Presence Without Identification: Vicarious Photography and Postcolonial Figuration in Belarus*.
This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the 1980s and 1990s. Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselv...
| Publicado en: | October no. 164; pp. 49 - 89 |
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| Formato: | Artículo |
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MIT Press
Spring2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=143827838&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 143827838 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01622870 OCT jtl: October issn: 01622870 maglogo: N pubinfo: dt: Spring2018 iid: 164 pid: 776 pub: MIT Press artinfo: ui: 143827838 10.1162/octo_a_00323 ppf: 49 ppct: 40 formats: fmt: @attributes: type: P size: 1.2MB tig: atl: Presence Without Identification: Vicarious Photography and Postcolonial Figuration in Belarus*. aug: au: Oushakine, Serguei Alex. su: Photography of military personnel Kozhemyakin, Sergey Photograph collections Gorbachev, Mikhail, 1931-2022 Disengagement (Military science) Photography schools sug: subj: Photography of military personnel Kozhemyakin, Sergey Photograph collections Gorbachev, Mikhail, 1931-2022 Disengagement (Military science) Photography schools ab: This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the 1980s and 1990s. Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselves from Soviet practices of photographic recording. Appropriating conventions of the portrait genre, the Minsk photographers used them to create a stream of obfuscated representations in which individuals are presented devoid of their originary contexts, biographies, and, frequently, faces. Through their de-facing tactics, these photographers visualized forms of indirect postcolonial presence. Erasing subjectivity and abstracting imprints of lived experience, their vicarious photography articulates a model of dealing with history that allows presence without identity or identification. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of October is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: October holder: MIT Press dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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