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“The Walls Are So Silent”: Spaces of Confinement and Gendered Meanings of Incarceration in South African Commemorative Art
de arte Pub Date : 2018-09-02 , DOI: 10.1080/00043389.2018.1481916
Kim Miller 1
Affiliation  

Abstract This paper explores artistic and activist work that has arisen in response to episodes of violence committed by the apartheid state against anti-apartheid activists. More specifically, it considers representations of suffering in South Africa’s public sphere through a comparison of two post-apartheid commemorative spaces: the Johannesburg Central Police Station (formerly John Vorster Square) and a memorial by artist Kagiso Pat Mautloa that is positioned there, and the Johannesburg Women’s Jail at constitution Hill. Mautloa’s memorial is part of the important Sunday Times Heritage Project, and it commemorates the torture and imprisonment of political detainees. The transformation of the Women’s Jail into an activist and artistic space was curated by Churchill Madikida, Lauren Segal and Clive van den Berg. Through an analysis of these two spaces, I consider some of the tensions that arise in representing trauma and suffering in the public sphere and issues that arise from such tensions. How do artistic commemorations of trauma put viewers in the position of bearing witness to and upholding the memory of traumatic pasts? What is the most effective, or respectful, way to memorialise suffering? To what extent can visual culture help promote healing, recovery, and social change?

中文翻译:

“墙壁如此寂静”:南非纪念艺术中的禁闭空间和监禁的性别意义

摘要 本文探讨了为回应种族隔离国家对反种族隔离活动家实施的暴力事件而产生的艺术和激进主义作品。更具体地说,它通过比较两个种族隔离后的纪念空间来考虑南非公共领域的苦难表现:约翰内斯堡中央警察局(以前的约翰沃斯特广场)和位于那里的艺术家 Kagiso Pat Mautloa 的纪念碑,以及约翰内斯堡女子监狱在宪法山。毛特洛亚的纪念碑是重要的星期日泰晤士报遗产项目的一部分,它纪念政治犯遭受的酷刑和监禁。Churchill Madikida、Lauren Segal 和 Clive van den Berg 策划了将女子监狱转变为激进主义和艺术空间的过程。通过对这两个空间的分析,我考虑了在公共领域表现创伤和痛苦时出现的一些紧张局势以及由这种紧张局势引起的问题。创伤的艺术纪念如何让观众见证和维护创伤过去的记忆?纪念苦难的最有效或最尊重的方式是什么?视觉文化在多大程度上有助于促进康复、康复和社会变革?纪念苦难的方式?视觉文化在多大程度上有助于促进康复、康复和社会变革?纪念苦难的方式?视觉文化在多大程度上有助于促进康复、康复和社会变革?
更新日期:2018-09-02
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