Trickster's Tears: AfroNordic Affective Politics and Critical Internet Aesthetics in Lydia Östberg Diakité's Cry Baby.
Swedish Ivorian artist Lydia Östberg Diakité's digital artwork Cry Baby (2020) makes a case for crying as a healing practice for AfroNordic people while navigating conditions for the public, online display of black emotional vulnerability. Composed of GIFs and a soundtrack, Cry Baby combines the art...
| Publicado en: | Scandinavian Studies Vol. 98; no. 3; pp. 176 - 210 |
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| Formato: | Artículo |
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University of Wisconsin Press
2026
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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=196448823&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 196448823 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00365637 SVT jtl: Scandinavian Studies issn: 00365637 maglogo: N pubinfo: dt: 2026 vid: 98 iid: 3 pid: 249 pub: University of Wisconsin Press artinfo: ui: 196448823 ppf: 176 ppct: 34 formats: fmt: – @attributes: type: T – @attributes: type: P size: 26.4MB tig: atl: Trickster's Tears: AfroNordic Affective Politics and Critical Internet Aesthetics in Lydia Östberg Diakité's Cry Baby. aug: au: Cramer, Nina sug: keyword: AfroNordic art black affective politics crying internet culture Lydia Östberg Diakit public emotion ab: Swedish Ivorian artist Lydia Östberg Diakité's digital artwork Cry Baby (2020) makes a case for crying as a healing practice for AfroNordic people while navigating conditions for the public, online display of black emotional vulnerability. Composed of GIFs and a soundtrack, Cry Baby combines the artist's personal narrative with viral internet content. Across the work's visual and sonic registers, this article argues, Diakité's reconstruction of the troll or trickster figure troubles binary divisions between stylized and sincere emotion. The work demonstrates a self-reflexive and situated engagement with black pop culture, internet aesthetics, and affective politics. Thus, this article explores how Cry Baby contributes an AfroNordic perspective to larger, transnational conversations about blackness, digital culture, transparency, and privacy in contemporary art. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Scandinavian Studies is the property of University of Wisconsin 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: Scandinavian Studies holder: University of Wisconsin Press dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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