TY - THES A1 - Sidjimovska, Ivana T1 - Recounting Skopje. Skopje 2014: Symbolic and Citizens' Narratives N2 - Focusing on the neoliberal symbolic urban reconstruction of the Macedonian capital, known as “Skopje 2014”, the PhD work deals with urban space production through storytelling. Embracing the criticism put forward in the political, cultural and social debates that have spun around Skopje’s reconstruction, the artistic-based research sought to relate and analyze the symbolic narratives of “Skopje 2014” and the vernacular and civic narratives of Skopje and locate overlapping, divergent, complementary or conflictual aspects of their respective narrative structures. Informed by subjective citizens’ stories and experiences of the urban as well as binaural sonic observations of the city, the research findings were presented in the form of an interactive audio guided walk through the city. The thesis is organized in three chapters, preceded by an INTRODUCTION and followed by a CONCLUSION. CHAPTER ONE sets the theoretical context, presents the case study “Skopje 2014”, and discusses the research design. The audio guided walk is presented in CHAPTER TWO. Its content consists of five tracks, or subchapters, conceptualized and named as five different aspects of the city: THE MODERNIST CITY, THE FEMALE CITY, THE MEMORY CITY, THE POSTCOMMUNIST CITY and THE TOURIST CITY, according to the discourses related to these tracks. CHAPTER THREE, the EPILOGUE, is the final discussion of the research project, in which several meta-conclusions are drawn. KW - Stadtumbau KW - Skopje 2014 KW - neoliberal urban reconstruction KW - urban narratives KW - artistic research KW - art in public space KW - audio walk KW - Audioführung Y1 - 2019 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20191119-40256 ER - TY - THES A1 - Dief, Shaima T1 - Ancient Egyptian Hybrid Deities in Visual Form as Mediator in Cultural Transmission N2 - The most fundamental understating of hybridization methodology takes the form of stable but dynamic notions, accumulated over time in the memory of individuals. Schematized and abstracted, the hybrids representation needs to be reproduced and reused in order to reconstruct and bring back other memories. Reinvented, or reused hybrids can support getting access to social, traditional, religious understanding of nations. In this manner, they take the form of the messenger / the mediator an innate, equivalent to the use of mental places in the art of memory. We remember mythology in order to remember other things. From individual memory perspective, or group collective memory, the act of recollection is assumed to be an individual act, biologically based in the brain, but by definition conditioned by social collectives. Following Halbwachs, this thesis does not recognize a dichotomy between individual and collective memory as two different types of remembering. Conversely, the collective is thought of as inherent to individual thought, questioning perspectives that regard individual recollection as isolated from social settings. The individual places himself in relation to the group and makes use of the collective frameworks of thought when he localizes and reconstructs the past, whether in private or in social settings. The frameworks of social relations, of time, and of space are constructs originating in social interaction and distributed in the memory of the group members. The individual has his own perspective on the collective frameworks of the group, and the group’s collective frameworks can be regarded as a common denominator of the individual outlooks on the framework. In acts of remembering, the individual may actualize the depicted symbols in memory, but he could also employ precepts from the environment. The latter have been referred to as material or external frameworks of memory, suggesting their similar role as catalysts for processes of remembrance such as that of the hybrids in my paintings. It is only with reference to the hybrids, who work as messengers / mediators with a dual nature, that communicate between the past and the present, the internal and external space, that individual memory and group memory is in focus. The exhibition at the Egyptian museum in Leipzig is my practical method to create a communicative memory, using hybrids as mediators in cultural transimission, as when the act refers to informal and everyday situations in which group members informally search for the past, it takes place in the communicative 162 memory. As explained in chapter one, the exhibition at the Egyptian museum in Leipzig is an act of remembering in search for the past with support of my paintings, which then can considered as part of the cultural memory. In addition to the theoretical framework summarized above, I have applied my hypothesis practically in the form of the public exhibition, and shared the methodology with public audience from Cairo / Egypt and Leipzig / German in the form of visual art workshops and open discussions. I have also suggested an analyzed description of the meaning of hybrids in my artwork as mediators and messengers for the purpose of cultural transmission, as well as in relation to other artists’ work and use of a similar concept. By using my hybrid creatures in my visual artwork, I am creating a bridge, mediators to represent both the past and the present, what we remember of the past, and how we understand the past. It is as explained in chapter two; that the hybridization methodology in terms of double membership represented in different cultures –Cairo / Egypt and Leipzig / Germany- can provide a framework which allows artistic discussions and could be individually interpreted, so individual cultures / individual memory can become transparent without losing their identities and turn into communicative memory. This transmission through the hybridization theoretical approech was explicitly clarified with the support of Krämer’s hypothesis. The practical attempt was examined by creating a relationship between the witness –me as an artist– and the audience –the exhibition visitors–, to cross space and time, not to bridge differences, rather to represent the contrasts transparently. The Kin-making proposition is adopted by many academics and scholars in modern society and theoretical research; the topic was represented in the roots of the ancient Egyptian mindset and supported theoretically by similar understandings such as Haraway’s definition of kin-making. The practical implementation of kin- making can be observed in many of my artwork and was analyzed visually and artistically in chapter three. My practical project outcome tested success by using hybrids in my paintings as mediators, it opened a communicative artistic discussion. This methodology gave a possible path of communication through paintings / visual analyses, and offered relativity through image self-interpretation. KW - Kollektives Gedächtnis KW - Kunst KW - Cultural memory KW - Communicative memory KW - Hybridization KW - Visual Art Y1 - 2023 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20230220-49337 ER - TY - THES A1 - Pessoa, Suelen T1 - Why do the Archives archive? A journey from the hunko to the counter-ethnography and back N2 - A complex artistic research on the theme of cultural heritage and (neo)colonial processes of material and immaterial expropriation. Starting from the encounter with a phonographic relic at the Berliner Phonogramm-Archiv, the artist embarks on a journey to her own roots embodied in the practice of the Afro-Brazilian religion Candomblé. In the form of a theoretical treatise, an archive (photos, diagrams, maps, newspaper clippings, letters, documents), as well as a sound performance in the public space of the city of Weimar, several theoretical and performative elements are brought together in this transmedia artistic research that proposes a true decolonial practice. KW - Künstlerische Forschung KW - Museumskunde KW - Ethnologie KW - Candomblé KW - Brasilien KW - decolonisation KW - memoy KW - museum KW - visual arts KW - artistic research KW - Artistic Research KW - Museology KW - Counter-ethnography KW - Brazil Y1 - 2020 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20210112-43280 ER - TY - THES A1 - Ettinger, Ulrike T1 - FASHIONABLY NATIONAL! ‚Volkstracht‘ als Ressource im sozialistischen Rumänien aus der Perspektive von Forschung und Kunst N2 - Ausgehend von der vielfachen Verwertung der bäuerlichen Kleidung durch den Staat während des Sozialismus in Rumänien wird in der Arbeit das ‚Gemacht-Sein‘ von Volkstrachten befragt entlang von im untersuchten Zeitraum wirkenden Diskursen, wie dem Prozess der Modernisierung oder der Hervorhebung nationaler Werte. Die künstlerische Forschung setzt dabei auf Simulacra (Roland Barthes). Ziel war, tradierte Formate der Wissensaufbereitung und -verbreitung zu appropriieren, so auch von Strategien, die auf der Ebene von Bildern und Sprache agieren, um eine Re-Lektüre sowohl von ‚Volkstracht‘ im Sozialismus als auch von ihren Entsprechungen nach 1989 zu ermöglichen. N2 - Based on the multiple use of peasant clothing by the government during socialism in Romania, this study questions the making of folk costumes along discourses effective in the investigated time period, such as the process of modernization or the enhancement of national values. The artistic research thereby relies on simulacra (Roland Barthes). The aim was to appropriate established formats of processing and disseminating knowledge, including strategies that operate on the level of images and language, in order to enable a re-reading of both folk costumes under socialism as well as their equivalents after 1989. T2 - FASHIONABLY NATIONAL! ‚Folk Costume‘ as a resource in socialist Romania from the perspective of research and art KW - Tracht KW - Volkstracht KW - Rumänien KW - Sozialismus KW - Postkommunismus KW - Artefakt KW - Display KW - Künstlerische Forschung KW - vestimentäre Moderne KW - Nation-building KW - Postsozialismus Y1 - 2020 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20200702-41891 ER -