Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Where Do the Myths Lie?: Considering the Imaginary in Jo Ractliffe's Landscapes of Conflict

Where Do the Myths Lie?: Considering the Imaginary in Jo Ractliffe's Landscapes of Conflict Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 FEATURE that Ractliffe’s fabled thoughts (and agency) slowly began to take shape upon her reading of Another Day of Life (1976), Ryszard Kapuściński’s account of the Portuguese retreat in Angola following the overthrow of the colonial system in 1975. In her letters dating Where Do the back to November 2007 with Nigerian curator Okwui Enwezor, Ractliffe shared that she was moved by how the Angolan resistance Myths Lie?: against the Portuguese empire was part and parcel of being in southwestern Africa ; for Ractliffe there was a phenomenological semblance whereby the Angolan struggle for independence Considering the mirrored South Africa under apartheid governance. This epiphany of sorts set into effect a desire to unpack these myths around the Imaginary in Angolan Civil War (1975–2002) and related military entanglements known in South Africa as the Border Wars (1966–89). What resulted were three photographic series: Terreno Ocupado (2007–08), As Terras Jo Ractliffe's do Fim do Mundo (2009 –10), and The Borderlands (2011–13). These three bodies of work are the focus of The Aftermath of Conflict: Jo Landscapes of Ractliffe’s Photographs of Angola and South Africa at the Metropolitan Museum of Art (August 24, 2015–March http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Afterimage: The Journal of Media Arts and Cultural Criticism University of California Press

Where Do the Myths Lie?: Considering the Imaginary in Jo Ractliffe's Landscapes of Conflict

Download PDF
7 pages

Loading next page...
 
/lp/university-of-california-press/where-do-the-myths-lie-considering-the-imaginary-in-jo-ractliffe-s-0kPzUJoPBz

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
University of California Press
Copyright
© 2015 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.
eISSN
2578-8531
DOI
10.1525/aft.2016.43.5.2
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 FEATURE that Ractliffe’s fabled thoughts (and agency) slowly began to take shape upon her reading of Another Day of Life (1976), Ryszard Kapuściński’s account of the Portuguese retreat in Angola following the overthrow of the colonial system in 1975. In her letters dating Where Do the back to November 2007 with Nigerian curator Okwui Enwezor, Ractliffe shared that she was moved by how the Angolan resistance Myths Lie?: against the Portuguese empire was part and parcel of being in southwestern Africa ; for Ractliffe there was a phenomenological semblance whereby the Angolan struggle for independence Considering the mirrored South Africa under apartheid governance. This epiphany of sorts set into effect a desire to unpack these myths around the Imaginary in Angolan Civil War (1975–2002) and related military entanglements known in South Africa as the Border Wars (1966–89). What resulted were three photographic series: Terreno Ocupado (2007–08), As Terras Jo Ractliffe's do Fim do Mundo (2009 –10), and The Borderlands (2011–13). These three bodies of work are the focus of The Aftermath of Conflict: Jo Landscapes of Ractliffe’s Photographs of Angola and South Africa at the Metropolitan Museum of Art (August 24, 2015–March

Journal

Afterimage: The Journal of Media Arts and Cultural Criticism – University of California Press

Published: Mar 1, 2016

There are no references for this article.