733
Views
3
CrossRef citations to date
0
Altmetric
Article

Venice Biennale: The Art of Communicating Resistance, Resistance as Art

Pages 435-457 | Received 25 Nov 2018, Accepted 22 Jun 2019, Published online: 05 Aug 2019

References

  • Ahmed, S. (2000). Strange encounters: Embodied others in post-coloniality. London & New York: Routledge.
  • Ahmed, S. (2010). Happy objects. In M. Gregg & G. J. Seigworth (Eds.), The affect theory reader (pp. 29–51). Durham & London: Duke University Press.
  • Ahmed, S. (2014). Cultural politics of emotion. Edinburgh: Edinburgh University Press.
  • Anonymous. (2017, May 20). The Venice Biennale contemporary art gets a conscience: Why the most important event in the international art calendar is being called the “hippy” Biennale. The Economist. Retrived from https://www.economist.com/books-and-arts/2017/05/20/contemporary-art-gets-a-conscience
  • Assmann, A. (2006). Memory, individual and collective. In R. E. Goodin & C. Tilly (Eds.), The Oxford handbook of contextual political analysis (pp. 210–224). Oxford, NY: Oxford University Press.
  • Assmann, A. (2011). Cultural memory and Western civilization: Functions, media, archives. New York: NY: Cambridge University Press.
  • Bakare, L. (2017, November 14). Mark Bradford: The artist and ex-hairdresser forcing america to face ugly truths about itself. The Guardian. Retrived from https://www.theguardian.com/artanddesign/2017/nov/14/mark-bradford-artist-interview-picketts-charge-civil-war
  • Bakhtin, M. M. (1984). Rabelais and his world (Vol. 341). Bloomington, IN: Indiana University Press.
  • Bakhtin, M. M. (2010). Speech genres and other late essays. Austin, TX: University of Texas Press.
  • Bennett, T. (2013). The birth of the museum: History, theory, politics. London & New York: Routledge.
  • Bhabha, H. K. (1994). The location of culture. London & New York: Routledge Classics.
  • Bianchini, R. (2018, August 21). Teatrum Orbis – Russian Pavillion – Venice Art Biennale 2017. Inexhibit. Retrived from https://www.inexhibit.com/case-studies/russian-pavilion-venice-art-biennale-2017-theatrum-orbis/
  • Birch, L. (2017, May 3). Venice Biennale 2017//The Russian Pavillion: An interview with the curator and artists. Berlinartlink. Retrived from http://www.berlinartlink.com/2017/05/03/venice-biennale-2017-the-russian-pavilion-an-interview-with-the-curator-and-artists/
  • Clover, C. (2016). Black wind, white snow: The rise of Russia’s new nationalism. New Haven: Yale University Press.
  • Cohen, W. (1969). Thomas Jefferson and the problem of slavery. The Journal of American History, 56(3), 503–526.
  • Conquergood, D. (1985). Performing as a moral act: Ethical dimensions of the ethnography of performance. Text and Performance Quarterly, 5(2), 1–13.
  • Darts, D. (2004). Visual culture jam: Art, pedagogy, and creative resistance. Studies in Art Education, 45(4), 313–327.
  • Davis, P. (2013). Memoryscapes in transition: Black history museums, New South narratives, and urban regeneration. Southern Communication Journal, 78(2), 107–127.
  • Dickinson, G., & Aiello, G. (2016). Being through there matters: Materiality, bodies, and movement in urban communication research. International Journal of Communication, 10(2016), 1294–1308.
  • Dickinson, G., Blair, C., & Ott, B. L. (2010). Places of public memory: The rhetoric of museums and memorials. Tuscaloosa, AL: University of Alabama Press.
  • Erll, A. (2011). Memory in culture. London, UK: Palgrave Macmillan.
  • Fanon, F. (2008). Black skin, white masks. London: Pluto Press.
  • Finkel, J. (2017, April 27). An artist’s mythic rebellion for the Venice Biennale. The New York Times. Retrived from https://www.nytimes.com/2017/04/27/arts/design/mark-bradford-venice-biennale.html
  • Finley, S. (2008). Arts-based inquiry: Performing revolutionary pedagogy. In N. K. Denzin & Y. S. Lincoln (Eds.), Collecting and interpreting qualitative materials (pp. 95–114). Thousand Oaks, CA: Sage.
  • Forbes, A. (2017, May 12). A new nationalism is brewing at the Venice Biennale—But it’s not the kind you think. Artsy. Retrived from https://www.artsy.net/article/artsy-editorial-new-nationalism-brewing-venice-biennale-kind
  • Fuery, P., & Fuery, K. (2003). Visual cultures and critical theory. Oxford, UK: Oxford University Press.
  • Gessen, M. (2015, January 8). Putin and his new year’s resolutions. The New York Times. Retrieved from http://www.nytimes.com/2015/01/09/opinion/masha-gessen-putin-and-his-new-years-resolutions.html?partner=rss&emc=rss&_r=3
  • Giroux, H. A. (1995). Borderline artists, cultural workers, and the crisis of democracy. In C. Becker (Ed.), The artist in society: Rights, rules, and responsibilities (pp. 4–14). Chicago: New Art Examiner.
  • Goldstein, A. (2017, May 11). Mark Bradford: Mark Bradford is our Jackson Pollock: Thoughts on his stellar US Pavilion at the Venice Biennale. Artnetnews. Retrived from https://news.artnet.com/exhibitions/mark-bradford-is-our-jackson-pollock-thoughts-on-his-stellar-u-s-pavilion-at-the-venice-biennale-957935
  • Harper, D. (2008). What’s new visuality? In N. K. Denzin & Y. S. Lincoln (Eds.), Collecting and interpreting qualitative materials (pp. 185–204). Thousand Oaks, CA: Sage.
  • Hasian, J. M., Jr (2004). Remembering and forgetting the “final solution”: A rhetorical pilgrimage through the US holocaust memorial museum. Critical Studies in Media Communication, 21(1), 64–92.
  • Hooks, B. (1995). Art on my mind: Visual politics. New York: The New Press.
  • Hooks, B. (1996). Reel to real: Race, sex and class at the movies. New York: Routledge.
  • Hosking, G. A. (2001). Russia and the Russians: A history. Cambridge, MA: Harvard University Press.
  • Hosking, G. A. (2006). Rulers and victims: The Russians in the Soviet Union. Cambridge, MA: Harvard University Press.
  • Jensen, J. (2002). Is art good for us?: Beliefs about high culture in American life. Lanham, Maryland: Rowman & Littlefield.
  • Khrebtan-Hörhager, J. (2013). Multiculturalism or euroculturalism? “Nomadism,”“Passing,” and “the West and the Rest” in German–Italian Solino. Communication, Culture & Critique, 7(4), 524–540.
  • Khrebtan-Hörhager, J. (2015). Je Suis FEMEN! Traveling meanings of corporeal resistance. Women’s Studies in Communication, 38(4), 367–373.
  • Khrebtan-Hörhager, J. (2016). Collages of memory: Remembering the second world war differently as the epistemology of crafting cultural conflicts between Russia and Ukraine. Journal of Intercultural Communication Research, 45(4), 282–303.
  • Khrebtan-Hörhager, J. (2017). A taste of europe: Eating/reading between the lines of the german–italian failed love story. Journal Of International and Intercultural Communication, 10(3), 255–271. doi:10.1080/17513057.2016.1263354
  • Khrebtan-Hörhager, J. (2018). Musée du Quai Branly: The heart of darkness in la Cité de la Lumière. Communication Culture & Critique, 11(2), 315–340.
  • King, L. (2014). Competition, Complicity, and (Potential) Alliance: Native Hawaiian and Asian Immigrant Narratives at the Bishop Museum. College Literature, 41(1), 43–65.
  • King, S. A. (2006). Memory, mythmaking, and museums: Constructive authenticity and the primitive blues subject. Southern Communication Journal, 71(3), 235–250.
  • Lebron, C. J. (2017). The making of black lives matter: A brief history of an idea. Oxford: Oxford University Press.
  • Ling, W. W. F. (1972). The founding fathers and slavery. The American Historical Review, 77(1), 81–93.
  • Lorde, A. (1984). Sister outsider. Trumansberg: Crossing Press.
  • Mancino, S. (2015). A communicative review of museums. Review of Communication, 15(3), 258–273.
  • Markwick, R. (2012). The great patriotic war in soviet and post-soviet collective memory. In D. Stone (Ed.), The Oxford handbook of postwar European history (pp. 692–713). Oxford, UK: Oxford University Press.
  • McAlister, J. F. (2013). Collecting the gaze: Memory, agency, and kinship in the women’s jail museum, Johannesburg. Women’s Studies in Communication, 36(1), 1–27.
  • Monopol Magazin. (2017). Special Issue: Venice Biennale 5, 1–56.
  • Moytl, A. J. (2007, July 1) Post-Weimar Russia German Council of Foreign Relations a. Retrieved from https://ip-journal.dgap.org/en/ip-journal/regions/post-weimar-russia
  • Muñoz-Alonso, L. (2017, May 11). Venice goes crazy for Anne Imhof’s Bleak S&M-Flavored German Pavilion: The German artist is a top contender to win the golden lion for best national participation. Artnetnews. Retrived from https://news.artnet.com/art-world/venice-german-pavilion-anne-imhof-faust-957185
  • Nora, P. (1989). Between memory and history: Les lieux de mémoire. Representations, 26, 7–24.
  • Ono, K. A. (2010). Reflections on ‘Problematizing ‘Nation’in intercultural communication research’. In T. K. Nakayama & R. T. Halualani (Eds.), The handbook of critical intercultural communication (pp. 84–97). Oxford, UK: Wiley Blackwell.
  • Parry, W. (2011). Against the wall: The art of resistance in Palestine. Chicago, IL: Chicago Review Press.
  • Pocheptsov, G. (2000). Информационные войны. Moscow: Russian Federation: Refl-buk.
  • Pocheptsov, G. (2013, July 29) «Несовпадение целей и смыслов мешает Москве и Киеву понять друг друга»: (Информационные залпы на руинах империи). Nezavisimaja Gazeta. Retrieved from http://psyfactor.org/lect/pocheptsov9.htm
  • Pollard, E. B. (1986). Visual arts research: A handbook. Santa Barbara, California: Greenwood Press.
  • Robinson, A. (2011, September 9). In theory Bakhtin: Carnival against capital, carnival against power. Ceasefire. Retrived from https://ceasefiremagazine.co.uk/in-theory-bakhtin-2/
  • Robinson, H. (1997). Within the Pale in from: Beyond the Pale: The construction of femininity in the curating of an exhibition season at the Irish Museum of Modern Art, Dublin. Journal of Gender Studies, 6(3), 255–267.
  • Rose, G. (2007). Visual methodologies: An introduction to the interpretation of visual materials. Thousand Oaks, CA: Sage.
  • Searle, A. (2017, June 2). Slaps, drenchings, and dobermans. The Guardian Weekly. Retrived from https://www.theguardian.com/artanddesign/2017/may/15/venice-biennale-slaps-drenchings-and-dobermans-on-the-prowl
  • Spivak, G. C. (1988). Can the subaltern speak?. In C. Nelson, & L. Grossberg (Eds.), Marxism and the Interpretation of Culture: Reflections on the History of an Idea. (pp. 21-78). Champaign: University of Illinois Press.
  • Stanton, L. C. (2012). “Those who labor for my happiness”: Slavery at Thomas Jefferson’s Monticello. Charlottesville, Virginia: University of Virginia Press.
  • Tolstoy, L. (1996). What is art? (A. Maude, Trans.) New York: Penguin. ( Original work published in 1946).
  • Valdeón, R. A. (2015). Colonial museums in the US (un) translated. Language and Intercultural Communication, 15(3), 362–375.
  • Wiencek, H. (2012). The dark side of Thomas Jefferson. Smithsonian Magazine, 266–274.
  • Winter, J. M. (2006). Remembering war: The great war between memory and history in the twentieth century. New Haven, CT: Yale University Press.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.