Restrictive border protection policies directed toward managing the
flow of refugees coming into neoliberal democracies (and out of
failing nation-states) are a defining feature of contemporary
politics. In this book, Veronica Tello analyses how contemporary
artists-such as Tania Bruguera, Isaac Julien, Rosemary Laing, Dinh
Q. Le, Dierk Schmidt, Hito Steyerl, Lyndell Brown and Charles
Green-negotiate their diverse subject positions while addressing
and taking part in the production of images associated with refugee
experiences and histories. Tello argues that their practices, which
manifest across a range of contexts including Cuba, the United
States, Australia and Europe, represent an emergent, global
paradigm of contemporary art, 'counter-memorial aesthetics'.
Counter-Memorial Aesthetics, Tello argues, is characterized by its
conjunction of heterogeneous signifiers and voices of many times
and places, generating an experimental, non-teleological approach
to the construction of contemporary history, which also takes into
account the complex, disorienting spatial affects of globalization.
Spanning performance art, experimental 'history painting',
aftermath photography and video installation, counter-memorial
aesthetics bring to the fore, Tello argues, how contemporary
refugee flows and related traumatic events critically challenge and
conflict with many existing, tired if not also stubborn notions of
national identity, borders, history and memory. Building on the
writings of such thinkers as Michel Foucault and Jacques Ranciere,
this book offers a useful concept of 'counter-memory' for the
twenty-first century. It shows how counter-memorial aesthetics is
not only central to the nexus of contemporary art and refugee
histories but also how it can offer a way of being critically
present with many other, often interrelated, global crises in the
contemporary era.
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