The art of nationalism: Artists' perspectives on the Latvian Centenary film programme

In the aftermath of several decades of neoliberalism in Eastern Europe, the social fabric of post-socialist societies is frayed. In this context, nationalist cultural policies and everyday displays of national belonging have emerged as key instruments of social solidarity. There has recently been a drive of state initiatives in Latvia in the field of cultural policy aimed at strengthening national identity. In this paper, we focus our attention on one particular cultural policy initiative, Latvian Films for Latvian Centenary. Drawing on qualitative interviews with 16 film directors who participated in the Centenary film programme, the paper explores how artists and cultural operators involved in this programme are mobilised as national(ist) subjects and how they see their work within such a framework. We argue that nationalist cultural policy can be successfully implemented because the artists, themselves formed as responsible political and moral subjects in the tradition of Latvian cultural nationalism, share a regard for culture and the arts as a resource for sustaining the political statehood and the national community. However, the artists also recognise the limitations of their work as a source of social cohesion and solidarity in a society that is ethnically divided.     

As Basket and Papu: Making Manus Social Fabric

Between 2012 and 2019, Manus Island, Papua New Guinea, hosted Australia's offshore detention centre for asylum seekers and refugees, known as the Regional Processing Centre (RPC). This paper analyses some of the social impacts of the RPC on Lorengau town, the urban centre of Manus, through the analytical lens of the Manus idiom, as basket (Tok Pisin). Materially this refers to the everyday Manus basket whilst metaphorically, it refers to an individual's or community's social, cultural, political and economic base. First, I examine asylum seekers and refugees as a social category that emerged during this period when they were referred to as papu by locals. Papu is an honorific kinship term for grandfather or elder man; for men who are symbols for family identity, social belonging, and rights to land. Second, I examine the changing materiality of Lorengau's markets as indicative of wider societal transformations and dissonance brought about by the RPC. My ethnographic data are based on long term involvement in Manus, including three recent visits to Lorengau in 2017, 2018, and 2019 where I studied the social impacts and the changing social practices of Manus people in response to the RPC.     

Exploring the associations between cooling centre accessibility and marginalization in Montreal,Toronto, and Vancouver,Canada

Cooling centres provide respite, safety, and social support during extreme heat events for populations that do not have the resources to own or operate in-home air conditioning. The objective of this study was to measure the spatial accessibility of cooling centres and analyze the associations between cooling centre access and marginalization in Montreal, Toronto, and Vancouver, Canada. The potential spatial accessibility of cooling centres within a 15-minute walk was measured at the dissemination area scale using the two-step floating catchment area method. A two-stage modelling approach was used to analyze the associations between cooling centre access and marginalization. Approximately 62%, 58%, and 54% of the populations in Montreal, Toronto, and Vancouver had access to at least one cooling centre. In Montreal and Vancouver, high marginalization areas were more likely to have cooling centre access than low marginalization areas. Of the areas with cooling centre access, smaller access scores were observed in areas with high residential instability. Approximately one-fifth of the areas in each city had no cooling centre access and high marginalization, and may be considered for future cooling centres or programs that improve accessibility to existing centres.     

Stalin’s humanitarian government: class,child homelessness and state security in a historical perspective (1930s–40s)

Informed by Didier Fassin’s concept of humanitarian government, this article reveals a distinct pattern of secret care provisions imposed under Stalin by the secret police and its successor agencies (NKVD, MVD) first to the peasant children displaced by class war and the famine of 1932–33, and then to the children made homeless by the Great Terror and the 1940s’ national deportations. The article also identifies the under-researched reception centres as crucial sites for both administering emergency assistance and establishing the social classification necessary to apply these discriminatory measures. Affected by the decreasing faith in their possible socialist rehabilitation and lack of any official display of compassion, these children’s lives appeared even less worthy of saving in the course of major emergencies. These findings challenge the official Soviet view of the existence of a universal childhood worth protecting, which guided the first socialist country’s intervention to save other children nationally and internationally.     

Resistance politics of non-violence: Jean Paulhan’s ’Fautrier the Enraged’ (1943)

ABSTRACT

The idea of adequately ‘representing’ violence was an important point of discussion amongst Resistance artists and intellectuals at the time of the French Occupation. In particular, intellectual resistant Jean Paulhan had written on the subject in his text introducing Jean Fautrier’s retrospective exhibition of November and December 1943 in occupied Paris, ‘Fautrier the Enraged’. While the thematic of the exhibition proposed an academic and traditional subject matter, Paulhan demonstrated that Fautrier’s typically matierist and anti-naturalistic approach was instrumental in ‘suggesting reality’. Fautrier’s individual creative process, Paulhan argued, led to a transparent experience to be shared between viewer and artist not only on an aesthetic level, but also from a political point of view. At the time of ‘Fautrier the Enraged”s writing, Paulhan had indeed been concerned with issues of political engagement, as is evident from his essay ‘The Flowers of Tarbes or Terror in Literature’ (1941), which reflects upon the human condition and is concerned with reconciling poetry, politics and ethics. The author believes that such questions were being addressed in Paulhan’s text on Fautrier and by Fautrier’s art and that an aesthetic reading of Paulhan’s text is inseparable from a political interpretation of Fautrier’s art within the context of the Occupation. Indeed, the aesthetic criteria used in Paulhan’s text as framework to his argument were then loaded with political meaning. For instance, Paulhan considered virtuosity as an essential artistic characteristic to be opposed to the art of imitation based on the technical ability to observe and simulate ‘nature’ as imposed by the occupants. With excerpts from Paulhan’s essay and exchange of letters with Fautrier as well as visual analysis of some of the artworks presented in the exhibition, this paper deals with the wider issues of ‘representation’ in the historical and cultural context of the Second World War in France.     

Traditions and transitions: teenagers' perceptions of parading in Belfast

The purpose of this article is to explore and illuminate teenagers' experiences of, and attitudes to, parades in Belfast. The research draws on responses from 125 teenagers located in interface areas (areas where Catholics and Protestants live side by side but apart) to government supported attempts to rebrand Orangefest (traditional parade associated with Protestant/Unionist/Loyalist community) and St Patrick's Day (traditional parade associated with Catholic/Nationalist/Republican community) as all-inclusive community events. For the most part, young people access these parades in pre-existing, single identity peer groups and view these parades as either inclusive or exclusive calling into question the extent to which Belfast's city centre can be viewed as shared space.     

Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.

Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’     

Theories of the Sublime in the Dutch Golden Age: Franciscus Junius,Joost van den Vondel and Petrus Wittewrongel

This article explores how writers from the Dutch Golden Age thought about human contact with that which is elevated far above everyday life. The Dutch Republic offers an interesting context because of the strikingly early use there by seventeenth-century humanists of the Greek concept ?ψο?, from (pseudo-)Longinus, to discuss how writers, artists and their audiences were able to surpass human limitations thanks to an intense imagination which transported them to supreme heights. Dutch poets also used the Latin sublimis to discuss how mankind constantly aims at that which is far above it, but, despite this, can never entirely be a part of it. Thirdly, protestant writers discuss the concept of the Fear of God by explaining that elevated contact with God should be accompanied by the contrasting emotions of attraction and fear. With reference to the humanist Franciscus Junius, poet Joost van den Vondel and preacher Petrus Wittewrongel, I will discuss how these artistic, literary and religious discourses concerning contact with the sublime are related to one another.     

Nomadic,ecstatic, magic: Arctic primitivism in Scandinavia around 1900

The aim of this article is to delineate the term “Arctic primitivism” in an aesthetic context and, by means of three examples from Scandinavian artists whose works were also the subject of ethnological discussions, to give an illuminating impression of Scandinavian Arctic primitivism around 1900. First some conceptual considerations about the combination of Arctic and primitivistic discourse will be presented. Then three examples for the “primal conditions” of an aesthetic conception of Arctic primitivism will be discussed: the nomadic, the ecstatic, and the magical. They serve as counter principles to modern categories such as spatial fixedness, linear chronology, and rational thought. Emilie Demant Hatt’s visual art stands for the nomadic principle; the Swedish cartoonist Ossian Elgström deals with ecstatic states; and the poems of Danish “eskimologist” William Thalbitzer show his fascination with indigenous magical incantations as an alternative to rational thought. All examples illustrate the artists’ interest in an authentic and uncorrupted culture, which they reflect on with awareness of inauthenticity and second-hand acquisition. The effects of duplication, simultaneity, and secundarity arising from the three principles drive a reflective discourse on media through which awareness of the crisis of modernity is sublimated, revealed, or made the subject of artistic exploration.