Layers of permanence: toward a spatial—materialist reading of Ivan Vladislavić's<i>The exploded view</i>

Graham, Shane

doi:10.1080/18125440608566044

Cited by 6 publications

(4 citation statements)

References 12 publications

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“…Like housing, food is a powerful icon of social division and the racialized distribution of life chances in enclaved cities such as Joburg. But more, as Shane Graham (2011) twists it, Vladislavić is equally interested, in effect, in words and things. There are places where power and culture intersect.…”

Section: Vladislavić: Life In the Restless Supermarketmentioning

confidence: 99%

Finding Ivan Vladislavić – Writing the city

Beilharz

Supski

2016

Thesis Eleven

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The work of Ivan Vladislavić is well established in his native South Africa, and increasingly recognized on the larger world stage of writing, editing and publishing. If his work nevertheless eludes scrutiny in some quarters, this may also have to do with its nature, and not only with its origin. The works differ and vary; there is no formula or project which proceeds neatly by sequence. No single work can be second-guessed from any other. This is a project full of surprises, connecting variously to art, photography, architecture and to urban studies, setting to work images and practices at once realist and surreal, absurdist and layering, and given to time and place and the universal. How then do we read it, and how does he write? For the purposes of this paper, we explain and locate our enthusiasm with reference to two works, The Restless Supermarket (2001) and Portrait with Keys (2006). We seek to identify some key tropes about place and place-writing and cities and city-writing with reference to Johannesburg and the way in which Vladislavić plays his subjects and his readers, placing not only fiction (or realism) under question but placing writing itself closer to the editor’s deletion mark. This may be, we suggest, a kind of writing sideways.

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Section: Vladislavić: Life In the Restless Supermarketmentioning

confidence: 99%

Finding Ivan Vladislavić – Writing the city

Beilharz

Supski

2016

Thesis Eleven

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“…Originally used by AchilleMbembe (2004) and further enunciated as well as utilized in reference to Vladislavić's writing by ShaneGraham (2006).…”

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From Édouard Glissant’s “The Open Boat” to the Age of Mass Migration

Lambert¹

2019

New Cosmopolitanisms, Race, and Ethnicity

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This collection of essays offers reflections on how cosmopolitical thinking can be, and perhaps needs to be, made "new" for our contemporary global ecumene. A key premise of the collection is the recognition that in the contemporary conjuncture, our understanding of cosmopolitanism should be open to new intersections with understandings of how "race" and ethnicity are being deployed. It should consider the connections between cosmopolitanism and cultural phenomena such as multiculturalism, diaspora, migration and varieties of neo-imperialism and (neo-)colonialism. Indeed, it is necessary to think of various cosmopolitanisms, rather than a singular cosmopolitanism. The political, particularly the nation form, interrupts, or poses a check to, cosmopolitan initiatives and aspirations, yet this book maintains that ethicopolitical concerns, complicating our understanding of cosmopolitanism, also amplify our understanding of what a reformed cosmopolitanism, or what I will elaborate below as cosmopolitics, might look like. In short it is a key contribution of this volume that it seeks to reorient our thinking about cosmopolitanism. It points the way to cosmopolitics (the de-construction and re-construction of cosmopolitanism), particularly by calling our attention to how such thinking in the contemporary globalized conjuncture must engage anew with race and ethnicity.We live in an age in which we are witnessing ethnically driven civil strife within nation-states: the ongoing strife between Hindus and Muslims in Kashmir; the ethnonationalist Balkanization of the former Yugoslavia; the mutual genocide in Rwanda between the Hutus and the Tutsi; the Kurdish struggle for a homeland in Iraq that saw reprisal in the form of gas attacks targeting women and children; the ethnically motivated Arab Spring protests and the violence wreaked upon civilians in Tahrir Square; the ongoing civil war in Syria; but also-if on a different scale-the Black Lives Matter movement in the U.S. We are also witnessing, even more crucially, an era of more refugees than ever streaming across borders and living, more or less indefinitely, in nonpermanent camps or settlements worldwide. It is thus a newly urgent ethicopolitical imperative that contemporary cosmopolitanisms negotiate issues of race or ethnicity as they emerge as drivers of social change both within the nation-state and, simultaneously, transnationally.This cosmopolitical project also requires anticipating and responding to interests that resist social change and to the resurgence of nationalism both in its benign democratic forms and in its virulent irruptions. Instances of the former type may be identified in the desire for a nation such as Israel to rebuild itself after political trauma or Haiti in the wake of a major earthquake, although of course these may be contested by rival nationalisms. Examples of the latter type, more worrisome, may be identified not only in reactionary ethnonationalisms produced through the Balkanization © 2018 Samir Dayal This work is licensed under the Cre...

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“…In doing so he also reconfigures Becker’s “art world”. Viewed on these terms, the celebrated wordliness of Vladislavić’s writing lies not only in its acutely focused observational quality — giving life to the minutiae and composite materials of South African culture (see, e.g., S. Graham, 2006).…”

mentioning

confidence: 99%

“…In doing so he also reconfigures Becker's "art world". Viewed on these terms, the celebrated wordliness of Vladislavić's writing lies not only in its acutely focused observational quality -giving life to the minutiae and composite materials of South African culture (see, for example, S. Graham, 2006). It is also marked by a playful interdiscursivity that transmutes the semiotics of South Africa's visual culture in and through the world of books (Murray, 2008), introducing it to new, international audiences and markets through the more mobile form.…”

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confidence: 99%

Introduction to the symposium: Ivan Vladislavić, writing visual culture, and the globalization of a South African “artworld”

Reid

Graham

2017

The Journal of Commonwealth Literature

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The introduction to this symposium considers South African author and editor Ivan Vladislavić’s engagement with South African visual culture and the significance of this to his emergence as a “world writer”. The symposium opens with an article by Sean O’Toole, which provides a comprehensive biographical context for Vladislavić’s engagement with art and proposes that his oeuvre be understood as a unique form of “creative criticism”. In their articles, Sue Marais and Jane Poyner offer close readings that draw out the critical role played by the visual cultures of the rarefied art world and everyday life, respectively, in two key texts where this creative criticism is in evidence: “Curiouser” from The Exploded View (2004) and Portrait with Keys (2006). James Graham’s article examines the nature and outcomes of Vladislavić’s work with other writers and visual artists as an editor, providing a theoretical framework that connects the biographical and formal concerns of the other articles by illustrating the cooperative ethos that undergirds Vladislavić’s critical and creative engagement with visual culture. The symposium therefore illustrates Vladislavić’s critical role in the negotiation of globalized artistic and literary fields, and in the constellation of a South African “artworld”.

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Layers of permanence: toward a spatial—materialist reading of Ivan Vladislavić'sThe exploded view

Cited by 6 publications

References 12 publications

Finding Ivan Vladislavić – Writing the city

Finding Ivan Vladislavić – Writing the city

From Édouard Glissant’s “The Open Boat” to the Age of Mass Migration

Introduction to the symposium: Ivan Vladislavić, writing visual culture, and the globalization of a South African “artworld”

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