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Who Run the World? South African Female Artists’ Relationship to History and Normativity

Julie Crenn
Traduction de Phoebe Clarke
Cet article est une traduction de :
Who Run the World ? : les artistes sud-africaines au défi de l’Histoire et des normes

Notes de la rédaction

The Institut français and the Institut national d’histoire de l’art (INHA) are proud to introduce Julie Crenn’s article: "Who Run the World? South-African Female Artists’ Relationshipto History and Normativity." Julie Crenn is the first recipient of a new grant for writing and publishing a critical essay, which was created jointly by those two institutions in partnership with Critique d’art.

This grant is part of a new direction taken by the Institut français in the field of visual arts, in partnership with the Artistic Creation department of the French Ministry of Culture and Communication. It aims to help budding French writers and researchers specialised in contemporary art emerge on the international scene. The goal is not only to make the content of French research more visible but also to encourage the circulation of themes, essays and ideas. This is why the support program created by the Institut français and the INHA encourages the writers’ mobility as well as the circulation and the translation of their articles.

The writing and publishing grant is part of this new program, and was launched with a call for applications in December 2015. With the grant, Julie Crenn was able to travel to South Africa in July 2016 to study the African art scenes from the viewpoint of female artists, in keeping with her research on feminist and postcolonial practices. Julie Crenn is an art historian, critic and curator and she is representative of the new generation of researchers who are committed to writing an alternative history of artistic practices on a global scale, taking into account individuals or groups that were traditionally marginalised. It seeks to go beyond the multiculturalist essentialism that has sometimes affected postmodernist interpretative frameworks, offering in its place a complex take on these identities understood in their hybridity and their fluidity, which is precisely characteristic of contemporaneity.

Larisa Dryansky, research adviserin Contemporary Art History, INHA (2014-2016) and Vincent Gonzalvez, Institut français

Extrait du texte

Ce document sera publié en ligne en texte intégral en novembre 2017.

Aperçu du texte

Tracey Rose, Lucie’s Fur Version 1:1:1 – The Messenger, 2003 © Courtesy of the artist and Goodman Gallery

"Culture does not make people. People make culture. If it is t...

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Référence électronique

Julie Crenn, « Who Run the World? South African Female Artists’ Relationship to History and Normativity », Critique d’art [En ligne], 47 | Automne / Hiver 2016, mis en ligne le 30 novembre 2017, consulté le 28 mars 2017. URL : http://critiquedart.revues.org/23201 ; DOI : 10.4000/critiquedart.23201

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