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| 1 |
ID:
144364
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| Summary/Abstract |
India's art world has garnered significant attention as an ‘emerging art world’, but we know little about how such worlds emerge and are experienced by those working within them. This article explores this question of ‘emergence’ through an ethnography of the Mumbai art world. Gallerists, artists and other insiders generally perceive local conditions as insufficient and in-the-making. They juxtapose Mumbai against idealised, more established art worlds, and engage in creative, improvised ‘makeshift’ practices to remedy the limitations they see. Despite their provisional nature, these makeshift practices produce new spaces, networks and mediators in the Mumbai art world: in other words, art worlds emerge through practice.
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| 2 |
ID:
127850
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| Publication |
2014.
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| Summary/Abstract |
Though sharing a common territory, the cultural spaces of Brussels are divided according to a complex structure where Francophone and Flemish Communities play a dominant role. These two language-based communities set separate cultural policies and programming for their residents in Brussels. Within this fragmented structure, local socio-cultural actors have mobilised promoting cross-Community collaboration towards a shared vision for the Brussels-Capital Region (ex. Cultural Plan for Brussels). Further, individual artists themselves have developed strategies to participate in Community-defined cultural programming and to gain recognition for their talent as local (Bruxellois) artists regardless of their ethnic, linguistic or migrant background. This article explores how socio-cultural actors and artists have mobilised to reframe 'culture' in Brussels, and to gain access to cultural venues particularly in the case of migrant and migrant-origin artists whose engagement and recognition in Brussels' cultural scenes have been little studied.
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| 3 |
ID:
142577
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| Summary/Abstract |
The paper offers a proposition in which the notion of the 'ownership' of outer space is substituted for that of 'authorship'. The notion of authorship draws attention to the processes of critical thinking, re-contextualization and resistances to space technology that take place in social domains where no clear role exists either as audience or user of space technology. The proposition responds in part to interventions made by artists in recent years into the workplaces of space technologists and, incrementally, into the imaginaries that inform the kinds of activities that happen in space. Artistic processes expose the reception of space technology at an intimate scale where the agencies of the viewer to observe, absorb and rethink converge with the shaping of space technology via state mediation and space agency imperatives. The constituency of collective authorship to which space technologies are subject is revealed in unexpected ways through artistic intervention that suggests a reappraisal of some of the terms of reference guiding space policy.
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| 4 |
ID:
118711
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| 5 |
ID:
090557
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2009.
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| Summary/Abstract |
Pakistani society has faced multiple forms of censorship during its short period as a nation-state. In fact, censorship has been a constant characteristic and tool of successive Pakistani regimes. But during the second last military rule, from 1977 to 1988, this became a particularly prominent presence. The regime of that time, headed by Zia ul-Haq, was known for monopolising religion and manipulating ethics in order to justify its existence. As such, censorship, the control over information and knowledge, was considered an essential weapon in order to maintain order and keep power.
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