The artist as historian, strategies against the erasure of memory

Autores/as

  • Androula Michael Université de Picardie Jules Verne (UPJV), Amiens – França

DOI:

https://doi.org/10.22456/2179-8001.110145

Palabras clave:

History, memory, trauma, reparation, restitution of African heritage.

Resumen

If history is what was collectively decided to be remembered, artists often emphasize what was collectively decided to be forgotten. Susan Sontag summed up the attitude of many contemporary artists who propose an alternative to the narrative of the dominant history, which was often written by the victors, by freely using the tools of the "historian". The artist Kader Attia highlights both the wound and the healing process while Jean-François Boclé dictates the Black Code in a performance piece. Without becoming true historians, artists symbolically attempt to heal "postcolonial melancholy" and propose different strategies against forgetfulness or denial of memory. These questions are currently back on the table in the light of discussions concerning the restitution of objects to Africa by Western museums.

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Biografía del autor/a

Androula Michael, Université de Picardie Jules Verne (UPJV), Amiens – França

Androula (Andri) Michael est historienne de l'art et commissaire d'expositions, maître de conférences à l'Université de Picardie Jules Verne, directrice adjointe du Centre de recherches en art et esthétique (CRAE) de la même université ainsi que responsable de relations internationales de l'UFR des arts. Elle est l'auteur de nombreux catalogues d'expositions, d'articles scientifiques et d'ouvrages, dont Picasso – Propos sur l’art en collaboration avec Marie-Laure Bernadac, Gallimard (1998), Picasso poète, Les beaux-arts Editions, Paris (2008), Les happenings de Jean-Jacques Lebel, Hazan Editions, Paris (2009), Picasso, l’objet du mythe en collaboration avec Laurence Bertrand-Dorléac, Les beaux-arts Editions, Paris (2005). Elle travaille actuellement sur la reception critique croisée de l'oeuvre de Pablo Picasso et de Marcel Duchamp ainsi que sur les questions coloniales/postocoloniales dans l'art contemporain. Elle a été commissaire des nombreuses expositions dont la plus récente "Retours à l'Afrique" à Bandjoun station au Cameroun.

Citas

Walter Benjamin, « Sur le concept d’histoire » (1940), Œuvres III, Paris, Gallimard, 2000

Alain Mabanckou, Le sanglot de l'homme noir, Paris, Fayard, 2012.

Sigmund Freud, "Mourning and melancholia", in On the history of the psycho-analytic movement. Papers on Metapspychology and Other works, The standard edition of the complete psychological works of Gigmund Freud, translated from the German under the General Editorship of James Strachey, in collaboration with Anna Freud, assisted by Alix Strachey and Alan Tyson, Volume XIV (1914-1916).

The Intimate Enemy: Loss and Recovery of Self under Colonialism, Londres/USA, Oxford University Press, 1983.

Anibal Quijano, "Coloniality and Modernity/Rationality", Cultural Studies, 21/2-3, 2007,

N. W Thiongo, Decolonizing the Mind. The Politics of Language in African Literature, Heinemann, New York, 1986.

Serge Gruzinski, La colonisation de l'imaginaire, Gallimard, Paris, 1988.

Felwine Sarr et Bénédicte Savoy, Restituer le patrimoine africain, Paris, Philippe Rey/Le Seuil, 2018

Archivos adicionales

Publicado

2019-12-23

Cómo citar

Michael, A. (2019). The artist as historian, strategies against the erasure of memory. PORTO ARTE: Revista De Artes Visuais, 24(42). https://doi.org/10.22456/2179-8001.110145

Número

Vol. 24 Núm. 42 (2019): DOSSIÊ: APAGAMENTOS DA MEMÓRIA NA ARTE

Sección

Versão | Version

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