Bigindicator

tagged: post-colonial
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Berlin Biennale 8: The Gentleman's Guide to Tropical Photography

by Guy Parker
Having read about the historical themes and ideas that curator Juan A. Gaitán chewed over while planning the 8th Berlin Biennale, I wondered if I was supposed to feel like some colonial explorer as I journeyed southwest towards Dahlem and into a Berlin kiez less travelled (by a peripheral fellow traveller of the Berlin art crowd, at least). Someone like Alexander von Humbolt, who undertook the first scientific exploration of South America and whose name is to appear on the controversial Humbolt... [more]
Posted by Guy Parker on 5/29/14
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Lost in the Berlin Biennale: A First Look

by Sonja Hornung and Richard Pettifer
ifty artists is not so many for a biennial, and we were certainly looking forward to a concentrated and focussed set of exhibitions. Spread across three venues, this Biennale sprawls, conceptually and physically. Sonja Hornung: ‪We caught the train out to Dahlem, west of Berlin, and got rained on. Once we made it into the exhibition you seemed totally uneasy, Richard – why was that? Richard Pettifer: I couldn’t work out what was from the Biennale and what were pre-existing from the... [more]
Posted by Sonja Hornung and Richard Pettifer on 5/29/14
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NAGAS: The Diorama as Identity, Ideology

by Deepika Sorabjee
There’s a glut on in the city of talks and exhibitions on the Parsis, one of the most fascinating slices of India’s multi-ingredient cultural cake. At the National Gallery of Modern Art (NGMA), is a dual exhibition: On the top level is the modern and contemporary ‘No Parsi is an Island’ curated by cultural theorists Nancy Adajania and Ranjit Hoskote; the majority of the space, however, is taken up by an exhibition which is more historical and ethnographical, which makes some viewers wonder... [more]
Posted by Deepika Sorabjee on 1/17/14
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Blinded by the Light: Myths and Visions of the Australian Landscape

by Marianne Templeton
Landscape is the fallback motif for curators and critics striving to bind together a disparate, difficult assortment of Indigenous and post-colonial works under the banner of 'Australian art'. It dominates the representation of Australia to an international audience in not only the visual arts, but also literature, film, and the tourism industry. The Royal Academy has also chosen this well-traversed route for its 200-strong exhibition of (mostly) paintings from the Great Southern Land. A theme... [more]
Posted by Marianne Templeton on 10/2/13
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