zijden – -Translation – Keybot Dictionary

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Ein ebenso einfacher wie demonstrativer Akt: Die Gesichter der Figuren bleiben verborgen und sind plötzlich nicht mehr einzuschätzen. Simpson erklärt dazu, sie versuche, "sehr komplexe Charaktere zu schaffen, die außerhalb der Stereotypen von Zeit, Ort, Identität, Sexualität und Rasse existieren".

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For many years, Simpson photographed figures with their backs turned to the viewer. An act that is both simple and demonstrative: because she deliberately doesn't show the face, she circumvents the usual process by which the person looking evaluates the other. Regarding this theme, Simpson explains that she tries "to build very complex characters that live outside of a stereotype of time, place, identity, sexuality, and race."

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Mit den 625.000 Dollar Preisgeld plant die Autorin die Eröffnung des Racial Imaginary Institute, einer Mischung aus Think Tank und Ausstellungsraum, in dem das Thema Rasse aus verschiedenen Perspektiven betrachtet wird.

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This year's Frieze Talks also focus on sociopolitical issues. For this reason, curator Tom Eccles invited Claudia Rankine. One of the most important voices in African-American literature, many of her poems and essays investigate everyday racism in the United States. Last year, Rankine was given a "Genius Grant" by the MacArthur Foundation. With the 625,000 dollars in prize money, the author is planning to open the so-called Racial Imaginary Institute, a think tank-cum-exhibition space where the issue of race is viewed from different perspectives. She will present this initiative at the Frieze.

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Eine jener Tapeten und Denkmuster, mit denen die endlosen Gänge dieses (und jedes anderen) Universums tapeziert sind. Vielleicht ist dieses Leben genauso verloren und nichtig wie die Leben aller Anderen - seien es erschrockene Investoren oder niedliche Außerirdische von der Vier-Hände-Vier-Beine-Halber-Penis-Rasse.

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It’s an action whose futility and randomness drips from every brushstroke. Black or white, A or B are interchangeable, and no one possibility is better or worse than the other. Life, it seems, is subject to the caprice of the gods—or just the nasty rules of man-made systems. But to get back to the Deutsche Bank Towers, perhaps it’s also just a tiny bit of fly shit on flowered wallpaper—one of those wallpaper and thought patterns covering the endless halls of this (and every) universe. Maybe this life is just as lost and as worthless as the lives of everyone else—whether they be terrified investors or cute extraterrestrials of the Four-Hands-Four-Legs-Half-Penis-Race. Life, in short, is an absurd joke, but it’s still just that—a joke.

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Und ein paar Blumen weiter ist er dann tatsächlich: der Teufel - oder vielmehr ein liebenswertes Teufelchen. Es hat sich bei seinem außerirdischen Freund untergehakt, der wie Solakov notiert, zur "Vier-Hände-Vier-Beine-Halber-Penis-Rasse" gehört.

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Just like you have to do when you see the lonely man sitting atop a stem a few flowers away, small and shy as a beetle thinking about hopping off. “A Scared to Death Investor” can be read next to him. And a few flowers on, there he is: the devil himself, or rather a likeable little devil, arm-in-arm with his extraterrestrial friend, who, as Solakov notes, belongs to the “Four-Hands-Four-Legs-Half-Penis-Race.” The two are daydreaming; they look very happy. Somewhere in the corner, after a bit of searching, one finds the rulers of this strange world: three black circles—a black hole, a burnt pancake, and a small black lake. Their empire is the above-mentioned flowered wallpaper on the 23rd floor of Tower A of the Deutsche Bank in Frankfurt am Main, which Nedko Solakov had installed to work on for his commissioned piece.

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Bewohnt wird er von Frauen, die sie Empathics nennt. Diese blau-weiß geschminkten, androgynen Science-Fiction-Wesen führen alle Kategorisierungen nach Geschlecht oder Rasse ad absurdum. (Mehr zu Saya Woolfalk lesen Sie in unserem Feature.)

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In Herland, Mutu, whom Deutsche Bank voted their first "Artist of the Year" in 2010, is represented with the suite The Original Nine Daughters. These nine daughters turn out to be a bizarre hybrid between human and animal, plant and machine. Mutu, in turn, invited Saya Woolfalk, one of America's most unusual young women artists. "Walking into one of Saya's installations is like walking into a mysterious museum from some kind of parallel universe," says Mutu. Woolfalk has created her own spiritual universe, populated by women she calls Empathics-androgynous science fiction creatures made up in blue and white that play out every conceivable categorization according to sex or race ad absurdum. (You can read more about Saya Woolfalk in our feature.)

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Dennoch distanziert er sich von dieser Titulierung: "Das Wort ,Künstler' hat etwas sehr Scheinheiliges. Als wären sie eine eigene Rasse. Picasso hat einmal gesagt, Kunst sei die Lüge, die die Wahrheit offenbare. Aber ich glaube einfach nicht, dass Künstler eine besondere Verbindung zur Wahrheit haben. Das mag über die Jahrhunderte für ein paar Genies stimmen. Aber heute wird Kunst doch aus ganz praktischen Gründen gemacht: um eine Banklobby zu schmücken oder das Ego eines Hedgefond-Managers."

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It was precisely this element of "recognition" that proved uncanny to one of the people portrayed, an Orthodox rabbi. He recognized himself in an exhibition of diCorcia's works and sued the photographer because he saw his right to privacy and freedom to practice his religion violated. But diCorcia won the case-as an artist. Yet he nonetheless distances himself from this title: "There is something quite sanctimonious in the word artist. Like they are a special breed. There is this famous Picasso quote that art is the lie that reveals the truth. But I just don't believe that artists have some special connection to the truth. That may have been true for a few geniuses over the centuries. But in fact today most art is made for some very practical reasons: to decorate a bank lobby or for the ego of a hedge fund manager."

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In Brasilien begegnet man, wie es der Anthropologe Roberto DaMatta formuliert, einer "Gesellschaft, in der sich Kulturen und Ethnien mischten, statt wie in anderen Ländern schön säuberlich voneinander getrennt zu koexistieren. Sie leben zusammen, gehen Beziehungen ein und bringen Menschen hervor, die mit den klassischen 'Rassen'-Termini nicht zu erfassen sind."

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In Brazil, as the anthropologist Roberto DaMatta phrases it, one finds a "society in which cultures and ethnicities mix, instead of, as in other countries, coexisting in distinct separation from one another. They live together, have relationships, and give birth to people that cannot be described using the classical racial terminology." The idea for No Place arose out of the artist's involvement with this hybrid society, and it's a project that reflects Woolfalk's own background: "I'm black, white, Japanese, and it's a condition that's often complex and conflicting." She was also influenced by Afrofuturism-authors such as Octavia Butler and Samuel Delany, whose science fiction novels delve into themes like identity, race, and gender roles and describe alternatives to prevailing circumstances.

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So ist Syms' Projekt Reading Trayvon Martin eine Online-Bibliographie, in der sie alles auflistet, was sie nach den tödlichen Schüssen auf den 17-jährigen afroamerikanischen Highschool-Schüler 2012 zu den Themen Rasse und Gerechtigkeit gelesen hat.

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On the other hand, the works of Exterritory Project are more academically oriented. The Israeli artists' collective is dedicated to dealing with questions of extraterritoriality in the Middle East through events and symposia. Others address urgent social issues in more experimental modes. Martine Syms, a Los Angeles-based "conceptual entrepreneur," explores the boundaries between identity (particularly black identity) and late capitalism through projects like Reading Trayvon Martin, an online bibliography tracking everything Syms read about race and justice after the fatal shooting of the teenager in 2012. Nadim Abbas, a Hong Hong-based installation artist, works at the intersection of social phenomena, image economies, and psychology-for his 2012 show I Would Prefer Not To, he framed images of action figures and Rorschach ink-blots in the context of Hong Kong's claustrophobic architecture and Otaku culture of male withdrawal.

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Für die gezeigten Künstler eröffnen Übersetzungen ein diskursives Feld, in dem verschiedene Faktoren, die unsere Identität bestimmen – Klasse, Rasse, Religion, Sexualität – verhandelt werden und dabei neue Bedeutungen entstehen.

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"Found in Translation was initially developed out of a group of media works in the Guggenheim's collection, all of which look to language as a means of exploring history and culture," explains Trotman, Associate Curator at the Guggenheim Museum. "As I researched the themes binding these pieces together, I realized that language could serve as an entry point into larger discussions of identity as it is performed in and through the medium of video. By focusing on works made in the last ten years by artists of a relatively recent generation, I hope that Found in Translation will offer a glimpse into ways that contemporary artists use language to approach the issue of cultural difference." For the artists shown, translations open up a discursive field in which various different factors determining our identity—for instance class, race, religion, sexuality—are negotiated, giving rise to new meaning. What at first seems like a simple linguistic task is transformed into a kind of controlled experiment that sheds light on the interaction between different cultures.

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Mit dem Rücken zur Kamera steht die afroamerikanische Künstlerin vor einer minimalistischen Sol Lewitt-Skulptur oder dem British Museum. Weems hinterfragt die Rolle, die Kriterien wie Geschlecht oder Rasse bei der Beurteilung von Kunst durch die Institutionen spielen.

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Almost as strange as Woolfalk's Empathics are the works of María Magdalena Campos-Pons. In her Polaroids, the artist stages herself with a face powdered in white and a birdcage atop her head, adorned with feathers and strings of pearls. The images were made on the occasion of the Cuban artist's performance at the 2013 Venice Biennial, where she presented herself as a kind of multicultural goddess on the Piazza San Marco. On the other hand, Carrie Mae Weems's photographic works are more conceptual than performance-based. Standing with her back to the camera, the African American artist poses before a minimalist Sol Lewitt sculpture, for instance, or the British Museum. Weems questions the role criteria such as sex and race play when art is evaluated by institutions. Ko Siu Lan, who was invited by Cao Fei, also criticizes prevailing conditions. Her Rubik's Cube contains the word One in combination with Nation, Family, Child, Husband, System, Country, World, Party, Voice-a subtle commentary on the political and social pressure in her native China.

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Hier fand er dann die unterschiedlichsten Quellen, so auch Publikationen der damals jungen Wissenschaft der Anthropometrie, die versuchte angeblich vorhandene Zusammenhänge zwischen Körpermerkmalen, Rasse und Charakter zu belegen.

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Fernando Bryce is surely a protagonist of this development, someone who stands for the up-and-coming Latin American art scene. He has worked in studios in Peru and Germany since the 1990s, feels at home artistically in Lima and Berlin. Südsee engages with a chapter of repressed German history: the colonization of Papua New Guinea at the end of the 19th century. Bryce was particularly interested in the connection between political and ethnological interests and the "exotic" image of the South Seas, which also inspired Modern artists, who longed for a more original state. First, he read secondary literature, he says, and then he spent months in the archives of the Berlin National Library with prepared lists. In the library, he found all kinds of sources, including publications on the then young science of anthropometry, which tried to find purported links between anatomical features, race, and character.

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Mit dieser Praxis befindet sie sich in Gesellschaft von politisch engagierten afroamerikanischen Künstlern wie Carrie Mae Weems, Isaac Julien und Glenn Ligon, die in den 1980ern begannen, Vorstellungen von Rasse und Geschlecht zu hinterfragen.

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If Henri Cartier Bresson defined photography as capturing the "decisive moment"-the instant when the photograph coalesced into visual action in front of the camera-then it was Lorna Simpson who allowed photography to unravel, at least a bit. The 1960-born African-American artist began her photographic career in the 1980s. In the beginning she worked with street photography, later with cut and serial images or found material such as pin-ups and magazine reproductions. Today, her photo works are based on studio portraits of black women captured in everyday, "typically female" poses. These images seem clear at first glance, yet the crops and combinations of text fragments that Simpson integrates into her works radically undermine their apparent nonambiguity: Simpson reveals the latent racism and sexism that continue to affect American culture. Her artistic practice brings her near to politically motivated African-American artists such as Carrie Mae Weems, Isaac Julien, and Glenn Ligon, who began in the 1980s to question notions of race and gender. Simpson has used a wide variety of media; along with photography and installation, she has worked with film and video.

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Die Fotografen reagieren auf diese Situation, in dem sie sich zunehmend von der "Kultur des Realismus" verabschieden und neue Wege gehen, um sich mit Themen wie Politik, Rasse, Klasse und Geschlechterrollen auseinanderzusetzen.

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In 2004-05, for his project Looking Aside, Hugo made portraits of people we usually like to turn away from. The works are studio portraits resembling monumental passport photographs of the elderly, the blind, and albinos, the "white-skinned blacks" who are frequently discriminated against and often persecuted in Africa. One of the images in the series is a picture of the photographer himself, because Hugo regards himself as an outsider, as well: "My homeland is Africa, but I'm white," he says. "I feel African, whatever that means, but if you ask anyone in South Africa if I'm African, they will almost certainly say no. I don't fit into the social topography of my country and that certainly fuelled why I became a photographer." Following a brief time as a photojournalist, Hugo realized that as a six-foot-tall white man, he brings a presence into many situations that makes it impossible to remain in the background as a "neutral observer." At the same time, the act of photographing and the power structures it implies seem more and more questionable to him. To this day, he ponders the broken relationship to photography and the medium's intrinsic mechanisms. He frequently states that his mistrust of photography goes deep.

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Dazwischen platziert er zwei weitere Reihen mit ausgedruckten Textblättern – 78 Kommentare über Sexualität, Rasse, Aids, und die politisch aufgeladenen Debatten, die das Buch zwischen konservativen und liberalen Lagern auslöste.

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In 1993, it wasn’t a text, but rather a photo book that served as a point of departure for Ligon’s investigations: Robert Mapplethorpe’s Black Book with erotic nudes of black men, among them the famous Man in a Polyester Suit (1980). Ligon cut 91 photos out of the book, framed them, and hung them in two horizontal rows on the wall. Between them, he placed another two rows with printed sheets of text—78 commentaries from prominent figures, witnesses of the time, and anonymous individuals on sexuality, race, AIDS, and the politically charged debates that the book unleashed between conservative and liberal camps. While Mapplethorpe’s book caused a scandal when it appeared in 1988, Ligon’s installation Notes on the Margin of the Black Book at the 1993 Whitney Biennial did much the same. It wasn’t only because Ligon’s installation met with attitudes that were hardly any less homophobic than those confronting Mapplethorpe’s book; he was treading on delicate territory, addressing as a black man white gay desire for the other skin color, and doing it without resentment. He let everyone have their say: Christian fundamentalists, intellectuals, art collectors, Mapplethorpe’s models. And his own boyfriend, who reports that even his closest acquaintances ask if he’s into "dark meat." The commentaries that Ligon brings together paint a portrait of American society while testifying to Ligon’s own personal search for identity. The way in which he resists even the simplest of categorizations is disturbing to the viewer; Ligon subjects us to the minefield of our own deadlocked prejudices and memories.