Zoë Strother - Profile on Academia.edu (original) (raw)
Papers by Zoë Strother
This case study from DR-Congo picks up a question raised by Chinua Achebe and other Igbo/Nigerian... more This case study from DR-Congo picks up a question raised by Chinua Achebe and other Igbo/Nigerian intellectuals: why have some African societies rejected the ideal of the eternal art object? And are expectations for the life history of a work of art shifting in the wake of the ongoing debate about restitution of cultural heritage?
This article considers the value of ephemerality in architecture in Central Africa. For the full ... more This article considers the value of ephemerality in architecture in Central Africa. For the full scholarly documentation, see "Architecture Against the State" (available below).
The restitution debate is creating a "forensic art history" but holds the potential to do much more.
This article takes as its subject a statue representing Maximilien Balot, the colonial officer ki... more This article takes as its subject a statue representing Maximilien Balot, the colonial officer killed during the 1931 Pende Rebellion in the Belgian Congo. By accessing an unusual wealth of historical documents, the authors open a window on the role of the arts during the colonial period. Their interdisciplinary approach also gives new perspectives on how rural Congolese experienced the violent reshaping of their lives and sought to create a space of liberation defined according to their own terms.
The text gives a quick overview of Congolese representations of Europeans in the visual arts. T... more The text gives a quick overview of Congolese representations of Europeans in the visual arts.
The issues raised are explored in greater depth in the author's book, Humor and Violence: Seeing Europeans in Central African Art.
HAU: Journal of Ethnographic Theory, 2020
Essay invited to prompt a colloquium debate devoted to “Iconoclasm, Heritage, Restitution,” with ... more Essay invited to prompt a colloquium debate devoted to “Iconoclasm, Heritage, Restitution,” with rejoinders from seven scholars. For the full issue, see HAU: Journal of Ethnographic Theory, Vol. 10 (3) 2020: 991-988.
Between Creation and Destruction
Res: Anthropology and aesthetics, 2005
What validity is there for the statistic often quoted in restitution or repatriation debates that... more What validity is there for the statistic often quoted in restitution or repatriation debates that 90-95% of African cultural heritage is located abroad?
This is the abstract for a roundtable on restitution to be held in Atlanta at the African Studies... more This is the abstract for a roundtable on restitution to be held in Atlanta at the African Studies Meeting (Nov. 29, 2018)
Since the late 19th century, people have loved to tell stories about people who believe that a “p... more Since the late 19th century, people have loved to tell stories about people who believe that a “photo steals the soul.” The essay traces the history of this idea and the appeal to western critics such as Susan Sontag. The second half of the article examines a theory of photography in Central Africa, which argues that photographs are neither indexical nor dangerous because they have never had a direct physical relationship with the subject as would a footprint or cigarette butt. While the circulation of photographs is sometimes a concern, as are the motives of intrusive visitors, the taking of the photo itself causes no offense and is appreciated as a modern form of image-making.
The essay examines the multi-sided nature of iconoclasm as a “disruptive reading of power relatio... more The essay examines the multi-sided nature of iconoclasm as a “disruptive reading of power relation” in the work of South African artist Kendell Geers.
This article introduces issues vital for any discussion of repatriation or restitution of African... more This article introduces issues vital for any discussion of repatriation or restitution of African cultural heritage. It traces the development of a culture of iconoclasm in southern Nigeria beginning in the 1880s and active today. One practical consequence of the iconoclastic legacy has been a deep resistance to the establishment of museums on a Western model.
The author asks: should we consider the refusal to shelter and maintain works of art and monument... more The author asks: should we consider the refusal to shelter and maintain works of art and monuments a form of willful destruction? She introduces the concept of “iconoclasm by proxy” in the context of African architecture when certain monuments and associated sculptures are rigged to self-destruct as a means to transfer responsibility for their demise onto natural forces.
The artistic director of the 4th Biennale of Lubumbashi (2015) speaks about his goal to provide a... more The artistic director of the 4th Biennale of Lubumbashi (2015) speaks about his goal to provide a venue for works of art articulating the forces of globalization and yet attentive to the architectural and social space of Lubumbashi, a geopolitical mining center. This interview is linked to an exhibition review, which says more about the individual artists and the reception of their work.
An exhibition review of the 4th biennale of Lubumbashi (2015). Featured artists include Jean Kata... more An exhibition review of the 4th biennale of Lubumbashi (2015). Featured artists include Jean Katambayi, Frances Bodomo, Gulda El Magambo, Mônica Nador, Maarten Vanden Eynde, and Mega Mingiedi. See also the interview with the artistic director, Toma Muteba Luntumbue.
Since 1985, various African constituencies have organized biennales as a means to participate in ... more Since 1985, various African constituencies have organized biennales as a means to participate in the world dialogue on contemporary art.
The text introduces Yocouba Konaté’s call for biennales of contemporary art in Africa (and especi... more The text introduces Yocouba Konaté’s call for biennales of contemporary art in Africa (and especially Dak’Art) to interpellate African subjects as creative individuals free and able to dream.
The text introduces Jean-Loup’s Amselle’s polemical critique of French culture brokers in promoti... more The text introduces Jean-Loup’s Amselle’s polemical critique of French culture brokers in promoting the arts as instruments of soft power in Africa, 1957-2005, drawn from his book, L’art de la friche. Amselle touches on André Malraux, the founding of French Cultural Centers, the Institut français, and Afrique en creations.
Le "primitivisme" à l'heure de la décolonisation, 2019
Au lendemain de la Seconde Guerre mondiale, alors que le mouvement de décolonisation se concrétis... more Au lendemain de la Seconde Guerre mondiale, alors que le mouvement de décolonisation se concrétise un peu partout dans le monde, la persistance d’un attrait pour le « primitif » paraît surprenante. Pourtant la référence à l’origine, au préhistorique, ou au sauvage traverse la création artistique aussi bien en Europe, que hors de l’Europe. Envisageant le primitivisme comme un paradigme aux contours changeants, cette journée d’étude propose d’explorer la persistance et les transformations de ce dernier, à la lumière de plusieurs questionnements : si le primitivisme des premières générations pouvait s’articuler à une réflexion anticoloniale, comment qualifier le rapport au politique des membres du groupe CoBRA, ou de Jean Dubuffet, par exemple ? L’opposition « moderne »/ « primitif » est-elle contestée dans la référence à l’ailleurs, ou bien se voit-elle reconduite ? A quels fondements théoriques s’amarrent les démarches d’artistes qui puisent dans la référence aux lointains (géographiques, comme temporels) ? Et qu’en est-il de ceux censés incarner les « primitifs » d’hier, et qui développent dans ces années-là les fondements d’un art « moderne » et transnational au Soudan ou au Mozambique?
This case study from DR-Congo picks up a question raised by Chinua Achebe and other Igbo/Nigerian... more This case study from DR-Congo picks up a question raised by Chinua Achebe and other Igbo/Nigerian intellectuals: why have some African societies rejected the ideal of the eternal art object? And are expectations for the life history of a work of art shifting in the wake of the ongoing debate about restitution of cultural heritage?
This article considers the value of ephemerality in architecture in Central Africa. For the full ... more This article considers the value of ephemerality in architecture in Central Africa. For the full scholarly documentation, see "Architecture Against the State" (available below).
The restitution debate is creating a "forensic art history" but holds the potential to do much more.
This article takes as its subject a statue representing Maximilien Balot, the colonial officer ki... more This article takes as its subject a statue representing Maximilien Balot, the colonial officer killed during the 1931 Pende Rebellion in the Belgian Congo. By accessing an unusual wealth of historical documents, the authors open a window on the role of the arts during the colonial period. Their interdisciplinary approach also gives new perspectives on how rural Congolese experienced the violent reshaping of their lives and sought to create a space of liberation defined according to their own terms.
The text gives a quick overview of Congolese representations of Europeans in the visual arts. T... more The text gives a quick overview of Congolese representations of Europeans in the visual arts.
The issues raised are explored in greater depth in the author's book, Humor and Violence: Seeing Europeans in Central African Art.
HAU: Journal of Ethnographic Theory, 2020
Essay invited to prompt a colloquium debate devoted to “Iconoclasm, Heritage, Restitution,” with ... more Essay invited to prompt a colloquium debate devoted to “Iconoclasm, Heritage, Restitution,” with rejoinders from seven scholars. For the full issue, see HAU: Journal of Ethnographic Theory, Vol. 10 (3) 2020: 991-988.
Between Creation and Destruction
Res: Anthropology and aesthetics, 2005
What validity is there for the statistic often quoted in restitution or repatriation debates that... more What validity is there for the statistic often quoted in restitution or repatriation debates that 90-95% of African cultural heritage is located abroad?
This is the abstract for a roundtable on restitution to be held in Atlanta at the African Studies... more This is the abstract for a roundtable on restitution to be held in Atlanta at the African Studies Meeting (Nov. 29, 2018)
Since the late 19th century, people have loved to tell stories about people who believe that a “p... more Since the late 19th century, people have loved to tell stories about people who believe that a “photo steals the soul.” The essay traces the history of this idea and the appeal to western critics such as Susan Sontag. The second half of the article examines a theory of photography in Central Africa, which argues that photographs are neither indexical nor dangerous because they have never had a direct physical relationship with the subject as would a footprint or cigarette butt. While the circulation of photographs is sometimes a concern, as are the motives of intrusive visitors, the taking of the photo itself causes no offense and is appreciated as a modern form of image-making.
The essay examines the multi-sided nature of iconoclasm as a “disruptive reading of power relatio... more The essay examines the multi-sided nature of iconoclasm as a “disruptive reading of power relation” in the work of South African artist Kendell Geers.
This article introduces issues vital for any discussion of repatriation or restitution of African... more This article introduces issues vital for any discussion of repatriation or restitution of African cultural heritage. It traces the development of a culture of iconoclasm in southern Nigeria beginning in the 1880s and active today. One practical consequence of the iconoclastic legacy has been a deep resistance to the establishment of museums on a Western model.
The author asks: should we consider the refusal to shelter and maintain works of art and monument... more The author asks: should we consider the refusal to shelter and maintain works of art and monuments a form of willful destruction? She introduces the concept of “iconoclasm by proxy” in the context of African architecture when certain monuments and associated sculptures are rigged to self-destruct as a means to transfer responsibility for their demise onto natural forces.
The artistic director of the 4th Biennale of Lubumbashi (2015) speaks about his goal to provide a... more The artistic director of the 4th Biennale of Lubumbashi (2015) speaks about his goal to provide a venue for works of art articulating the forces of globalization and yet attentive to the architectural and social space of Lubumbashi, a geopolitical mining center. This interview is linked to an exhibition review, which says more about the individual artists and the reception of their work.
An exhibition review of the 4th biennale of Lubumbashi (2015). Featured artists include Jean Kata... more An exhibition review of the 4th biennale of Lubumbashi (2015). Featured artists include Jean Katambayi, Frances Bodomo, Gulda El Magambo, Mônica Nador, Maarten Vanden Eynde, and Mega Mingiedi. See also the interview with the artistic director, Toma Muteba Luntumbue.
Since 1985, various African constituencies have organized biennales as a means to participate in ... more Since 1985, various African constituencies have organized biennales as a means to participate in the world dialogue on contemporary art.
The text introduces Yocouba Konaté’s call for biennales of contemporary art in Africa (and especi... more The text introduces Yocouba Konaté’s call for biennales of contemporary art in Africa (and especially Dak’Art) to interpellate African subjects as creative individuals free and able to dream.
The text introduces Jean-Loup’s Amselle’s polemical critique of French culture brokers in promoti... more The text introduces Jean-Loup’s Amselle’s polemical critique of French culture brokers in promoting the arts as instruments of soft power in Africa, 1957-2005, drawn from his book, L’art de la friche. Amselle touches on André Malraux, the founding of French Cultural Centers, the Institut français, and Afrique en creations.
Le "primitivisme" à l'heure de la décolonisation, 2019
Au lendemain de la Seconde Guerre mondiale, alors que le mouvement de décolonisation se concrétis... more Au lendemain de la Seconde Guerre mondiale, alors que le mouvement de décolonisation se concrétise un peu partout dans le monde, la persistance d’un attrait pour le « primitif » paraît surprenante. Pourtant la référence à l’origine, au préhistorique, ou au sauvage traverse la création artistique aussi bien en Europe, que hors de l’Europe. Envisageant le primitivisme comme un paradigme aux contours changeants, cette journée d’étude propose d’explorer la persistance et les transformations de ce dernier, à la lumière de plusieurs questionnements : si le primitivisme des premières générations pouvait s’articuler à une réflexion anticoloniale, comment qualifier le rapport au politique des membres du groupe CoBRA, ou de Jean Dubuffet, par exemple ? L’opposition « moderne »/ « primitif » est-elle contestée dans la référence à l’ailleurs, ou bien se voit-elle reconduite ? A quels fondements théoriques s’amarrent les démarches d’artistes qui puisent dans la référence aux lointains (géographiques, comme temporels) ? Et qu’en est-il de ceux censés incarner les « primitifs » d’hier, et qui développent dans ces années-là les fondements d’un art « moderne » et transnational au Soudan ou au Mozambique?
Online Conference (Italian Academy; University of Virginia; Columbia University), 2022
Since the 1990s, exhibitions of African photographers such as Seydou Keïta have raised questions ... more Since the 1990s, exhibitions of African photographers such as Seydou Keïta have raised questions about the relationship of ownership to authorship, visibility to privacy. Concerns about the ethics of looking and collecting have grown more urgent with recent debates about the restitution of African cultural heritage. This online symposium draws together scholars, artists, and curators who explore the ethics of working with photographs and methods to decolonize the medium, and its histories.
What rights do photographers have? In today's age of hypervisibility, can sitters claim their “right to opacity,” to use Édouard Glissant's term? What is the future of collecting and curating photographs that originate in family and colonial archives on the continent? Can viewers embody “the active struggle of looking with,” in Tina Campt’s words—rather than observe passively—and can this engender new ways of seeing?
The Full conference is now available online with English subtitles:
https://www.youtube.com/playlist?list=PLaHCzaL-ex1Z0s3901JS6RF5HVE4XEt_p