Jennifer Bajorek
Biographic Data
| ID | 169044 |
|---|---|
| NAME | Jennifer Bajorek |
| GIVEN NAMES | Jennifer |
| FAMILY NAME | Bajorek |
| SIGNATURE | BAJOREK J |
| AFFILIATIONS | Goldsmiths College, University of London, [email protected] |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 23 |
| WORKS AS AUTHOR | 18 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Kane Hamedine. - La maison bleue
Hamedine Kane's remarkable 2020 film, La maison bleue (The Blue House) (Tndor Production, Belgium), centers on the artist Alpha Diagne and various goings-on around his house.Alpha's house, indeed blue and located in the so-called Jungle of Calaisbeing shot, there, on the eve of the camp's "definitive" destruction in 2016-is the film's ostensible subject.Soon enough, however, the viewer comes to understand that Alpha's house is itself a kind of ca…
This Past Must Address Its Future
In the last two decades, key sites in the European borderscape—the “jungle” of Calais, the dense patchwork of settlements around Melilla and Ceuta, myriad migrant or refugee camps along Europe's Mediterranean coastline and in the major train stations of its capital cities—have become art factories. In these spaces, artists from a range of backgrounds are making new work, much of which seeks to challenge the exoticist and primitivizing tropes that…
Decolonization and Nonalignment
Vital Signs
In this chapter, the authors provide an overview of some of the trends before turning to detail a series of creative and forward-looking initiatives in Africa from which they, along with scholars and activists all over the world, are drawing inspiration now. At the turn of the twenty-first century, a number of respected institutions with significant holdings of photography entered into an exciting phase of archival experimentation. Exhibitions in…
"Beyond the "NGO Aesthetic
This article examines two projects by artists living and working in Nairobi. It asks questions about how these artists are visualizing or otherwise materializing in their work the specificity of their contemporary geopolitical and geocultural situation in relation to capitalism. How might this specificity allow these artists to elucidate aspects of contemporary capitalism's cultural logic that are all too often invisible to people living in other…
On Colour Photography in an Extra-Moral Sense
This article looks closely at the critical and curatorial discourse concerning colour in the work of two contemporary photographers, David Goldblatt (Intersections, ‘In the time of AIDS’, South Africa, 1999–2005) and Richard Mosse (Infra, Democratic Republic of Congo, 2010–2011). Specifically, the article explores ideas regarding colour's moral and political effects and how they may – or may not – be changing in the contemporary moment, when docu…
C'est une période de transformation fébrile
Jane Alexander's Anti-Anthropomorphic Photographs
This essay sets out from a reading of two photomontage projects by South African artist Jane Alexander, “Adventure Centre” (2000) and “Survey: Cape of Good Hope” (2005–09), one of Alexander's ongoing “survey” projects, and remarks on the overwhelming impulse on the part of critics and interpreters to anthropomorphize the figures appearing in the photomontage images. It goes on to explore the hypothesis that Alexander's work in fact resists or ref…
Photography and National Memory
This essay explores key historical and theoretical concerns in the photographic history of Senegal. Drawing on interviews carried out during visits to Saint-Louis and Dakar (in 2007–2008), it documents the polyvalent practices of photographers working in Senegal in the mid-20th century, with a focus on the career and collections of El Hadj Adama Sylla, a photographer active in Saint-Louis from the 1950s and the former curator of the photographic …
Introduction
This introduction to a special section on 'Photography and the State' reflects on trends in photography theory exemplified in essays by Jens Andermann, Ariella Azoulay, Andrea Noble, and Bronwyn Law-Viljoen. It suggests that the contributors make a powerful argument for photography's emergent contribution to theories of the state and of sovereignty. It situates this work in the context of a growing body of scholarship (by theorists such as Natali…
Eye on Bamako
The Rencontres de Bamako or 'African Photography Biennial', held in Mali's capital city, is the only biennial devoted to photography from Africa and the only international photography festival routinely held on the African continent. Since its first edition in 1994, the event has picked up impressive momentum and has caught the attention of jet-setting curators, critics, and dealers and brought exposure and international patronage to a lucky hand…
Of Jumbled Valises and Civil Society
(Dis)locating Freedom
(2008). (Dis)locating Freedom. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 100-113
Insert into Blankness
Research Article| December 01 2007 Insert into Blankness: Poetry and Cultural Memory in Benjamin's Baudelaire Interpretation Jennifer Bajorek Jennifer Bajorek Search for other works by this author on: This Site Google Qui Parle (2007) 16 (2): 97–130. https://doi.org/10.1215/quiparle.16.2.97 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Jennifer Bajorek; Insert into Blankness: Poetry and Cultural Memory in Benjamin's Bau…
The Offices of Homeland Security, or, Hölderlin's Terrorism
Democracy Calls on the First Comer
Jean Paulhan, Jennifer Bajorek, Democracy Calls on the First Comer, Yale French Studies, No. 106, The Power of Rhetoric, the Rhetoric of Power: Jean Paulhan's Fiction, Criticism, and Editorial Activity (2004), pp. 209-214
A Bee
Translator's Introduction
Of Jumbled Valises and Civil Society
Photography and National Memory
This essay explores key historical and theoretical concerns in the photographic history of Senegal. Drawing on interviews carried out during visits to Saint-Louis and Dakar (in 2007–2008), it documents the polyvalent practices of photographers working in Senegal in the mid-20th century, with a focus on the career and collections of El Hadj Adama Sylla, a photographer active in Saint-Louis from the 1950s and the former curator of the photographic …
Introduction
This introduction to a special section on 'Photography and the State' reflects on trends in photography theory exemplified in essays by Jens Andermann, Ariella Azoulay, Andrea Noble, and Bronwyn Law-Viljoen. It suggests that the contributors make a powerful argument for photography's emergent contribution to theories of the state and of sovereignty. It situates this work in the context of a growing body of scholarship (by theorists such as Natali…
Eye on Bamako
The Rencontres de Bamako or 'African Photography Biennial', held in Mali's capital city, is the only biennial devoted to photography from Africa and the only international photography festival routinely held on the African continent. Since its first edition in 1994, the event has picked up impressive momentum and has caught the attention of jet-setting curators, critics, and dealers and brought exposure and international patronage to a lucky hand…
"Beyond the "NGO Aesthetic
This article examines two projects by artists living and working in Nairobi. It asks questions about how these artists are visualizing or otherwise materializing in their work the specificity of their contemporary geopolitical and geocultural situation in relation to capitalism. How might this specificity allow these artists to elucidate aspects of contemporary capitalism's cultural logic that are all too often invisible to people living in other…
On Colour Photography in an Extra-Moral Sense
This article looks closely at the critical and curatorial discourse concerning colour in the work of two contemporary photographers, David Goldblatt (Intersections, ‘In the time of AIDS’, South Africa, 1999–2005) and Richard Mosse (Infra, Democratic Republic of Congo, 2010–2011). Specifically, the article explores ideas regarding colour's moral and political effects and how they may – or may not – be changing in the contemporary moment, when docu…
Democracy Calls on the First Comer
Jean Paulhan, Jennifer Bajorek, Democracy Calls on the First Comer, Yale French Studies, No. 106, The Power of Rhetoric, the Rhetoric of Power: Jean Paulhan's Fiction, Criticism, and Editorial Activity (2004), pp. 209-214
A Bee
Translator's Introduction
The Offices of Homeland Security, or, Hölderlin's Terrorism
Insert into Blankness
Research Article| December 01 2007 Insert into Blankness: Poetry and Cultural Memory in Benjamin's Baudelaire Interpretation Jennifer Bajorek Jennifer Bajorek Search for other works by this author on: This Site Google Qui Parle (2007) 16 (2): 97–130. https://doi.org/10.1215/quiparle.16.2.97 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Jennifer Bajorek; Insert into Blankness: Poetry and Cultural Memory in Benjamin's Bau…
(Dis)locating Freedom
(2008). (Dis)locating Freedom. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 100-113
Photography and National Memory
This essay explores key historical and theoretical concerns in the photographic history of Senegal. Drawing on interviews carried out during visits to Saint-Louis and Dakar (in 2007–2008), it documents the polyvalent practices of photographers working in Senegal in the mid-20th century, with a focus on the career and collections of El Hadj Adama Sylla, a photographer active in Saint-Louis from the 1950s and the former curator of the photographic …
Introduction
This introduction to a special section on 'Photography and the State' reflects on trends in photography theory exemplified in essays by Jens Andermann, Ariella Azoulay, Andrea Noble, and Bronwyn Law-Viljoen. It suggests that the contributors make a powerful argument for photography's emergent contribution to theories of the state and of sovereignty. It situates this work in the context of a growing body of scholarship (by theorists such as Natali…
Eye on Bamako
The Rencontres de Bamako or 'African Photography Biennial', held in Mali's capital city, is the only biennial devoted to photography from Africa and the only international photography festival routinely held on the African continent. Since its first edition in 1994, the event has picked up impressive momentum and has caught the attention of jet-setting curators, critics, and dealers and brought exposure and international patronage to a lucky hand…
Of Jumbled Valises and Civil Society
Jane Alexander's Anti-Anthropomorphic Photographs
This essay sets out from a reading of two photomontage projects by South African artist Jane Alexander, “Adventure Centre” (2000) and “Survey: Cape of Good Hope” (2005–09), one of Alexander's ongoing “survey” projects, and remarks on the overwhelming impulse on the part of critics and interpreters to anthropomorphize the figures appearing in the photomontage images. It goes on to explore the hypothesis that Alexander's work in fact resists or ref…
C'est une période de transformation fébrile
On Colour Photography in an Extra-Moral Sense
This article looks closely at the critical and curatorial discourse concerning colour in the work of two contemporary photographers, David Goldblatt (Intersections, ‘In the time of AIDS’, South Africa, 1999–2005) and Richard Mosse (Infra, Democratic Republic of Congo, 2010–2011). Specifically, the article explores ideas regarding colour's moral and political effects and how they may – or may not – be changing in the contemporary moment, when docu…
"Beyond the "NGO Aesthetic
This article examines two projects by artists living and working in Nairobi. It asks questions about how these artists are visualizing or otherwise materializing in their work the specificity of their contemporary geopolitical and geocultural situation in relation to capitalism. How might this specificity allow these artists to elucidate aspects of contemporary capitalism's cultural logic that are all too often invisible to people living in other…
Vital Signs
In this chapter, the authors provide an overview of some of the trends before turning to detail a series of creative and forward-looking initiatives in Africa from which they, along with scholars and activists all over the world, are drawing inspiration now. At the turn of the twenty-first century, a number of respected institutions with significant holdings of photography entered into an exciting phase of archival experimentation. Exhibitions in…
This Past Must Address Its Future
In the last two decades, key sites in the European borderscape—the “jungle” of Calais, the dense patchwork of settlements around Melilla and Ceuta, myriad migrant or refugee camps along Europe's Mediterranean coastline and in the major train stations of its capital cities—have become art factories. In these spaces, artists from a range of backgrounds are making new work, much of which seeks to challenge the exoticist and primitivizing tropes that…
Decolonization and Nonalignment
Kane Hamedine. - La maison bleue
Hamedine Kane's remarkable 2020 film, La maison bleue (The Blue House) (Tndor Production, Belgium), centers on the artist Alpha Diagne and various goings-on around his house.Alpha's house, indeed blue and located in the so-called Jungle of Calaisbeing shot, there, on the eve of the camp's "definitive" destruction in 2016-is the film's ostensible subject.Soon enough, however, the viewer comes to understand that Alpha's house is itself a kind of ca…
Art (13 works) · Political science (13 works) · Law (11 works) · Law (9 works) · Politics (8 works) · African history and culture studies (7 works) · Photography (7 works) · Sociology (7 works) · Visual arts (7 works) · Aesthetics (6 works)