Elsewhere, Within Here: The Politics of Home

in Asian Diasporic Visual Cultures and the Americas
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Elsewhere, Within Here: The Politics of Home

in Asian Diasporic Visual Cultures and the Americas

Sections

References

BalibarÉtienne. Politics and the Other Scene. London: Verso2002.

Belting Hans Buddensieg Andrea and Weibel Peter eds. The Global Contemporary: The Rise of New Art Worlds. Cambridge MA: MIT Press 2013.

Carleton University Art Gallery. “Carleton Curatorial Laboratory (ccl): Art on a Green Line.” Accessed 1 June 2016. http://cuag.carleton.ca/index.php/exhibitions/259.

Hassan Salah M. “Contemporary ‘Islamic’ Art: Western Curatorial Politics of Representation in Post-9/11.” Public lecture given at ocadu Toronto Ontario Canada 17 April 2012.

Lederman Marsha. “Master of Bronze Parviz Tanavoli Strives for Recognition on Home Soil.” The Globe and Mail 20 February2015. Accessed 1 June 2016. http://www.theglobeandmail.com/arts/art-and-architecture/master-of-bronze-parviz-tanavoli-strives-for-recognition-on-home-soil/article23125215.

MamdaniMahmood. Good Muslim Bad Muslim: America the Cold War and the Roots of Terror. New York: Pantheon 2004.

MassumiBrian ed. The Politics of Everyday Fear. Minneapolis: University of Minnesota Press1993.

ShaboutNada “Framing the Discipline of Contemporary Art of the Arab World through the Press” Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses ed. Hamid Keshmirshekan (London: I.B.Tauris2015) 5168.

PachkhedeNarendra. “On Conversation: Eratao/intimare—A response to Antonia Hirsch Kim Simon Melanie O’Brian.” Unpublished public discussion tpw Gallery Toronto 22 October 2015.

RadhakrishnanRajagopalan. A Said Dictionary. West Sussex: Wiley-Blackwell2012.

SaidEdward. The World the Text and the Critic. Cambridge, MA: Harvard University Press1983.

Smith Terry. “The State of Art History: Contemporary Art” Art Bulletin 92:4 (2010): 366–383.

VerjeeZainub. “ The Performing Identities of Muslims.” In The Relevance of Islamic Identity in Canada: Culture Politics and Self edited by AzizNurjehan127140. Toronto: Mawenzi House2015.

1

Edward SaidThe World the Text and the Critic (Cambridge, MA: Harvard University Press1983) 1–30.

2

Rajagopalan RadhakrishnanA Said Dictionary (West Sussex: Wiley-Blackwell2012) 1–4.

7

Marsha Lederman“Master of Bronze Parviz Tanavoli Strives for Recognition on Home Soil,” The Globe and Mail20 February 2015 accessed 1 June 2016 http://www.theglobeandmail.com/arts/art-and-architecture/master-of-bronze-parviz-tanavoli-strives-for-recognition-on-home-soil/article23125215.

14

Nada Shabout“Framing the Discipline of Contemporary Art of the Arab World through the Press,” Contemporary Art from the Middle East: Regional Interactions with Global Art Discoursesed. Hamid Keshmirshekan (London: I.B. Tauris 2015) 55.

15

Mahmood MamdaniGood Muslim Bad Muslim: America the Cold War and the Roots of Terror (New York: Pantheon2004).

16

Étienne BalibarPolitics and the Other Scene (London: Verso2002).

17

Brian Massumi (ed)The Politics of Everyday Fear (Minneapolis: University of Minnesota Press1993).

Figures

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    The image of a homeless person in front of the Bibliothèque Nationale de France, Paris, 2005.

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    Parviz Tanavoli, Poet Turning into Heech, 2007. Collection of the Metropolitan Museum of Art, New York.

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    Exhibition poster of  The Lands within Me: Expressions by Canadian Artists of Arab Origin, 19 October 2001–9 March 2003, Canadian Museum of Civilization, Hull, Quebec, Canada. Curated by Aïda Kaouk.

  • View in gallery

    Exhibition poster of Safar/Voyage: Contemporary Works by Arab, Iranian, and Turkish Artists, 20 April–15 September 2013, Museum of Anthropology, University of British Columbia, Vancouver. Curated by Fereshteh Daftari and Jill Baird.

  • View in gallery

    Sightlines, the possible impossibilities of reaching through, seeing the juncture at any one point and time, continuing… What lays before us, to be captured, contained…eliminated, erasure to end all things until they start again the road to nowhere. The why, why do we put ourselves in such positions…why again. To be the aggressor, the victim, to be neither, always and never again. Our memories built on the ruins of others of our selves. We are our own demise. The place, our local, the site of us… It is in-between that a photographer in a culture or a landscape is caught. Consider this photography displacement the traps forcing one to engage or disengage at once, record and annihilate, document and forget, both experiences and cultures. Jayce Salloum, Sniper’s hole (from inside the “Roum”[Orthodox]Church), positioned on the intersection at Place des Martyrs, the Bourg, Beirut, 1992. From (sites+) demarcations part of (Kan ya ma Kan) / There was and there was not, 1988–1998, Chromogenic print.

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