지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第42號
- 발행연도
- 2016.6
- 수록면
- 195 - 223 (29page)
- DOI
- 10.14380/AHF.2016.42.195
이용수
초록· 키워드
오류제보하기
This research explores the work of two Asian diaspora artists: Zarina Bhimji and Emily Jacir, it also examines how their repeated experiences of forced expulsion, migration and displacement from their belonged communities construct their identities and how it is connected to their art practices.
Indian-Ugandan Zarina Bhimji was born in Uganda, left Uganda for Britain in 1974, after the Idi Amin’s ethnic cleansing of Indians in Uganda, and currently she is living and working between India, Africa and Britain. Palestine descendant Emily Jacir was born in Bethlehem, Palestine, after the establishment of Israel in 1948. In the late 1970s, she moved to Saudi Arabia and studied in Italy then came to America as an exile. She lives between Ramallah, Palestine, and New York. The two artists have moved from country to country due to external forces, they have faced the evils of colonialism, and witnessed the hypocrisy of imperialism. They have also experienced the loss of citizenship and deprivation of human rights, and have met the division and confliction to the marginalized and alienated from the adopted nations. These experiences have given both artists multiple identities as an alien, an excluder, a minority, and an Asian. However, the two women artists accept these complex identities and transfer them to their work as subjects for their art practices.
Currently there is a high and accelerating worldwide movement of people, cross-border emigrations and migrations are common phenomena and part of modern life. However, the experience of expulsion and migration when viewed as our basic rights to life needs people to sacrifice these rights, whether they want or not, within the logic of national power and the relationship of economic interests. The two artists focused in this paper have differences between their purposes for and experiences of diaspora, expulsion and migration. However, they have moved between countries confronting the conflicts of nations and regions, and experienced the exclusion and marginalization between mother country and adopted nations. They often explore their diasporic experiences to global politics and nation strategy, for these artists these experiences can never end and never be resolved.
Indian-Ugandan Zarina Bhimji was born in Uganda, left Uganda for Britain in 1974, after the Idi Amin’s ethnic cleansing of Indians in Uganda, and currently she is living and working between India, Africa and Britain. Palestine descendant Emily Jacir was born in Bethlehem, Palestine, after the establishment of Israel in 1948. In the late 1970s, she moved to Saudi Arabia and studied in Italy then came to America as an exile. She lives between Ramallah, Palestine, and New York. The two artists have moved from country to country due to external forces, they have faced the evils of colonialism, and witnessed the hypocrisy of imperialism. They have also experienced the loss of citizenship and deprivation of human rights, and have met the division and confliction to the marginalized and alienated from the adopted nations. These experiences have given both artists multiple identities as an alien, an excluder, a minority, and an Asian. However, the two women artists accept these complex identities and transfer them to their work as subjects for their art practices.
Currently there is a high and accelerating worldwide movement of people, cross-border emigrations and migrations are common phenomena and part of modern life. However, the experience of expulsion and migration when viewed as our basic rights to life needs people to sacrifice these rights, whether they want or not, within the logic of national power and the relationship of economic interests. The two artists focused in this paper have differences between their purposes for and experiences of diaspora, expulsion and migration. However, they have moved between countries confronting the conflicts of nations and regions, and experienced the exclusion and marginalization between mother country and adopted nations. They often explore their diasporic experiences to global politics and nation strategy, for these artists these experiences can never end and never be resolved.
목차
Ⅰ. 들어가는 글
Ⅱ. 디아스포라와 동시대 예술의 관계
Ⅲ. 이중의 디아스포라의 경험과 예술적 투쟁
Ⅳ. 탈식민주의적 재현의 문제점과 한계
Ⅴ. 나오는 글
참고문헌
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