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At the time of writing, it is April 2020 and large parts of the world are in various stages of Corona-lockdown. Both the severity of the penetration of the virus itself as well as the severity of the measures to combat it varies across the globe, but increasingly everywhere lives are turned upside down. Normality is suspended and it is frequently pronounced that the world will not look the same on the other side of this crisis. While we are launching a new volume, the current situation also gives renewed actuality to some of our previous publications. Not least, one of our 2016 issues is worth revisiting: Rupture and Exile: Permanent Liminality in Spaces for Movement and Abandonment, edited by Harmony Siganporia and Frank G. Karioris (Volume 8, issue 1). This thematic section is centred on liminality, a concept with which every sociocultural anthropologist and many other social and cultural theorists are well acquainted. Liminality is a concept that is most usually attributed to Arnold van Gennep (1873-1957) and his Les Rites de Passage (1909), but it is also tightly associated with Victor Turner and his The Forest of Symbols (1967) or (perhaps especially) The Ritual Process (1969). While Turner departed from a discussion of liminality as primarily an attribute of rites of passage, he also expanded the concept to include "a greater variety of ambiguous situations, epochs, and spaces that might be read as liminal" (Siganporia & Karioris 2016). Van Gennep had a three-stage model of rites of passage: separation, margin/ liminality and reintegration. It is in this middle stage we find liminality. Liminality is from Latin limen meaning threshold. It is the boundary between the outside and the inside, between two entities that are separated from one another. A rite of passage is a transition from something old to something new, and liminality is the state of neither nor in between the old and the new. In the case of initiation rites-neither child nor adult. Liminality is marked by ambiguity, uncertainty
At the time of writing, it is April 2020 and large parts of the world are in various stages of Corona-lockdown. Both the severity of the penetration of the virus itself as well as the severity of the measures to combat it varies across the globe, but increasingly everywhere lives are turned upside down. Normality is suspended and it is frequently pronounced that the world will not look the same on the other side of this crisis. While we are launching a new volume, the current situation also gives renewed actuality to some of our previous publications. Not least, one of our 2016 issues is worth revisiting: Rupture and Exile: Permanent Liminality in Spaces for Movement and Abandonment, edited by Harmony Siganporia and Frank G. Karioris (Volume 8, issue 1). This thematic section is centred on liminality, a concept with which every sociocultural anthropologist and many other social and cultural theorists are well acquainted. Liminality is a concept that is most usually attributed to Arnold van Gennep (1873-1957) and his Les Rites de Passage (1909), but it is also tightly associated with Victor Turner and his The Forest of Symbols (1967) or (perhaps especially) The Ritual Process (1969). While Turner departed from a discussion of liminality as primarily an attribute of rites of passage, he also expanded the concept to include "a greater variety of ambiguous situations, epochs, and spaces that might be read as liminal" (Siganporia & Karioris 2016). Van Gennep had a three-stage model of rites of passage: separation, margin/ liminality and reintegration. It is in this middle stage we find liminality. Liminality is from Latin limen meaning threshold. It is the boundary between the outside and the inside, between two entities that are separated from one another. A rite of passage is a transition from something old to something new, and liminality is the state of neither nor in between the old and the new. In the case of initiation rites-neither child nor adult. Liminality is marked by ambiguity, uncertainty
This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945-1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with a collaboration of more than sixty cultural institutions coming together to celebrate the birth of the L.A. art scene. One of the Pacific Standard Time (PST) exhibitions was Asco: Elite of the Obscure, A Retrospective, 1972-1987, running from September to December 2011 at the Los Angeles County Museum of Art (LACMA). This was the first retrospective of a conceptual performance group of Chicanos from East Los Angeles, who from the early 1970s to the mid 1980s acted out critical interventions in the politically contested urban space of Los Angles. In conjunction with the Asco retrospective at LACMA, the Getty Foundation co-sponsored a new street mural by the Chicano artist Willie Herrón, paying homage to his years in the performance group Asco. The PST exhibition program also included so-called Mural Remix Tours, taking fine art audiences from LACMA to Herrón's place-specific new mural in City Terrace in East Los Angeles. This article analyze the inclusion in the PST project of Herrón's site-specific mural in City Terrace and the Mural Remix Tours to East Los Angeles with regard to the power relations of fine art and critical subculture, center and periphery, the mainstream and the marginal. As a physical monument dependent on a heavy sense of the past, Herrón's new mural, titled Asco: East of No West, transforms the physical and social environment of City Terrace, changing its public space into an official place of memory. At the same time, as an art historical monument officially added to the civic map of Los Angeles, the mural becomes a permanent reminder of the segregation patterns that still exist in the urban space of Los Angeles.
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