Utilization and Practical Use of Unused and Misused Space in Alternative Spaces for Local Art Activation Focused on the Culture Space Yang

2021 ◽  
Vol 79 ◽  
pp. 53-74
Author(s):  
Yeneul KIM ◽  
Youngok SIM
Keyword(s):  
Author(s):  
Arnaud Kurze ◽  
Christopher K. Lamont

Abstract This article offers a critical perspective on emerging and alternative spaces for emancipation within transitional justice studies. Taking into account recent critical literature and postcolonial interventions in transitional justice studies, we argue that barriers to moving our understanding of transitional justice forward are both conceptual and methodological. Conceptual hurdles are visible through narrow justice demands often limited to the context of post-conflict and post-authoritarian settings, thus normalizing injustice in liberal democratic and postcolonial contexts. Methodological impediments exist because transitional justice scholarship operates at a positivist level, or trying to explain certain, and desired, outcomes rather than destabilizing and unsettling unequal power relations. As a result, research practice in the field reflects the perspectives and preferences of elites in transition societies through a legal-technical mechanistic imagining of transitional justice that we refer to as the transitional justice machine. We argue that the needs and voices of marginalized social actors, particularly within states that are largely defined as liberal democratic or postcolonial, have long been ignored due to these practices. Against the backdrop of evolving agency patterns, including widespread global protest and demands to deal with the past across countries, we zoom in on a variety of actors who, until now, have not been at the focus of transitional justice studies. Drawing on a variety of case studies, this article contributes to the critical understanding of transitional justice studies as a Bourdieusian field. First, by expanding the conceptual lens to include racial, socio-economic, and postcolonial injustice, and, second, by advancing a more critical methodological approach that puts at its center unequal power relationships.


Archivaria ◽  
2022 ◽  
pp. 6-47
Author(s):  
Colin Post

Artists have long engaged with digital and networked technologies in critical and creative ways to explore both new art forms and novel ways of disseminating artworks. Net-based artworks are often created with the intent to circulate outside traditional institutional spaces, and many are shared via artist-run platforms that involve curatorial practices distinct from those of museums or commercial galleries. This article focuses on a particular artist-run platform called Paper-Thin, characterizing the activities involved in managing the platform as digital curation in a polysemous sense – as both the curation of digital artworks and the stewardship of digital information in a complex technological ecosystem. While scholars and cultural heritage professionals have developed innovative preservation strategies for digital and new media artworks housed in institutional collections, the ongoing care of artworks shared through networked alternative spaces is largely carried out co-operatively by the artists and curators of these platforms. Drawing on Howard Becker’s sociological theory of art worlds as networks of co-operative actors, this article describes the patterns of co-operative work involved in creating, exhibiting, and then caring for Net-based art. The article outlines the importance, for cultural heritage professionals, of understanding the digital-curation practices of artists, as these artist-run networked platforms demonstrate emergent approaches to the stewardship of digital culture that move beyond a custodial paradigm.


2021 ◽  
Vol 9s3 ◽  
pp. 29-50
Author(s):  
Lynn Hodeib

This article examines how objects embedded in the domestic life of the generation of the Lebanese civil war and the subsequent generations evoke stories that disrupt the state�s hegemonic production of history. The article explores stories surrounding two objects that survived the war, and took on residues of memory later heard and retold by the subsequent generation. These objects illuminate ways in which the legacy of intergenerational memory is produced and transmitted�and how these alternative spaces and stories emerge in present struggles, including the October 2019 revolution. In the first section, the article examines how material objects operate as intergenerational symbols of the experiences of war and as media for the process of narrativisation. In the second section, the argument explores the role of the material as a witness to what resists language and as a locus to memory�s temporality. In the third section, the article looks into the affective dimension of the material object as it provokes an opening to narration and challenges linear understandings of history. This search through material and domestic objects seeks stories that resist closure, and is essential to understanding today�s struggle against the Lebanese political class.


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