The Nigeria-born, London based artist Yinka Shonibare(1962~ ) has been acknowledged for artistic achievement within and outside the contemporary art institution. His artistic practice can be summed up in postcolonial resistance and criticism for imper... The Nigeria-born, London based artist Yinka Shonibare(1962~ ) has been acknowledged for artistic achievement within and outside the contemporary art institution. His artistic practice can be summed up in postcolonial resistance and criticism for imperialism and colonialism which is still going on, and furthermore that has significance in controversial and negotiation politics across the artistic area. It suggests that his work has practicality which makes one’s perception and thought change and act as dynamic text not just static contemplation object. But yet understanding of Yinka Shonibare’s work in Korea is so deficient that people can get the meaning superficially based on visuality. Although he has shown his art works, telling us strong political messages which are about imperialism, colonialism and globalization, it is too bad that we only take them as visual spectacles. As this starts from this critical mind, its purpose is to determine the political and discursive effect inherent in Shonibare’s artistic practice and to consider aesthetic meaning based on his artistic practice which tells us not ‘politics itself’ but ‘politics by art’. In order to discuss the critical and discursive character of his artistic practice, this studies Yinka Shonibare’s artistic practices by focusing on establishing political and social implication instead of technical and formal criticism. This focuses on establishing discourse, political and social implication instead of technical and formal criticism, for the critical and discourse character of his artistic practice is needed to demonstrate. That is why this is based on postcolonial theory by Homi K. Bhabha(1949~ ) which has affected Shonibare’s artistic practice as well as contemporary art. Also after this is based on hybridity, cultural translation and cosmopolitanism which are key concepts of Homi K. Bhabha’s postcolonial theory, it focuses on how these concepts embodied meanings and how these concepts were strategically used in the scene of contemporary art. On the basis of this, this is concentrates on analysing diverse layer of Shonibare’s artistic practice. According to postcolonial perspective of Bhabha, it can be said the Yinka Shonibare’s artistic practice is countervailing narration which is about reading back and writing back western centric Grand narration-modernism, rationalism and capitalism-based on perspective from the minorities who are completely excluded from practicing imperialism and colonialism. To quote Homi K. Bhabha’s words, Shonibare’s artistic practice is to engage in “the process of enunciation” which means the practice itself resists dominant narration. Homi K. Bhabha’s asserts that a discourse is like interacting with multiple subjects at intersection of historical temporality and the colonizer’s discourse has been alway separated by the colonized’s discourse. Thus there is always resistance in the colonizer’s discourse. In other words, his assertion has the possibility to negotiate and interact with subjects who are engaged in the discourse, which suggests that the major’s discourse can be changed and overset by the minor’s discourse. Shonibare, as a resistant agency against the major’s discourse, intervened in identity, culture and history where the colonialism led discourse, changed the racial stereotype that African-American had, and disclosed self-deconstructive aspect of the Victorian era that came up with the British Empire and the modernity. He also criticized historical awareness that accepted the history of the Empire without reflection even after the end of imperialism and colonialism, insisting on the authority. Bhabha said that contemporary art is to represent the moment of the experience which continuously becomes unhomely from familiar lives in hometown. Also, he said that modern history had been going on by reproducing otherness and the history, accomplished by sacrificing the other, has tried to erase the memory of past, while the contemporary art has tried to revive the memory of past. The experience of the ‘unhomely’ that Bhabha found in the contemporary art is the condition for cause and awareness of the otherness which the imperialism, the colonialism and the modern history excluded. it also can be not only the sense of postcolonial narration but also the experience. Shonibare’s artistic practice that evokes the ‘unhomely’ leads us to the subversive and liberating postcolonial thought. His works make us realize the coloniality that we have had in our lives and think critically ‘this very moment’ that we live. Therefore, the meaning and the value that Shonibare’s artistic practice has emerges from this point. ，免费韩语论文，韩语论文网站 |
