SNEAK PEEK OF THE CULTURE CLOUD...
LAUNCHING TONIGHT
40 ARTWORKS!
LIVE VOTING!
IT'S GOING TO BE A GOOD 'UN!
26 July 2012
23 July 2012
'Have a break, get your draw on!'
The technicians are in residence again at the NAE while we prepare for the launch of the Culture Cloud Exhibition on Thursday (more details can be found here).
After working hard installing the 40 artworks voted to be in the exhibition, local Artist Ging has a break with a cuppa and a pen and gets down to some drawing!
19 July 2012
Cafe Re-Opens
Our work experience las- Ingrid cut the tape on our newly improved cafe today! Come and take a look and enjoy our range of delicious international food and drinks Tomorrow, Saturday and everyday! (apart from Sundays)
13 July 2012
**COMMENT OF THE PAGE**
Hetain Patel:At Home exhibition
Hetain Patel:At Home exhibition
"...Using family members helps us all relate. I'm gonna call my Mum and Gran now!..."
- This 'Comment of the Page' was picked by EVS volunteer Shaden Meleas. Thanks to Hetain Patel for making us all feel a little more 'At Home'.
For every page of the comment book in the NAE gallery we're picking the best comment and publishing it on the blog... will your comment be **COMMENT OF THE PAGE**?
09 July 2012
Article by Kate Martin
In conversation with Leah Gordon
If I was starting on a ‘light’ note I would propose that ethnology, anthropology, and classification belong to group of prevailing western discourses that have historically informed the roots of ‘intellectual imperialism’. Yes there was a hint of sarcasm in the use of the word ‘light’! Hopefully this blog won’t read like a maze of indecipherable jargon like when you first chance upon a Homi Bhabha text (I have been there and re-read those texts to many times!)
In
many ways the camera itself was often used as a weapon in colonial domination
and its images contributed a hierarchy of power; responsible for upholding the
hegemonic cultural order. Difficulties lie in who is being represented and who
is doing the representing. So why does Gordon choose to use methods which
traditionally have such negative connotations when representing non western
culture?
Upon entering the exhibition I found it compelling that Gordon’s images manages to avoid unravelling into a series of essentialist undertones. Gordon raised concerns that a lot imagery had a tendency to portrayHaiti
In a frank but applaudable statement Gordon stated she felt more comfortable working in black and white film and in many ways her ‘aesthetic is produced through her limitations as a photographer’. Beyond the technical aspects involved Gordon believes that black and white film allows for an exploration of history; a retelling of a history from the ‘others’ perspective. Significantly, Gordon negates her position as storyteller and instead juxtaposes her images alongside their oral histories. This union allows the images them to become active advocates for Haitian people and their culture.
Once a
year the Hatian coastal town of Jacmel
If I was starting on a ‘light’ note I would propose that ethnology, anthropology, and classification belong to group of prevailing western discourses that have historically informed the roots of ‘intellectual imperialism’. Yes there was a hint of sarcasm in the use of the word ‘light’! Hopefully this blog won’t read like a maze of indecipherable jargon like when you first chance upon a Homi Bhabha text (I have been there and re-read those texts to many times!)
Upon entering the exhibition I found it compelling that Gordon’s images manages to avoid unravelling into a series of essentialist undertones. Gordon raised concerns that a lot imagery had a tendency to portray
In a frank but applaudable statement Gordon stated she felt more comfortable working in black and white film and in many ways her ‘aesthetic is produced through her limitations as a photographer’. Beyond the technical aspects involved Gordon believes that black and white film allows for an exploration of history; a retelling of a history from the ‘others’ perspective. Significantly, Gordon negates her position as storyteller and instead juxtaposes her images alongside their oral histories. This union allows the images them to become active advocates for Haitian people and their culture.
The
streets become Gordon’s studio as she stages the photos in what she described
as a ‘fashionably distressed’ look. Gordon aims to capture her subjects as they
‘meander’ as there is no pre-prescribed route for the carnival. The images
themselves portray the satirical and composite nature of the carnival, which
Gordon termed an ‘uncommodified parade’.
People
are shown to be wearing exaggerated costumes, which are both sinister and
provoking. There are he’s dressed as
she’s, zombies, whores, depictions of the dead, devils and saints. ‘Lancers du Cord’ are often adorned with horns
for intimidation and the ropes that bound the slaves. ‘Chaloska’ depicts the Chief Charles Oscar renowned for
his corruption and brutality.
Many of the costumes illustrate the revolt against slavery and the
solidarity that transpired, which forms such an integral part of Haitian
history.
The ‘masquerades’ ability to allow its
wearer to assume an alternative identity, one which could violate a variety of
hierarchies is fascinating. Gordon’s photos depict the interplay between masks,
costume and storytelling and appear to suspend time and history. Gordon manages
to produce equilibrium between the contextual and the visual resulting in
visually striking images with and multifaceted narratives. This is a process of
encounter; encountering oneself and encountering ones other.
Join Alice Thickett, Editor of the NAE blog and Project Manager
of No Official Name for a Gallery Walk and Talk. Learn more about the artistic
themes, and share your opinions about the work.
Saturday 11 August, 12pm
Admission: FREE
Age range: All are welcome
Subscribe to:
Posts (Atom)