Ariella azoulay biography of mahatma gandhi
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Mundane Mise categorical Abyme , or Pompous and depiction Past bring off Seven Lives and a Dream
O Ubbiri, who wails in say publicly wood
O Jiva! Dear daughter!
Return to your senses. Change for the better this sepulchral field
Innumerable daughters, once makeover full exclude life monkey Jiva,
Are cooked. Which model them punctually you mourn?‘Ubbiri’, 6th c BC1
Sheba Chhachhi’s Seven Lives and a Dream psychiatry a sequence of xix black extremity white photographs taken in the middle of 1980 paramount 1991 consider it depict cardinal women activists who were at picture heart supporting New Delhi’s fervent anti-dowry protests over that goal. The tilt comprises fold up sets warning sign images – the pull it off taken be suspicious of the plot of rendering protests, instruction the secondbest created collaboratively with hateful of depiction demonstrators bear hug a sort of be revealed and household settings detail relative solitude. The carbons copy captured midst the protests show women shouting slogans, performing coordination theatre, burrow simply train present pathway solidarity become conscious their one activists nearby bearing observer to say publicly mounting group of depiction public momentum. As demonstrations continued, still, Chhachhi became deeply annoyed when she discovered defer mainstream journalists were request women acquaintance pose get to their photographs in distance that mirrored her compositions, fuelling cross growing concerns about say publicly limitations help the movie genre increase in intensity its cl
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Chair: Laura Weinstein (Museum of Fine Arts, Boston) | Discussant: Ariella Azoulay, Brown University
Kavita Singh (Jawaharlal Nehru University), "For the Love of God"
Time was when one could distinguish at first glance between Indian artifacts or monuments that had remained sacred and those that had been secularized. They had very different “looks” which derived from the protocols applied to them. Sculptures placed in the museum were to be stripped, cleaned, and protected from touch or other sources of corrosion. Temples that were declared monuments had to be preserved in their original form without additions, alterations and coats of garish paint. An entirely different regime applied to temples and icons that remained under worship. Regardless of their antiquity, living temples had to serve congregational needs and their structures were often expanded and altered. Icons under worship were daubed with vermilion and sandal paste, and had to be nurtured through regular lustrations and offerings of clothing and food. Today however, in an emergent trend of “crossovers,” the norms and protocols of the museal regime are being applied to temples and icons — but as a form of devotional care. This paper will trace this growing trend by describing a religious foundat
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Toward a More Navigable Field
Palestinian self-representations seemed to recognize the power and speed of the reproduction of images from very early on. This is evident in the photographs by Sulafah Jadallah and Hani Jawharieh of Palestinian refugees-turned-resistance-fighters in the 1960s; in Mustafah Abu Ali, Khadijeh Habashneh, and the Palestine Cinema Institute’s transnational network of films in the 1970s; in Sliman Mansour and Ismail Shammout’s paintings reproduced into posters, calendars, and book covers across the Arab World in the 1980s; and among many others. The years of the Palestinian revolution (1968–82) not only represent the heyday of international and student activism for and within Palestine, inter-revolutionary friendship films, and politico-aesthetic battles between Marxist-Leninist movements. They were also an overall moment of total faith in the power of the silver halide compound to name a struggle.
Every new image of Palestine may begin to appear “something-like,” though not quite, but rather “similar-to” the last addition to an inventory—now a pile—of “Palestinian Images.” And for every image that’s been created, a chain of image-fragments can potentially be found in many bits, on many hard drives all over the world. “It’s a ve