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EDITORIAL |
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Momentos de reflexión y
agrdecimiento en el fin de un año intenso
Honor
a quien honor merece: Este 2007 se nos va y debemos ser agradecidos.
Agradecemos pues, amig@ lector@, que sigas nuestro devenir por este
Tercer Planeta. Enkidu Magazine nació como una alternativa real
para quienes gustamos de informarnos, para quienes tenemos tiempo
para reflexionar, averiguar y, lo más importante, tomar deciones
que puedan mejorar un poco, día con día, los problemas que nos
afectan a tod@s los seres que habitamos este mundo...
más
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[10.11.2007]: Momentos
de reflexión, diálogo y intercambio global constante: Democracia,
Ciudadania, Derechos Humanos, Nuevos libros, obras de teatro y
actividades académicas
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Enkidu
International Society for Cultural History and Cultural Studies (CHICS)
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Explorations in the
Cultural History of AIDS
IV
International
Conference
México City &
Puebla, 9 -
12 December 2007
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AIDS
and Narrativity Down Under: Considering William Yang's "Sadness"
Royce
W. Smith
Modern
and Contemporary Art History
Institution:
School of Art and Design, College of Fine Arts, Wichita State University
Estados
Unidos
INTRODUCTION
The challenges inherent in art exhibitions engaging
HIV/AIDS is the achievement of balance between their revelation about
individual artists’ responses to disease, their affirmation of those
varying perspectives, and their avoidance of slippage into visual cliché.
Given the scope of exhibitions devoted to tackling HIV/AIDS from either
aesthetic or activist viewpoints, an exhibition “about” HIV/AIDS is
neither a simple, photographic confirmation of epidemiological “horror”
nor an unchanging canon of artworks that can construct and exhibit disease
in a totalizing, universalizing manner. Some works, like the manifestation
of the illness itself, function in an extremely clandestine manner and
reiterate visually that an exhibition about HIV/AIDS is not one with
visible “truths” or predictable visual vocabularies, but rather is
epitomized by varying negotiations between disease and its broader
preconceived, developing, and experienced configurations within and
between cultures. Given the biomedical and cultural imperatives that all
too often fashion HIV/AIDS as a homogeneously experienced catastrophe, art
remains a crucial mediator between the disease’s global reach and its
local, often-unfamiliar surfacings. While many photographers, such as
Nicholas Nixon in his “People with AIDS” series, have tended to focus
on HIV/AIDS as indexical presences in their work and have ultimately
isolated the disease—as well as those who live with it—from their
extensive cultural and social contexts, William Yang's "Sadness"
serves as a poignant mapping of the complex intersections between art,
sexual identity, cultural heritage, and contemporary life with HIV/AIDS.
PROJECT OVERVIEW
First created in 1992 and performed as a monologue
with accompanying photography and music, William Yang’s
"Sadness" aligns his experiences as a third-generation
Chinese-Australian and the rigid traditions of his family with the queer
community in Sydney to which Yang belongs and the devastation caused by
the pandemic in the late 1980s and early 1990s. While the two unresolved
narratives that simultaneously develop in "Sadness"—the 1922
murder of Yang’s uncle, William Fang Yuen, and the historical
affirmation of a culture ravaged by the spread of HIV—might seem
disparate and unrelated, "Sadness" convincingly intersperses
Yang’s personal quest for knowledge about family and self-identity with
his desire to photographically and textually memorialize friends who have
died from complications of AIDS. For example, as Yang recalls his mother’s
desire to embrace Westernness and her assimilationist stance that left
questions about his Chinese history unanswered, the artist importantly
links the self-denial perpetuated by colonialism with the ongoing
marginalization of those living in Australia’s queer communities in the
1980s and 1990s—especially those living with HIV/AIDS.
GOALS OF PRESENTATION
This paper will present and explore the significance
of specific narratives and photographic projects associated with
"Sadness," especially Yang’s evolving photodocumentary
relationship with Peter Tully and fellow artist, David McDiarmid. Yang’s
"Sadness" will also be cross-culturally contextualized with
other AIDS-related art projects by artists more familiar in Western art
historical and cultural discourses—such as Felix Gonzalez-Torres, Andres
Serrano, Nan Goldin, Martin Wong, and David Wojnarowicz—in order to
examine the importance of Yang’s work within the landscape of art
practices addressing the impacts of HIV/AIDS.
About Royce W. Smith
Royce W. Smith is Assistant Professor of Modern and
Contemporary Art History at Wichita State University in Wichita, Kansas.
He earned his Ph.D. at the University of Queensland in Brisbane,
Australia. While in Australia, Smith also curated a successful exhibition
in conjunction with the 2002 Gay Games at the Ivan Dougherty Gallery in
Sydney entitled, "With and Without You: Re-visitations of Art in the
Age of AIDS."
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