Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten

Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten

This article takes the Danish artist Kristian von Hornsleth’s controversial art project Hornsleth Village Project Uganda (2006-2007) as a starting point for a discussion of the relation between aesthetics and ethics in contemporary art. Far from advocating that art must be ethically ‘good’ to be of...

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Autores principales: Mathias Danbolt, Tobias Raun
Formato: article
Lenguaje:DA
EN
NB
SV
Publicado: The Royal Danish Library 2008
Materias:
Social Sciences
H
Acceso en línea:https://doaj.org/article/1763b82199264e2abbb651f4674355cd
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spelling oai:doaj.org-article:1763b82199264e2abbb651f4674355cd2021-12-01T00:08:12ZHornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten10.7146/kkf.v0i4.279432245-6937https://doaj.org/article/1763b82199264e2abbb651f4674355cd2008-12-01T00:00:00Zhttps://tidsskrift.dk/KKF/article/view/27943https://doaj.org/toc/2245-6937This article takes the Danish artist Kristian von Hornsleth’s controversial art project Hornsleth Village Project Uganda (2006-2007) as a starting point for a discussion of the relation between aesthetics and ethics in contemporary art. Far from advocating that art must be ethically ‘good’ to be of importance, the authors question why transgressive and provocative socially engaged art projects frequently perform, repeat and consolidate patriarchal, racist and colonial structures. The article shows how Hornsleth’s neocolonial ethnographic project enables a reenactment of Western colonial subjectivity, embodied by the artist in the form of a bad ass white avantgarde masculinity, untouchable and above critique.Mathias DanboltTobias RaunThe Royal Danish LibraryarticleSocial SciencesHDAENNBSVKvinder, Køn & Forskning, Iss 4 (2008)
institution DOAJ
collection DOAJ
language DA
EN
NB
SV
topic Social Sciences
H
spellingShingle Social Sciences
H
Mathias Danbolt
Tobias Raun
Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten
description This article takes the Danish artist Kristian von Hornsleth’s controversial art project Hornsleth Village Project Uganda (2006-2007) as a starting point for a discussion of the relation between aesthetics and ethics in contemporary art. Far from advocating that art must be ethically ‘good’ to be of importance, the authors question why transgressive and provocative socially engaged art projects frequently perform, repeat and consolidate patriarchal, racist and colonial structures. The article shows how Hornsleth’s neocolonial ethnographic project enables a reenactment of Western colonial subjectivity, embodied by the artist in the form of a bad ass white avantgarde masculinity, untouchable and above critique.
format article
author Mathias Danbolt
Tobias Raun
author_facet Mathias Danbolt
Tobias Raun
author_sort Mathias Danbolt
title Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten
title_short Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten
title_full Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten
title_fullStr Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten
title_full_unstemmed Hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten
title_sort hornsleths un/fair trade – æstetisk evangelisme og nykolonialistisk etnografi i samtidskunsten
publisher The Royal Danish Library
publishDate 2008
url https://doaj.org/article/1763b82199264e2abbb651f4674355cd
work_keys_str_mv AT mathiasdanbolt hornslethsunfairtradeæstetiskevangelismeognykolonialistisketnografiisamtidskunsten
AT tobiasraun hornslethsunfairtradeæstetiskevangelismeognykolonialistisketnografiisamtidskunsten
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