Controverses autour de la patrimonialisation de l'art aborigène. Des performances d'artistes urbains comme réponse

Roux, Géraldine Le

doi:10.4267/2042/51517

Cited by 2 publications

(1 citation statement)

References 3 publications

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“…For example, at Griffith University in Brisbane, during the opening of QPACifika, a series of events dedicated to Pacific arts and cultures in 2005, scholar and artist Fiona Foley publicly criticised the organisers and stated that the organisation committee should not only have consulted the local Pacific communities, they should have involved them as co-organisers and not just participants. Pacific artists were also very supportive of criticisms formulated by Aboriginal or Torres Strait Islander artists against the art industry, such as the one summarised by Richard Bell's famous statement, 'Aboriginal art, it's a white thing' (Le Roux, 2013).…”

Section: Theoretical Framework and Research Methodologymentioning

confidence: 99%

Pacific artistic communities in Australia: Gaining visibility in the art world

Roux

2022

Australian J of Anthropology

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This article shows that although Pacific arts began to be largely recognised in Australia in the 1990s, Pacific artists based in Australia remained mostly invisible in the contemporary art scene until the mid-2000s. I aim to demonstrate how Pacific artists and curators-who in some cases collaborated with Aboriginal and Torres Strait Islander artists and curators-have made visible myriad Pacific identities and social trajectories in Australian cities. Exhibitions reveal and highlight multiple experiences of Pacific people residing in Australia, for whom Pacific cultures are partly mediated by the experiences of their relatives, popularised by museum collections and coloured by the gaze of non-Pacific people. This article is built around two cultural events that have not previously received scholarly attention, a group show curated in Sydney by Māori artist and cultural worker Keren Ruki and a triennial in Brisbane imagined and organised by Bundjalung Yugambeh

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Section: Theoretical Framework and Research Methodologymentioning

confidence: 99%

Pacific artistic communities in Australia: Gaining visibility in the art world

Roux

2022

Australian J of Anthropology

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Oeuvrer à la reconnaissance du statut de tangata whenua grâce à l’art contemporain

Pellini

2021

ciera

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L’expression « tangata whenua », par laquelle les Māori se désignent en tant que peuple autochtone d’Aotearoa (Nouvelle-Zélande) et groupes liés à des marae érigés sur leurs terres ancestrales, témoigne de la relation particulière qu’ils entretiennent avec leurs territoires. Si de nombreux Māori résident désormais dans des centres urbains ayant vu le jour à la suite de la colonisation britannique, la volonté de faire respecter cette relation ainsi que la revendication du statut de tangata whenua occupent toujours une place importante au sein des mouvements d’affirmation māori. Ces questions sont souvent évoquées par les artistes contemporains māori. Cet article se propose d’examiner comment l’adoption de certaines pratiques artistiques leur permet d’affirmer la pertinence toujours actuelle de concepts māori définissant les relations à la terre.

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Controverses autour de la patrimonialisation de l'art aborigène. Des performances d'artistes urbains comme réponse

Cited by 2 publications

References 3 publications

Pacific artistic communities in Australia: Gaining visibility in the art world

Pacific artistic communities in Australia: Gaining visibility in the art world

Oeuvrer à la reconnaissance du statut de tangata whenua grâce à l’art contemporain

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