Aiming to develop an ecofeminist lens of lens-based art, this thesis analyses how the choice of a specific medium enhances the communication of concepts relating to the relationship between humans,...Show moreAiming to develop an ecofeminist lens of lens-based art, this thesis analyses how the choice of a specific medium enhances the communication of concepts relating to the relationship between humans, or women specifically, and nature. The implications of presenting the female body in nature are discussed through an amalgamation of (eco-)feminist theory and three established topics within media studies: representation, the moving image in the museum, and the affective turn. From representation in photography to affect in video art installation, the growing possibilities of lens-based art are argued to work towards more complex and critical artistic explorations of the relationship between the female body and nature.Show less
This thesis aims to examine the conventions governing both photojournalism and art with regard to war photography. More specifically, how are conventions in representations of war in...Show moreThis thesis aims to examine the conventions governing both photojournalism and art with regard to war photography. More specifically, how are conventions in representations of war in photojournalism interrogated by artists and what conventions in turn govern artistic approaches to war photography? The relationship between art and war photography will be examined in relation to three artworks, which present a complementary approach towards the discussed issues.Show less
Het schilderij De 500 Arhats van Takashi Murakami uit 2012 vormt een onderzoekscasus waarin de verschillende aspecten, die te maken hebben met de schijnbare tegenstelling tussen traditie en...Show moreHet schilderij De 500 Arhats van Takashi Murakami uit 2012 vormt een onderzoekscasus waarin de verschillende aspecten, die te maken hebben met de schijnbare tegenstelling tussen traditie en vernieuwing in de hedendaagse Japanse kunst worden geanalyseerd. Stilistische en inhoudelijke elementen in het werk duiden er op dat er een relatie bestaat tussen de hedendaagse Japanse schilderkunst en de modernistisch-traditionalistische traditie van Nihonga. Zo zijn beide stijlen op te vatten als een transcultureel fenomeen. Vanuit deze hypothese wordt uitgegaan van een gemeenschappelijke concept van hybriditeit, dat een kernbegrip is voor zowel de vroeg-moderne Japanse kunst als de hedendaagse schilderkunst van Superflat. Dit wordt niet alleen in de context van de stijl Superflat geplaatst, maar ook verbonden met de theorie van intersubculturalisatie en de iconografie van cultureel trauma.Show less
This thesis reveals a reflection on trauma in a personal photographic project and focuses on the relationship between photography and memory, and photography and trauma. It aims to answer the...Show moreThis thesis reveals a reflection on trauma in a personal photographic project and focuses on the relationship between photography and memory, and photography and trauma. It aims to answer the question how a visual project created in the format of a reconstructed family photo album can provide insights into issues addressed in theoretical debates on those relationships.Show less
This thesis investigates through terminological and historical research violence metaphors used in photography language, such as 'the camera as the gun' and 'the photographer as the hunter.'
Research master thesis | Arts and Culture (research) (MA)
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Abstract The German exhibition documenta is inarguably one of the most well-known perennial exhibitions worldwide and takes part every four to five years in Kassel (Germany). The topic discussed in...Show moreAbstract The German exhibition documenta is inarguably one of the most well-known perennial exhibitions worldwide and takes part every four to five years in Kassel (Germany). The topic discussed in this MA thesis, is the 14th edition of documenta and its partial re-location to Athens (Greece) in 2017. This thesis is a critical examination of stereotypical assumptions about Greece’s past that were included in the discourse of the exhibition, and manifested through the public program Exercises of Freedom and the artwork The Parthenon of Books by Marta Minujín. Additionally, these case studies were analyzed based on their common participatory factor using theories of spectatorship by Claire Bishop and Jacques Rancière. This research demonstrates that the documenta14, in the cases of these artworks, conceptualized greek past through the dominant Eurocentric framework.Show less
This thesis examines the visual language of the 'Mouvement National de Liberation de l’Azawad' and how Azawad aims to visually legitimize itself as a nation. Its multi-ethnic demographics show how...Show moreThis thesis examines the visual language of the 'Mouvement National de Liberation de l’Azawad' and how Azawad aims to visually legitimize itself as a nation. Its multi-ethnic demographics show how a public can assume its own agency through visual works created in a group setting. While the interstice is determined to be a space where communication outside of the norm can take place, the use of ‘banal nationalism’ as described by Michael Billig shows that, if anything, the location of this interstice is difficult to determine. The group agency does not translate to the presentation of the works outside of the region as is shown in the work Jonas Staal presented in Utrecht at Basis Aktuele Kunst in 2012. Instead, the works have been re-appropriated to fit within Staal’s concept of a ‘stateless state’. Bourriaud’s theory on relational aesthetics along with Ernesto Laclau’s description of emancipatory dimensions allow for a discussion on the public’s involvement in the creation of the ‘self’ in relation to the ‘other’. Michael Billig’s concepts on nationalism create an interdisciplinary approach in this thesis and show that this legitimization is partly achieved through the use of the language of banal nationalism.Show less
This thesis focuses on vernacular photographs that have been altered by artists stitching various forms of embroidery directly into the photographic paper, creating an interplay of thread, paper,...Show moreThis thesis focuses on vernacular photographs that have been altered by artists stitching various forms of embroidery directly into the photographic paper, creating an interplay of thread, paper, and image. The combination of these opposing traits into a single work subverts the viewer’s assumptions about both mediums, and constitutes a specific spectator experience. I utilise theories from film, photography, painting, and digital media that deal with materiality and embodiment in order to examine what is at work in an embodied spectator experience with specific works from four artists using varied approaches. My hope is to provide insight into potential avenues and outcomes for embodiment with both these objects in particular and embroidered photographs more broadly.Show less
Research master thesis | Arts and Culture (research) (MA)
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This thesis examines what insights the photography series Blue Sky Days (2012-) by Tomas Van Houtryve provides into concepts as vision, subjectivity and representation, which means that the series...Show moreThis thesis examines what insights the photography series Blue Sky Days (2012-) by Tomas Van Houtryve provides into concepts as vision, subjectivity and representation, which means that the series functions as a case study, a common thread. The drone as imaging technology challenges the traditional relation between image and vision. The remarkable visuality of the series, the vertical perspective, distorts our sense of spatial and temporal orientation. It differs from the visuality that long dominated our vision, the paradigm of the linear perspective. I argue that drone vision is a collaborative vision by a human-drone assemblage that should be understood as an embodied vision. Blue Sky Days problematizes the effect of the vertical perspective and the necropolitical logic to which it invites. In contemporary warfare, the digital drone image is no longer treated as a passive representation, but as an active entity, being part of a process. Blue Sky Days as a series of static photographic images emphasizes ambiguity and undecidibility, which contrasts the visuality of certainty employed by synthetic vision systems. Van Houtryve uses a strategy of anthropomorphism, a strategy that raises awareness for the fact that agency is distributed by human and nonhuman forces. His series humanizes the other, encourages empathy for the people living under the drone, which contrast the current of anthropophobia in synthetic imagery. In the last chapter, I discuss the series in relation to the debates around representation that troubled documentary photography, war photojournalism and art. Now hypermediacy and immediacy seem both a strategy by the military to create a civic weaponized eye, Van Houtryve’s drone photography is an interesting alternative gesture by emphasizing the process of remediation.Show less
