The art of (re)crossing the border

Guinard, Pauline

doi:10.4324/9781315602837-10

Cited by 3 publications

(2 citation statements)

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“…From a border art perspective, the German-Polish border is a regional border and not a hot spot like the US-Mexican and Israeli-Palestinian borders (Guinard, 2018: 164). Nevertheless, Peschken and Pisarsky’s project fits into the key categories associated with border art, such as, for example, the creation of narratives alternative to those officially in force.…”

Section: The East Side Story Series As An Example Of Border Artmentioning

confidence: 99%

“…Border art itself, however, is also infected with a kind of ambivalence: as Pauline Guinard writes, leaving aside the potential of border art to question or even contest the existence of borders, it remains ambiguous because it can also contribute to the production of borders and to their reinforcement by giving them a certain reality and visibility (Guinard, 2018: 163). The photographs from the East Side Story series also contain this ambivalence: they activate the presence of a phantom border, i.e.…”

Section: The East Side Story Series As An Example Of Border Artmentioning

confidence: 99%

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Visual negotiation of identity and settlement of Poles in the so-called Recovered Territories: East Side Story by Anne Peschken and Marek Pisarsky

Smolińska

2023

Cultural Dynamics

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This text is an analysis of a series of pinhole photographs, by Anne Peschken and Marek Pisarsky (Urban Art), entitled East Side Story I (Myślibórz). Photo research on migration and arrival stories, 2019 on-going. The main thesis is that these photographs are a model example of images which, while addressing the theme of migration in the representational layer, also activate the processual and migratory nature of visual forms themselves. In order to substantiate this thesis, the East Side Story project is examined in the following contexts: critical border (art) studies; H. Belting’s anthropology of the image; memory studies; re-enactment; the blurriness of images made with a pinhole camera; A. Berleant’s re-thinking aesthetics and the notion of aesthetic embodiment. Reflecting on the tension between history, memory, identity and politics and activating the critical potential of borderscaping, Peschken and Pisarsky transform the landscape of the Polish-German borderland into an anachronistic narrative agent. The photographs from the East Side Story series are thus transgenerational corpographies of memory, showing that migration is a key and inalienable element of Polish history.

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Section: The East Side Story Series As An Example Of Border Artmentioning

confidence: 99%

Section: The East Side Story Series As An Example Of Border Artmentioning

confidence: 99%

Visual negotiation of identity and settlement of Poles in the so-called Recovered Territories: East Side Story by Anne Peschken and Marek Pisarsky

Smolińska

2023

Cultural Dynamics

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Redefining Publics, Artists, and Urban Spaces: The Case of Made in Musina, South Africa

Guinard

2018

City & Society

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Since the end of apartheid (1994), public art—broadly defined as art in public spaces (Miles )—has been increasingly present and visible in the South African urban landscape. But South African public art, and particularly the dominant one sponsored by public entities or private companies, mainly consists in one type of art that is permanent, installed in big cities, produced within top‐down strategies, and destined for an abstract public. In reaction to that trend, some artists are attempting to critically and radically redefine public art in South African cities today, especially by looking at the role of the different publics in the art‐making process. In their desire to include the various publics in the making of art, one can wonder about the capacity of these artists to promote a new form of public art that could be a tool to amend the urban context by (re)integrating all the publics that compose South Africa today in the production of the post‐apartheid city. To address this concern, I will focus in particular on the Made in Musina project. Initiated by two artists in a small town close to the South African/Zimbabwean border, this project is emblematic of an attempt to invent an alternative way of making public art with its publics (in that case, local artists), starting from their desires, even at the risk of having the initial project “hijacked.” Based on observations in situ and in‐depth interviews, I will consider the different phases of this project in order to grasp the opportunities and the challenges of such public art. I will argue that this South African “new genre public art” (Lacy ) is changing not only art itself but also the way South African cities—and small towns like Musina—imagine themselves through art and artists.

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Bibliographie

2019

Géographies Culturelles

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The art of (re)crossing the border

Cited by 3 publications

References 1 publication

Visual negotiation of identity and settlement of Poles in the so-called Recovered Territories: East Side Story by Anne Peschken and Marek Pisarsky

Visual negotiation of identity and settlement of Poles in the so-called Recovered Territories: East Side Story by Anne Peschken and Marek Pisarsky

Redefining Publics, Artists, and Urban Spaces: The Case of Made in Musina, South Africa

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