Protest Now and Again

Schneider, Rebecca

doi:10.1162/dram.2010.54.2.7

Cited by 7 publications

(2 citation statements)

References 6 publications

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“…Proceeding this way, according to Moore and Marks, ensures that the histories and cultures of resistance are rendered accessible at a different time for current and future generations [81] (n.p). To use Rebecca Schneider's words, provision of broad access in this way happens 'across multiple registers [and] in multiple media' [33] (p. 7). This approach supports 'strategic witnessing' in serving a three-fold, critical objective at FA.…”

Section: Decolonising and Giving Voice To Marginalised Leftist Pasts ...mentioning

confidence: 99%

Radical Left Culture and Heritage, the Politics of Preservation and Memorialisation, and the Promise of the Metaverse

Mutibwa

2024

Heritage

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Radical left culture and heritage—understood as incarnations of leftist artefacts and praxis both past and present—have taken risks in challenging hegemonic machinations often when it is unpopular to do so. To the ire of hegemons, leftist projects across the globe have marshalled places, spaces, and technologies into sites of empowerment and struggle utilising ‘small’ and ‘big’ acts of resistance and critical interventions to champion social justice—sometimes successfully, and at other times, less so. However, the preservation of projects’ artefacts, praxis, and memory work has been anything but straightforward, owing primarily to institutional politics and infrastructural and resourcing issues. Taking The Freedom Archives (FA) as a case study, this article explores how FA is preserving the distinctive political education programme that underpinned the iconic liberation struggle in Guinea-Bissau that kickstarted the seismic, global decolonisation project in the late 1950s. The article argues that FA could substantially enhance the preservation and memorialisation of that programme in the Metaverse—if this materialises as a fully open, interoperable, and highly immersive space (1) unfettered by hegemonic regulation, and (2) characterised by ‘strategic witnessing’, ‘radical recordkeeping’, and user agency. In doing so, FA would serve as an exemplar for leftist projects globally.

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Section: Decolonising and Giving Voice To Marginalised Leftist Pasts ...mentioning

confidence: 99%

Radical Left Culture and Heritage, the Politics of Preservation and Memorialisation, and the Promise of the Metaverse

Mutibwa

2024

Heritage

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“…Adrian Heathfield and Amelia Jones (see Jones forthcoming[b]).13. On Hayes's work and the important protest re-enactments of Mark Tribe and his Port Huron Project, seeSchneider (2010).…”

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confidence: 99%

“The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence

Jones¹

2011

TDR/The Drama Review

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1. Claims of presence and authenticity are extremely common in discussions of performance art both from art historical and performance studies points of view. For example, film and art history scholar Catherine Elwes noted in 1985, "[p]erformance art offers women a unique vehicle for making that direct unmediated access [to the audience]. Performance is about the 'real-life' presence of the artist [...]. Nothing stands between spectator and performer" (165). I don't want to scapegoat Elwes, an important theorist of feminist performance, here; in making these claims, she is completely typical of most writing on performance art particularly in the art context from the 1970s through the 1990s and even into the present.2. The first weeks Abramovic; had a table placed between herself and the other chair, explicitly re-staging the performance Night Sea Crossing (a series begun in 1981), which she and Ulay had enacted at various venues around the world, sitting across from each other with a large table in between. She removed the table partway through the roughly three-month length of the show (14 March-31 May 2010); according to her dealer, Sean Kelly, whom I spoke with while I was waiting in line to "visit" the artist, this was because she felt the table distanced her psychologically from the individuals she faced (Kelly 2010). Assistant Curator Jenny Schlenzka clarified the process of the show's organization (Schlenzka 2010). Amelia Jones is Professor and Grierson Chair in Visual Culture at McGill University in Montréal. She has organized exhibitions on contemporary art and on feminist, queer, and anti-racist approaches to vis ual culture. Her recent publications include the edited volumes Feminism and Visual Culture Reader (Routledge, 2010) and A Companion to Contemporary Art Since 1945 (Wiley-Blackwell, 2006). Following on Body Art/Performing the Subject (University of Minnesota Press, 1998), Jones's books includeIrrational Modernism: A Neurasthenic History of New York Dada (MIT Press, 2004) and Self Image: Technology, Representation, and the Contemporary Subject (Routledge, 2006). Her current projects are an edited volume Perform, Repeat, Record: Live Art in History (with coeditor Adrian Heathfield) and a book tentatively entitled Seeing Differently: Identification and the Visual Arts.

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Banal Profundity and Profound Banality

Nicholson¹

2022

TDR: Drama Rev

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Focusing on performance that functions outside explicitly theatrical frames, art installations staged in Hong Kong between June and October 2020 progress a broader view of Hong Kong’s complex development as global financial center, creative hub, and meeting point between “East” and “West.” Artists Mark Chung, Nadim Abbas, and Christopher Ho interrogate Hong Kong at a historically definitive moment, allowing audiences to study what constitutes “home” beyond what conventional academic analyses, traditional publishing outlets, and social media allow.

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Protest Now and Again

Cited by 7 publications

References 6 publications

Radical Left Culture and Heritage, the Politics of Preservation and Memorialisation, and the Promise of the Metaverse

Radical Left Culture and Heritage, the Politics of Preservation and Memorialisation, and the Promise of the Metaverse

“The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence

Banal Profundity and Profound Banality

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