Exile, Rivers and Design: A Designer's Journey across Rivers (original) (raw)
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Journeys of displacement between South and North: decolonizing a designer imaginary
In a globalized world that promotes universal desires, southern epistemologies struggle to flourish against westernized notions of values, beauty and life goals. This manifestation of Coloniality (Grosfoguel, 2006) is strengthened by the mainstream systems of production and consumption of both goods and knowledge, where design is a driving force. Design, has been taught from generations in academy under the same Eurocentric canons that disseminate the values of capitalism and search for economic growth. Designers, have been worldwide trained to think, value and act according to the standards of aesthetics, progress and development set in the North. However, the current global unsustainability crises make more evident the global power dynamics, and the need to maintain diverse and contextualized forms of seeing and acting with the world. Our own experience of being trained as designers in the south, and now relocated to the north is making us aware of our life desires imposed by contemporary coloniality. However, this relocation also builds on the advantages of coloniality, for instance, by being in contexts that have a stronger voice in international disciplinary communities. As others in our situation, we don't want to be colonizers by being the " north in the south ". In this presentation we show journeys of deconstructing design, sustainability and their values and worldviews through transitioning between south and north. These journeys are motivated by the intention of creating mutual learning between south and north. We aim at supporting the transition of our discipline from Eurocentric worldview to more diverse worldviews and systems of values.
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The Canadian Review of Art Education / Revue canadienne d’éducation artistique
Book Response: Art-making with refugees and survivors: Creative and transformative responses to trauma after natural disasters, war, and other crises, edited by Sally Adnams Jones. London, England: Jessica Kingsley Publishers, 2018, 336 pp., ISBN: 1785922386Keywords: Community Arts; Refugees and Survivors; International Arts; Expressive and Creative Arts Therapies; Art Education; Transformative. Réaction livresque: Art-making with refugees and survivors: Creative and transformative responses to trauma after natural disasters, war, and other crises, edited by Sally Adnams Jones. London, England: Jessica Kingsley Publishers, 2018, 336 pp., ISBN: 1785922386Mots-clés : arts communautaires ; réfugiés et survivants ; arts internationaux ; thérapies par des activités créatives et d’expression ; éducation artistique ; transformateur.
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Rivers, Memory and Migrancy: Everyday Place-Making in Changing Environments
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This chapter discusses and compares three multi-disciplinary projects in Australia in which mobility was a characteristic of the human population involved. The first involves Aboriginal people and fishing on the upper Darling River and its tributaries, where the Aboriginal people had been forcibly removed in the mid-nineteenth century from areas of traditional ownership. In the second, Vietnamese people had moved to Australia during the 1970s and 1980s to take up new lives around the Georges River in Sydney. In the third case, Bangladeshis had migrated, usually voluntarily in the 1990s or early 2000s, from their homes in the megacity of Dhaka to Sydney’s south-western suburbs, also along the Georges River. In each case, the human communities were seeking to deal with very changed conditions, which were often restrictive, disempowered and socially uncomfortable, by engaging with the more-than-human world of animal and plant species in the environment. In each case, fish, river resour...
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Refugee artists and memories of displacement20190818 16818 10lzmlk
Visual Communication, 2019
This article considers the ways in which displaced artists represent the experience of displacement, their cultural traditions and the longing for home through paintings and how, by doing so, they become the visual interpreters of the current refugee crisis. The starting point of this article is that little attention has been paid towards the visual narratives of artworks produced by refugee artists and shared on online open platforms like, for example, Facebook. Through the visual semiotics analysis of 150 images of paintings (exhibited on the Facebook page Syria.Art) and through a number of individual interviews with the artists who produced such artworks, the article identifies three emerging visual narratives. These are concerned pri- marily with reminiscences about people, places and cultural practices lost (or in danger of being lost) because of forced journeys and displacement. Within this context, these visual discourses become part of an open reposi- tory, which mediates, re-organizes and preserves memories, both personal and collective, as a form of emotional survival and resilience. It is argued that these visual narratives and representations nurture empathy for the human condition of the refugees and universalize the migrant experience.
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Insecurities: Tracing Displacement and Shelter
This exhibition review contextualizes MoMA's recent aesthetic address of the refugee humanitarian crisis to its institutional legacy of activism under the tenure of its first director, Alfred H. Barr, Jr.
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Describing an embodied, felt experience as material form is the motivation behind this paper titled Migration and Diaspora: Reflections on studio praxis as a means of translating personal experience into material form, to re-establish a sense of place and identity is a continuing theme in my process of making art. Supporting this dialogue is my Doctor of Philosophy Fine Art research project: Migration Memory and Landscape: Recontextualisng personal experience through contemporary abstract painting, which was completed in July 2009. Included in the thesis was an exhibition of paintings and drawings, titled A Long Road Home, held at the University of Newcastle Gallery, 15 – 26 July 2009, provides the back ground and visual context for this discussion. The thesis took three and a half years to complete and consisted of four components: Painting, drawing, a book of self-published poems and memories, after before white rabbits, 2009, and a self-published book of documentary photographs of Glasgow’s East End, 2007, The Dead End of Culture. In this presentation I shall illustrate how the material relationship between each component inextricably supports a personal process of ‘finding form’ that creates a dialogue between a bodily response and material intelligence.
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