ʻO FIONA WHELAN E kamaʻilio e pili ana i ka papahana e hele nei 'NATORY HISTORY of HOPE' a me nā hōʻike i kekahi o kāna aʻa a me nā kaohi.
I loko o kahi haʻi ʻōlelo 2012, ua hoʻohana ʻo Tom Finkerpearl i ke kiʻi satirical kaulana a Monty Python i ka makahiki 1979 ʻO ke ola o Brian e hōʻike i kahi kiko e pili ana i kahi pilikia i ka honua ʻoihana. [1] I kahi hakakā huhū ma waena o ka People's Front o Iudea, ka mea a ke ʻano o Brian i hui pū ai, a me kahi hui ʻē aʻe, ʻo ka Campaign for a Free Galilaia, ua kāhea ʻo Brian e ʻōlelo e hakakā maoli lākou i ko lākou ʻenemi maʻamau: ko Roma. Hoʻohana ʻo Finkerpearl i kēia manawa hoʻomākeʻaka e hoʻomālamalama i kahi ʻano ma ka honua kiʻi e lilo i ka hoʻopaʻapaʻa ideological e kū nei i kekahi ʻano o ka hoʻokokoke ʻana e kūʻē i kekahi ma ke kumu kūʻai o kahi hakakā hui.
Ke kiʻi nei i kā Paul Starr ʻatikala 'The Phantom Community', ua wehewehe ʻo ia i nā neʻe ʻana i ka nohona kaiāulu i lawe i kahi kūlana 'exemplary', e like me Mahatma Ghandi a i ʻole Martin Luther King, a me nā mea i loko o ka ʻaoʻao ʻenemi, e like me Malcolm X. [2] ʻIke ʻo Finkerpearl i kēia mau kūlana kūʻokoʻa i ka mōʻaukala o ka neʻe ʻana i ka nohona ma ke ʻano he kī i ka hoʻomaopopo ʻana i ke ʻano o ka pane ʻana i nā pilikia o kēia au a mākou e ʻike nei i kēia lā i ka honua ʻoihana. Ua wehewehe ʻo ia i ke ala kūʻē kūʻē ma ke ʻano he moʻokūʻauhau no nā hana antagonistic e like me kēlā ʻo Santiago Sierra, ʻoiai nā hana like e like me Rick Lowe's 'Project Row Houses' a i ʻole ʻo Tania Brugeura's 'Immigrant Movement International' e ʻike i ko lākou aʻa i ka laʻana.
No nā makahiki he 12 a ʻoi wau i hana ai ma ke ʻano he mea pena kiʻi ma ka hale noho ma Rialto Youth Project (RYP), e hana ana i nā nīnau noʻeau lōʻihi e kūkulu ana i nā papa o nā pilina pilikino a me nā hui a me nā coauthoring i nā hana hui pū. He aʻa maopopo kēia hana ma ka ʻaoʻao o ka laʻana. Akā ma mua o ka hoʻokumu ʻana i nā binary o ka ʻenemi me kahi laʻana, antagonism a me ke alu like ʻana, haki me ka hoʻōla, ʻōlelo ʻo Finkerpearl, e like me Brian, e hakakā maoli ana mākou i ko Roma, a i ʻole ʻo ko mākou ʻenemi maʻamau.
Inā mākou e noʻonoʻo i ka patriarchy, neo-liberalism a i ʻole kapitalism ma ke ʻano he ʻenemi maʻamau i hiki ke hoʻohui i nā mea pena kiʻi he nui, a laila hiki iā mākou ke ʻae i ka haki ʻana i nā haʻiʻōlelo micro a me nā hoʻopaʻapaʻa e pili ana i nā ʻano a me nā hoʻokokoke e hoʻohuli i ka hakakā ākea e pili ana i nā pūʻali mammoth. ʻO kahi laʻana, no nā makahiki ʻehā i hala aku nei ua hana wau i kahi papahana hana paʻa lōʻihi, 'History History of Hope', e ʻimi ana i ka papa a me ka like ʻole o nā kāne ma nā hanauna ʻē aʻe o nā wahine. No laila, he ʻāpana wau o kahi kaiāulu o kēia manawa o nā mea pena kiʻi i ʻIlelani i hana nui ʻia me nā poʻomanaʻo e pili ana a me nā mea āpau e hoʻopili i ka poʻe ma ke ʻano he kumu nui o kā lākou hana. Mai ka Artists Repeal the Ewalu and Waking the Feminists activist campaign to the transnational In the Shadow of the State project, ʻo ka mural controversial Maser hou i hoʻonani iki ʻia i ka paia o waho o Project Arts Center a me ka papahana '77 Women 'i komo i Richmond Barracks.
Kuhi kēia mau ʻōlelo āpau i nā pilikia maʻamau a puni ka patriarchy a me ka hui pū ʻana e hōʻike i kahi pilikia i ka ʻenemi maʻamau. [3] Eia nō naʻe, i ka ʻoiaʻiʻo o kēia mau kaʻina hana i kēlā me kēia paʻakikī a me multifaceted. Kuhi a kūʻē kēlā me kēia i nā ʻano ʻokoʻa o nā ʻōnaehana patriarchal. Hoʻohana lākou i nā ʻano ʻano like ʻole, nā ʻano hana like ʻole o ke komo ʻana a me nā manawa kau like ʻole. He ʻokoʻa nā pahuhopu, nā pae ʻokoʻa o ka endorsement mai ka honua kiʻi, a me nā pilina ʻokoʻa me kā lākou mea koho balota ma ke ʻano he komo manawaleʻa a me ka manawaleʻa ʻole, nā mea hui a me nā mea nānā. ʻO ka hōʻemi ʻana iā lākou i hoʻokahi hakakā maʻamau ka makaʻu o ka kahili ʻana i ka paʻakikī o kā lākou mau mana ponoʻī.
Ma kahi o, hiki iā mākou ke haʻalele i ka mōʻaukala o ka neʻe ʻana o ka nohona kanaka a me ka manawa like e hoʻihoʻi i waena o nā moʻokūʻauhau he nui o ke komo ʻana i nā ʻoihana, e like me Dadaism, Fluxus, ka neʻe ʻana o ka hana wahine a i ʻole Relational Aesthetics. Kēia ala hiki iā mākou ke ʻike i kekahi mau hiʻohiʻona kikoʻī e hoʻonoho ʻokoʻa i nā ala ʻokoʻa ʻokoʻa i kēlā me kēia me ka hāʻawi i nā hoʻopaʻapaʻa o kēia manawa e pili ana i kā lākou kikoʻī kikoʻī a me nā laina hewa. [4] ʻO kahi laʻana kahi loiloi loa o ka neʻe ʻana o nā hana kaiāulu o nā 1970s - 1990s e hāʻawi i kahi ʻike hohonu o nā hoʻopaʻapaʻa o kēia manawa e pili ana i ka instrumentalisation a me ka gentrification o nā hana noʻeau komo.
E like me kā Claire Bishop i hōʻike ai ma ka 'Creative Time Summit' ma 2011, ua loli ke komo ʻana i loko o ka mōʻaukala mai ka 'lehulehu' o nā 1910, i nā 'lehulehu' o 20, nā 'poʻe' o 60, ka 'kāpae ʻia' o nā 80s, nā 'kaiāulu' o 90s, i kēia lā 'manawaleʻa'. [5] I loko o kahi moʻolelo i hala aku nei, ua kākau pū wau me ka mea kālaimanaʻo Kevin Ryan e nānā ana i kaʻu hana, ua hōʻike ʻo Ryan i ka loli ʻana o ka mana o ka mana i nā makahiki 1980 a me 1990, ma ʻIlani a me ka EC, a me ka hopena o kēia i ka neʻe ʻana o ka hana kaiāulu. . [6] ʻO ka mea i hoʻomaka ma ke ʻano politika hohonu o nā hana i hoʻoulu ʻia e nā pilikia o ka 'kaulike' a me nā hakakā no ka "kaulike", i ka hala ʻana o ka manawa a ma o ka komo ʻana o ka mokuʻāina, ua hana hou ʻia me ka hoʻohana ʻana i ka ʻōlelo o ka "hoʻowahāwahā" a me ka hoʻoneʻe kaiapili. ʻO kēia ka lāʻau i kuhikuhi ʻia ʻo ka 'hoʻokomo' ʻana. Ua kū mai nā aupuni hana neo-liberal a lilo i ke kākau ʻia ke komo ʻana. Ua hoʻololi ʻia nā hakakā no ke kaulike e nā hana i kākoʻo ʻia e ka mokuʻāina i manaʻo ʻia i ka 'hoʻoulu ʻana' a me ka "hāʻawi mana" i nā poʻe nele a me nā kaiāulu.
I kēia manawa, ʻoiai ke alakaʻi ʻia nei ka hana ʻōpio e nā kulekele me ka nānā iki ʻana i ka like ʻole, hōʻole kekahi mau ʻoihana, e like me RYP, e kākoʻo i ka ʻōlelo depoliticised i ka mokuʻāina o Rialto ma ke ʻano he "pelapela". Ma kahi o RYP i lawe i ka ʻōlelo kūpaʻa o ka 'hoʻokaumaha' a me ka 'marginalization' ʻoiai ke kūkulu nei i ka hiki i ka hana no ka hana noʻeau i hana ʻia no ka ʻimi a me ka hōʻike ʻana i nā pilikia kaiaulu. [7] ʻO kaʻu hana me RYP mai 2004 i hana i kahi kamaʻilio ma waena o nā hoʻoilina o nā hana kaiāulu a me nā haʻiʻōlelo koʻikoʻi o kēia au e noho nei i ke kahua o ka hana like a me ka hana kaiāulu, keu hoʻi e pili ana i ka mana.
Makaʻala i ka lilo ʻana i mea hana akā mahalo nui i ka mōʻaukala o nā hana noʻeau e pili ana i ke kaiāulu ma Rialto, ua hana wau e hōʻalo i ka mea a Grant Kester e kuhikuhi nei ma ke ʻano he "salvage" paradigm kahi a ka mea pena kiʻi e lawe ai i ka hana o "hoʻomaikaʻi" i ke kumuhana hemahema implicitly. . [8] Ke ʻike nei i ka hoʻokaʻawale ma waena o ka hana ʻana ma luna a me ka hana ʻana me, [9] Ua hoʻopukapuka au i loko o nā hale hana hohonu a i loko o ka ʻuhane o ke kahu kula naʻaupō ʻo Ranciere, ua lilo ke kaulike i wahi hoʻomaka ma mua o kahi hopena o ka hana. [10]
ʻO ka papahana 'Mōʻaukala Kūlohelohe o Hope' i kēia manawa e kia ana i ka ʻimi a me ka pani ʻana i nā pilikia kaulike o kēia au i nā ola o nā wahine. Ua hōʻuluʻulu ʻo ia i nā hanauna o nā wahine e hana ana a noho i Rialto e hana i ka manawa i ka hōʻuluʻulu moʻolelo a me nā hanana hanana kūloko, nā pāʻina, nā papa hana, ka hoʻomohala ʻana i kahi kula kuikawa a ʻekolu mau hana lehulehu i ka hale keaka ma Project Arts. Kikowaena ma Mei 2016. [11] ʻOiai kahi papahana ma mua e ʻimi nei i ka mana me ka poʻe ʻōpio i ʻike koke i ka mākaʻi ma ke ʻano he poʻomanaʻo ikaika e alualu ai, ua wehe ʻo 'History History of Hope' i nā mea maoli he nui o ka papa a me ke kaulike ʻole o ke kāne. Ma ke ʻano he hopena ua pili ka lehulehu i nā poʻe wahine he 30 e kū ana i kēia paʻakikī, e hoʻohana ana i ka ʻike ola a me ka loiloi kūwaho e ʻōlelo i nā mana hoʻokaumaha he nui. ʻO nā kumuhana o ka papa, ka make, ke kuleana o nā kāne, ka ʻike kāne a ka wahine, ka nele o kahi e palekana ai, ka hakakā no ka hanohano a me ka "affective domain" i loko o kahi ʻāina kahi e hoʻāʻo ai ka protagonist, kahi mannequin i kapa ʻia ʻo Hope, e ola a inā hiki e holomua. [12] ʻAʻole hiki ke maʻalahi ʻia nā poʻomanaʻo kūpilikiʻi ma aneʻi i ke kūʻē ʻana i kekahi i ke ala o ka wahine ʻōpio. Hōʻike ka mea hana iā lākou iho he mau wahine ikaika, e ake ana no kahi mea ʻoi aku ka maikaʻi no Hope. Ke hōʻike nei i kēia hana i kahi wahi noʻeau o kēia wā i ka makahiki kenekulia, a ma ka mālamalama o ka Waking the Feminists campaign, ua hana i nā aniani ʻē aʻe no ka hana a hoʻomālamalama ʻia i nā nīnau nui e pili ana i ka mana a me ka moho o ka ʻike hana papa. [13]
I kaʻu hoʻomaʻamaʻa hoʻoikaika wau e hoʻākoakoa i ʻelua mau mana o ka mana pili, "kahi e hōʻike ai i nā kaulike ʻole ma waena o ka poʻe e hoʻohana ana i ka mana a me nā mea i pili i ka mana a me kahi mea e hana pū ʻia ai ka mana ma o ka laulima ʻana". [14] I loko o kēlā aʻa, ua hānai kēia papahana i kahi mana paʻa paʻa a no laila, e like me nā papahana i hala, ua wehe hāmama ʻia me ke kakali o nā mokuna e hiki mai ana. ʻOiai ua kūkulu wau i kahi ʻano hana ʻokoʻa, he aha ka mea nui naʻu ma ke ʻano he mea pena kiʻi ʻaʻole wau i paʻa i kekahi ʻano kikoʻī i ka neʻe ʻana i mua. Nā ʻāpana e hiki mai ana o ka 'Mōʻaukala Kūlohelohe o Hope' ke hoʻohana i nā ʻano ʻokoʻa i nā manawa like ʻole kahi e pono ai. ʻO ka mea aʻu e makemake ai e hāmama e wehe i ka paʻakikī o ke ola i ka honua kaiaulu a like me ka mālama ʻana i nā haunaele kūlohelohe e hana ʻia ma waena o nā kūlana like ʻole a me nā ala paʻakikī e hana kiʻi me nā poʻe. Aia i ka waiwai o kēia paʻakikī e hana ʻia kahi ʻike hou.
ʻO Fiona Whelan kahi mea pena kiʻi a me Coordinator hui o ka MA Socially Engaged Art ma NCAD.
fionawhelan.com
Kiʻi: 'Mōʻaukala Kūlohelohe o Hope "hana, Project Arts Center, Mei 2016, kiʻi na Ray Hegarty.
[1] 'Summit Time Creative', New York, 12 ʻOkakopa 2012.
[2] Paul Starr, 'ʻO ke kaiāulu Phantom' i ʻO John Case lāua ʻo Rosemary Taylor, eds., Nā Co-ops, Communes a me Collectives: Nā hoʻokolohua kaiaulu mai nā 1960 a me ka 1970, Pantheon, 1979.
[3] artistrepealthe8th.com / wakingthefeminists.org / intheshadowofthestate.org / https://www.facebook.com/MASERART/ http://www.richmondbarracks.ie/women-1916/commemoration-quilt/.
[4] I ka Semester 1 o ka MA Socially Engaged Art ma NCAD, Hoʻonohonoho wau i kahi mūlapa palapala ʻāina i nā moʻokūʻauhau he nui o ka hana noʻeau e hana kaiāulu ʻia, i hāʻawi ʻia e kahi hui like ʻole o nā mea hana i kēlā me kēia meheu i kahi pae mōʻaukala kikoʻī.
[5] ʻO Claire Bishop, Komo a me ke kiʻiona: Ma hea mākou i kēia manawa? 'Hōʻuluʻulu Manawa Summit', 18 Mei 2011.
[6] ʻO Fiona Whelan, Kevin Ryan, Ke kuʻi nei i nā palena o ka Art-Social Art? Kahi kamaʻilio Transdisciplinary ma kahi papahana ʻoihana hana me nā ʻōpio ma Dublin, ʻIlani, Palapala Kahua, Helu 4, Puna 2016 (http://field-journal.com).
[8] Grant Kester, 'Dialogical Aesthetics: Kahi Kūlana Kūpono no ka Art Littoral', Lolina (9, Hoʻoilo, 1999/2000); ʻO J. Clifford, 'ʻO nā mea ʻē aʻe: ma ʻō aku o ka "Salvage" Paradigm', Kikokikona ʻekolu, 1989.
[9] Hana ʻo Kevin Ryan i kēia hoʻokaʻawale, e nānā i ka memo 6.
[10] J. Ranciere, Ke Kahu Kula ʻIgnorant: ʻelima mau haʻawina i ka Emancipation naʻau, Stanford University Press, Kaleponi, 1987.
[11] ʻO Fiona Whelan ka Mōʻaukala Kūlohelohe o Hope kahi hana maoli na Fiona Whelan, Rialto ʻōpio Project a me Brokentalkers, Project Arts Center 12 - 14 Mei 2016.
[12] Ua hana ʻo Professor Kathleen Lynch mai ke Kaulike Haʻawina ma UCD ma ke ʻano he aʻoaʻo i ka papahana a hana pū me mākou e ʻike i kēia mau kumuhana nui mai nā mea noiʻi.
[13] E ʻike iā Sarah Keating, 'I ka hui ʻana o ka wahine ma ke ʻano o nā papa hana maoli ma Rialto', Irish Times, 28 Iune 2016.
[14] Kevin Ryan, e nānā i ka memo 6.
