Ornements transfrontières/avant-gardes marocaines
Entre ésotérisme et post-colonialisme
Bibliographic Data
| ID | 19233646 |
|---|---|
| Authors | Morad Montazami (Tate Modern for the Middle East and North Africa supported by Iran Heritage Foundation – TATE MODERN, Bankside, London SE1 9TG, UK, corresponding author) |
| Year | 2016 |
| Volume | 70 |
| Issue | 4 |
| Pages | 1071-1092 |
| Publication date | 2016-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Asiatische Studien – Études Asiatiques (JOURNAL) |
| Journal identifiers | ISSN: 0004-4717 • E-ISSN: 2235-5871 |
| Publisher | De Gruyter (PUBLISHER • DE) |
| DOI | 10.1515/asia-2016-0048 |
| OpenAlex | W2587080676 |
| Language | EN |
| References cited | 5 |
The discourses surrounding the ornament in Western modernist and formalist art theory (Riegl, Focillon) encourage such ideas as the emancipation of the ornament. The same preoccupation has been followed – from a totally different perspective – by Moroccan avant-garde painters (Ahmed Cherkaoui, Farid Belkahia and the Casablanca School) who stood up for the decolonization of arts and culture. How can we retrace the visual and literary genealogy (in practice and theory) that led to this esoteric use of the ornament as a tool for mobility and migration through strategies of sign making and identity politics
Aesthetics · Art · Art history · Decolonization · Emancipation · Humanities · Identity (music) · Painting · Political science · Politics · Sign (mathematics) · Sociology · The arts · Visual arts · Law · Multiculturalism, Politics, Migration, Gender · North African History and Literature · Political and Social Issues
| Citation velocity | historical |
|---|---|
| Highly cited | No |