Inhabiting Liminality

Cosmopolitan World-Making in Naeem Mohaiemen’s Tripoli Cancelled

Dados Bibliográficos

ID20249372
AutoresKelley Tialiou (Independent Scholar, Athens, Greece, autor correspondente)
Ano2019
Volume8
Fascículo2
Páginas117
Data de publicação2019-06-24
Peer ReviewedSim
Open AccessSim
TipoARTICLE
PeriódicoHumanities (JOURNAL)
Identificadores do periódicoISSN: 2076-0787 • E-ISSN: 2076-0787
EditoraMDPI AG (PUBLISHER • IT)
DOI10.3390/h8020117
OpenAlexW2953106842
IdiomaEN
Referências citadas16

Motivated by “the need to embody ... the palpable tension between the North and the South as it is reflected, articulated, and interpreted in contemporary cultural production”, documenta 14’s selection of Athens as a “vantage point ... where Europe, Africa, the Middle East, and Asia face each other” is in line with the ancient Greek concept of the ‘cosmopolite’, a term that Diogenes first coined “as a means of overcoming the usual dualism Hellene/Barbarian”. In this article, I suggest that Naeem Mohaiemen’s feature film, Tripoli Cancelled (2017), commissioned by documenta 14 and premiered at the National Contemporary Art Museum in Athens, proposes a rich and compelling model of cosmopolitan world-making. Shot at the abandoned Elliniko Airport, the film is poetically suspended between fact and fiction, past and present, the historical and the incidental, the local and the global. Creatively positioning the concepts of cosmopolitanism, nostalgia, and hospitality in dialogue, I develop a theoretical model through which I seek to explore how the literally and metaphorically liminal space inhabited by the film’s anonymous protagonist resonates with the contemporary conditions of desperate migration

Aesthetics · Ancient history · Archaeology · Art · Barbarian · Cosmopolitanism · Hospitality · Liminality · Literature · Narrative · Politics · Sociology · Tourism · Decolonial Thought and Epistemologies · History · Middle East Politics and Society · Urban Planning and Governance

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