept but practiced globally
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A Pause to Reflect
The strength of acting for and within a community –locally – relevant, engaged, having agency, provoking discussion of real issues
Taking the local to the world – Aniwaniwa – a political issue that is global (the generation of power meaning the dislocation of communities, the destruction of history), but not local – losing strength in gaining audience
The local becomes exotic, the art remains alter, losing traction as garnering respect
Two case histories –Filipe Tohi and Aboriginal art
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Filipe Tohi
Tohi (b. 1959) is an
emigrant to New
Zealand, arriving from
Tonga in 1978.
Rangimarie Maori Arts
and Crafts Centre (1985-
1992): staff of Taranaki
Polytechnic (1986-1992).
Now works full time
artist.
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Lalava (lashing)
‘I believe lalava
patterns were a
mnemonic device
for representing a
life philosophy.
Lalava patterns
advocated balance
in daily living and
were metaphorical
and physical ties to
cultural knowledge’http://www.lalava.net/nav.html
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FRANÇOIS MORELLET
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Bringing the Pacific
to the World
Tohi has
established an
international
reputation, bringing
the Pan-Pacific
medium of lalava –
lashing, weaving
tradition with a
Modernist
sensibility to the
world. Fale
Pasifika, University
of Auckland, 2004
(with lalava by Tohi)
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Dreamtime Boom Time
Indigenous art industry in Australia
now worth A$400,000,000 a year
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Emily Kngwarraye, Big Yam 1996
Synthetic polymer paint on canvas, 4 panels,
each 159.0 x 270.0cm, overall 245.0 x
401.0cm. National Gallery of Victoria
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Utopia: The Genius of Emily
Kame Kngwarreye
Shown first in Japan,
at Osaka and Tokyo
early 2008
Then in Australia
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Musée de Branly, Paris
ceiling by John Mawurndjul
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Gulumbu
Yunupingu
Garak the
Universe.
2007
Bark painting
natural earth
pigments on
stringybark
227.0 (h) x 91.0
(w) cm
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Gulumbu Yunupingu
in Paris
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Nyakul Dawson at the Quai
Branly Museum in Paris
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The Journey of
Australian Aboriginal Art
From being everywhere every
day within the culture
To being nowhere in a
dismembered and dispersed
culture
To being everywhere in the
world’s artworld, part of the
spectacle of our present
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CHINESE ART
Traditional Chinese art and aesthetics
‘suggestiveness – images beyond images’
‘the intriguing quality is beyond the painting’
‘vital quality’ (qi)
Balance between opposites – yin and yang
Naturalness and regularity
Spiritual quality of naturalness and freedom from following set rules
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May Fourth Period
1917-1923Chinese became familiar with Western ideas, through study abroad and the attempt to modernise the country, including the fields of art and aesthetics
Chinese saw themselves as ‘spiritual’ as opposed to Western ‘materialism’
Fusion of Kant and Chinese aesthetics – ‘The Path of Beauty’ ( a book by Li Zehou)
Synthesis
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Communism from late
1940s and Cultural
Revolution 1966-1976Adoption of ‘Socialist Realism’
from Soviet Russia but pervaded
by Chinese aesthetics: then
aesthetics ceased to exist
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Post-New-Period (houxin
shiqi)
Art, culture and national identity
Foucault, postmodernism: post-colonial ideas –
Edward Said (‘travelling theories’ – coming from
one culture and being applied in another)
The self-colonisation of Chinese art by Western
ideas and practice
The recovery of a Chinese ‘subjectivity’ or
Chineseness (zhonghuaxing)
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GLOBALISATION 1
Western ideas and art practice dominate China
Globalisation means ideas and culture dominated by fast-moving- as a result of intermedial reflectivity – Western thought and practice
But Western thought and practice has local origins – in the Enlightenment, in Modernism and Post-Modernism
Intercultural exchange is a one-way street
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Globalisation 2
Art has become an integral part
of the global market place
Double demand – art must keep
up with the trends but have a
‘native touch’ (exoticom)
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WEI DONGCulture Culture
2002
Ink and colour on
paper 33 x 66
Hybridity, intercultural
Fusion,
Aspects of Chinese
tradition,
Exoticom??
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Details
Renaissance
White skinnedred finger
nails
Semi-undress: male
characteristics – half-bald
head, male left ear and
nose, red band on arm
‘student on duty’, Red
Guard bag, bottle of
Guanyin, Buddhist goddess
of mercy, sealed with
Communist Red Star,
money tucked in bodice –
floating in air, Mao stick,
book on Dürer.
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Ranjani Shettar (India), Just a bit
more, Hand-molded beeswax, pigments,
and thread dyed in tea, 2005-2006
H: 365.8W: 1079.5D: 670.6
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I’ve read that your work draws from
some beliefs in Indian culture and
traditions. Can you elaborate on that? SHETTAR: I mean that is something others read into
my work.
It’s not essential that I look at it like that because I am
an Indian.
I’m born here, so that’s why my work might be Indian,
but otherwise, I feel that important things are working
with ideas that are more of your self, which have
nothing to do with the region as such.
To me it’s not the culture. It’s the life that keeps my work
going.
It has nothing to do with religion or culture.
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‘Here I am dealing with organization,
connections, formal aspects
of space, color, form, line.’
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I do something and then,
now it’s up to the viewer
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INTERMEDIALITY
Many of the artworks we have discussed in the
course use a variety of media – sometimes in
the same work.
Art discourse is now also globalised and
intermedial – the internet has changed our lives,
we see art in galleries, but also see galleries on
the net, we go to see art anywhere in the world.
It is a new experience of ‘seeing’ and opens up
intercultural experience in a new way. Our
identities are changed in the process.
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Glocal-GlobalThe strength of acting for and within a
community – locally – relevant, engaged, having
agency, provoking discussion of real issues
Taking the local to the world – Aniwaniwa – a
political issue that is global (the generation of
power meaning the dislocation of communities,
the destruction of history), but not local – losing
strength in gaining audience
The local becomes exotic, the art remains alter,
losing traction as it garners respect
Glocal and globalisation – its where we’re at,
like it or hide from it!