The locations of memory: Migration and transnational cultural memory as challenges for art history

Research output: Contribution to journalJournal articlepeer-review

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The locations of memory: Migration and transnational cultural memory as challenges for art history. / Petersen, Anne Ring.

In: Crossings, Vol. 4, No. 2, 2013, p. 121-137.

Research output: Contribution to journalJournal articlepeer-review

Harvard

Petersen, AR 2013, 'The locations of memory: Migration and transnational cultural memory as challenges for art history', Crossings, vol. 4, no. 2, pp. 121-137. https://doi.org/10.1386/cjmc.4.2.121_1

APA

Petersen, A. R. (2013). The locations of memory: Migration and transnational cultural memory as challenges for art history. Crossings, 4(2), 121-137. https://doi.org/10.1386/cjmc.4.2.121_1

Vancouver

Petersen AR. The locations of memory: Migration and transnational cultural memory as challenges for art history. Crossings. 2013;4(2):121-137. https://doi.org/10.1386/cjmc.4.2.121_1

Author

Petersen, Anne Ring. / The locations of memory: Migration and transnational cultural memory as challenges for art history. In: Crossings. 2013 ; Vol. 4, No. 2. pp. 121-137.

Bibtex

@article{0d596604b3de469eaf4050f6613e5c66,
title = "The locations of memory: Migration and transnational cultural memory as challenges for art history",
abstract = "In the contemporary world, a considerable number of artists are on the move, due tothe triple processes of globalization, decolonization and migration. Migrant artists,and also cosmopolitan artists that travel widely, are transnational cultural workerswith ties to several places. As {\textquoteleft}bridging persons{\textquoteright}, migrant artists have more thanone sense of home, and they play a seminal role in the translation between cultures,and in the transformations between the local and the global. However, the multiplecultural references in their works also raise the difficult question of the provenanceof their art. This article addresses the issue of how transnational cultural memory isarticulated in works by migrant artists, as well as how to access it analytically. Afteroutlining the general issues concerning the impact of migration on contemporary art,the article explores the usefulness of three conceptual frameworks: hybridity (HomiBhabha, Stuart Hall); migratory aesthetics (Mieke Bal); and the notion of the workof art as a migrant{\textquoteright}s event (Syed Manzurul Islam). Taking British Palestinianartist Mona Hatoum as my example, it is my contention that her exhibition {\textquoteleft}InteriorLandscape{\textquoteright} (Venice, 2009) constitutes a migrant{\textquoteright}s event.",
keywords = "Faculty of Humanities, migration, migratory aesthetics, migrationslitteratur, hybriditet, kulturel erindring, transnationalitet, samtidskunst, global art, migration, migratory aesthetics, migration literature, hybridity, cultural memory, transnationality, contemporary art, global art",
author = "Petersen, {Anne Ring}",
note = "Reelt f{\o}rst udgivet i 2014, i trykte udgave st{\aa}r 2013",
year = "2013",
doi = "10.1386/cjmc.4.2.121_1",
language = "English",
volume = "4",
pages = "121--137",
journal = "Crossings",
issn = "2040-4344",
publisher = "Intellect Ltd.",
number = "2",

}

RIS

TY - JOUR

T1 - The locations of memory: Migration and transnational cultural memory as challenges for art history

AU - Petersen, Anne Ring

N1 - Reelt først udgivet i 2014, i trykte udgave står 2013

PY - 2013

Y1 - 2013

N2 - In the contemporary world, a considerable number of artists are on the move, due tothe triple processes of globalization, decolonization and migration. Migrant artists,and also cosmopolitan artists that travel widely, are transnational cultural workerswith ties to several places. As ‘bridging persons’, migrant artists have more thanone sense of home, and they play a seminal role in the translation between cultures,and in the transformations between the local and the global. However, the multiplecultural references in their works also raise the difficult question of the provenanceof their art. This article addresses the issue of how transnational cultural memory isarticulated in works by migrant artists, as well as how to access it analytically. Afteroutlining the general issues concerning the impact of migration on contemporary art,the article explores the usefulness of three conceptual frameworks: hybridity (HomiBhabha, Stuart Hall); migratory aesthetics (Mieke Bal); and the notion of the workof art as a migrant’s event (Syed Manzurul Islam). Taking British Palestinianartist Mona Hatoum as my example, it is my contention that her exhibition ‘InteriorLandscape’ (Venice, 2009) constitutes a migrant’s event.

AB - In the contemporary world, a considerable number of artists are on the move, due tothe triple processes of globalization, decolonization and migration. Migrant artists,and also cosmopolitan artists that travel widely, are transnational cultural workerswith ties to several places. As ‘bridging persons’, migrant artists have more thanone sense of home, and they play a seminal role in the translation between cultures,and in the transformations between the local and the global. However, the multiplecultural references in their works also raise the difficult question of the provenanceof their art. This article addresses the issue of how transnational cultural memory isarticulated in works by migrant artists, as well as how to access it analytically. Afteroutlining the general issues concerning the impact of migration on contemporary art,the article explores the usefulness of three conceptual frameworks: hybridity (HomiBhabha, Stuart Hall); migratory aesthetics (Mieke Bal); and the notion of the workof art as a migrant’s event (Syed Manzurul Islam). Taking British Palestinianartist Mona Hatoum as my example, it is my contention that her exhibition ‘InteriorLandscape’ (Venice, 2009) constitutes a migrant’s event.

KW - Faculty of Humanities

KW - migration

KW - migratory aesthetics

KW - migrationslitteratur

KW - hybriditet

KW - kulturel erindring

KW - transnationalitet

KW - samtidskunst

KW - global art

KW - migration

KW - migratory aesthetics

KW - migration literature

KW - hybridity

KW - cultural memory

KW - transnationality

KW - contemporary art

KW - global art

U2 - 10.1386/cjmc.4.2.121_1

DO - 10.1386/cjmc.4.2.121_1

M3 - Journal article

VL - 4

SP - 121

EP - 137

JO - Crossings

JF - Crossings

SN - 2040-4344

IS - 2

ER -

ID: 110962053