Itinerários de Willie Bester nos cenários da África do Sul e de expografia mundializada
Bibliographic Data
| ID | 5795745 |
|---|---|
| Authors | Carolina De Campos Tornich (corresponding author) |
| Year | 2019 |
| Publication date | 2019-08-12 |
| Open Access | Yes |
| Type | THESIS |
| Publisher | Universidade de São Paulo. Agência de Bibliotecas e Coleções Digitais (PUBLISHER) |
| DOI | 10.11606/d.93.2019.tde-12082019-131548 |
| OpenAlex | W2968466345 |
| Language | PT |
| References cited | 9 |
This dissertation examines the artistic trajectory of Willie Bester, a South-African artist, whose work is based on junk and miscellanea of materials found in townships, melding it with oil painting, watercolor and pictures of inhabitants of these settlements.From his individual trajectory, the study is based on a fieldwork carried out in Capetown in November 2016 and a bibliographic review and follows the most highlighted themes of his/her work, the main exhibitions he took part and the contemporary national scenery.Bester's work focus on townships daily life, power exercises, segregation and social stigma situations in South Africa, especially during the apartheid and its contemporary traces.Each work creates narratives and scenerys presenting men, women, children, heroes, martyrs or regular people, as well as historical and sociocultural situations and dillemas he identifies in his society.Each person dialogues with the artist's personal life, framed by the social challenges of a poor kid growing during the apartheid in the instituted conditions of "other coloured" along exclusion, racism and prejudice.As the institution segregation regimen has ended in early 1990s, after a long boycote to South African arts ate great world exhibition due to the ongoing violation of human rights in the country, there was an international reacceptance to South African artists.Bester had, then, the possibility of enskillsment and his work was enhanced, being progressively recognized both in South Africa and worldwide.He took part in great exhibitions as the Venice Biennal of 1993.In such context, Bester among other artists inscribes himself in contemporary South African and African contemporary artistic creation, increasingly appraised and debated, caliming his space.In South Africa, starting with Bester, it is possible to highlight political and social concerns echoing in artistic works from his generation on
Art · Exhibition · Racism · Sociology · Visual arts · Cultural Identity and Heritage · Cultural Industries and Urban Development · Gender Studies · History · South African History and Culture
| Highly cited | No |
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