An Ethics of Engagement: Collaborative Art Practices and the Return of the Ethnographer

Downey, Anthony

doi:10.1080/09528820903184849

Cited by 38 publications

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“…It generates a sense of stuckness and deflation. The “shocking” nature of Martens's film lies in its “scandalousness and exploitation [that] perfectly mirrors the scandalousness of exploitative relations of power between the Congo and the West” (Downey, , pp. 599–600).…”

Section: Uncomfortable Viewers: Disidentification Reidentification mentioning

confidence: 99%

Episode III: Enjoy Poverty: An Aesthetic Virus of Political Discomfort

Bruce

2015

Communication, Culture & Critique

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This article considers Renzo Martens's controversial 2008 film, Episode III (Enjoy Poverty). Martens's film is a conceptual film that satirizes documentaries about poverty in Africa by exposing the ways in which consumers of poverty images enjoy such images. It argues that the film, which creates troubling identifications and disidentifications for a Western spectator, offers a politically productive lesson on the power of discomfort to disrupt unethical image practices. Communication studies scholars have engaged in these conversations via studies about identification and disidentification and the documentary genre; affect in cinematic media; and more directly, through work that investigates the perils of cookie‐cutter frames for representing (racialized) poverty.

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Section: Uncomfortable Viewers: Disidentification Reidentification mentioning

confidence: 99%

Episode III: Enjoy Poverty: An Aesthetic Virus of Political Discomfort

Bruce

2015

Communication, Culture & Critique

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“…Keywords : anthropology, artists, auto-ethnography, colonialism, displacement, ethnography, gender, identity, landscape, memory, South Africa, Thupelo, violence, visual art Introduction: the ethnographic turn in contemporary art and shifts in ethnographic writing and methodology A growing body of theoretical work within art and anthropology argues that contemporary artists and anthropologists use similar methods and approaches (Calzadilla and Marcus 2008;Campbell 2011;Desai 2002;Downey 2009;Foster 1996;Kester 1999;Schneider 1996Schneider , 2008Wright 2006, 2010;Wright 1998), in which artists are argued to draw upon methods such as participant observation (Foster 1996) and anthropologists to increasingly engage with experimentation and creativity (Wright 1998). Recent gallery exhibitions, such as 'Ethnographic Terminalia' (Brodine, Campbell, Hennessy et al 2011;Campbell 2011;Errington 2012) and 'Secrets Under the Skin' (Havana, Cuba 2010/Anchorage, Alaska 2011), 1 have deliberately worked across categories of anthropology and art to merge the disciplines within a material, visual domain.…”

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confidence: 99%