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Death Work in Venice: In memoriam Khadija Saye

Death Work in Venice: In memoriam Khadija Saye Mignon Nixon reflects on the Manchester Arena bombing, London Bridge and Borough Market attack, and Grenfell Tower fire in London, as well as the 2017 Venice Biennial, via J-B Pontalis's writings on the psychoanalytic notion of death-work. Nixon argues that the defining problem of Christina Macel's exhibition Viva Art Viva in Venice, an exhibition so insistently art- and artist-positive—“designed with artists, by artists, and for artists” as the press release notes—is that its aesthetics of redemption is predicated on a negation of life, and thereby a negation of art. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Death Work in Venice: In memoriam Khadija Saye

October : 8 – Aug 1, 2017

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/OCTO_a_00300
Publisher site
See Article on Publisher Site

Abstract

Mignon Nixon reflects on the Manchester Arena bombing, London Bridge and Borough Market attack, and Grenfell Tower fire in London, as well as the 2017 Venice Biennial, via J-B Pontalis's writings on the psychoanalytic notion of death-work. Nixon argues that the defining problem of Christina Macel's exhibition Viva Art Viva in Venice, an exhibition so insistently art- and artist-positive—“designed with artists, by artists, and for artists” as the press release notes—is that its aesthetics of redemption is predicated on a negation of life, and thereby a negation of art.

Journal

OctoberMIT Press

Published: Aug 1, 2017

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