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Revue D'études Interculturelles De L'image • Journal of Cross

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Revue D'études Interculturelles De L'image • Journal of Cross IMAGINATIONS Revue d’ÉTudeS INTeRculTuRelleS de l’Image • JOuRNAl Of Cross-culTuRAl Image STudIeS Issue 3-1 STeAlING The Image • 2012 Guest Artist • TANyA uRy WRITING By MIchAel ROdGeRS GeNevIève clOuTIeR Antonio vISellI MARIA-cAROlINA cAMBRe christof deckeR Susanne kelly SARAh McGAuGhey IMAGINATIONS Managing Editor • Stealing The Image • Daniel Laforest Editor in Chief | Rédacteur en chef: Sheena Wilson Editorial Team | Comité de rédaction: Daniel Laforest, Dalbir Sehmby, Carrie Smith-Prei, Andriko Lozowy French Content Editor | Contenu français: Daniel Laforest Copy Editor | Révisions: Dalbir Sehmby Designer and Technical Editor | Design et technologie: Andriko Lozowy Web Editor | Mise en forme web: Carrie Smith-Prei Reviews Editor – Elicitations | Comptes rendus critiques – Élicitations: Tara Milbrandt French Translations | Traductions françaises: Alexandra Popescu Editorial Advisory Board | Comité scientifique: Hester Baer, University of Oklahoma, United States Mieke Bal, University of Amsterdam & Royal Netherlands Academy of Arts and Sciences, Netherlands Andrew Burke, University of Winnipeg, Canada Ollivier Dyens, Concordia University, Canada Wlad Godzich, University of California Santa Cruz, United States Faye Hammill, University of Strathclyde, United Kingdom Anton Kaes, University of California Berkeley, United States Dominic McIver Lopes, University of British Columbia, Canada Sarah McGaughey, Dickinson College, United States Peter McIsaac, University of Michigan, United States Marie-Dominique Popelard, Université de la Sorbonne Nouvelle - Paris 3, France Christine Ramsay, University of Regina, Canada Laurence A. Rickels, Academy of Fine Arts, Karlsruhe, Germany Will Straw, McGill Univeristy, Canada Imre Szeman, University of Alberta, Canada Founding Editors: William Anselmi, Daniel Laforest, Carrie Smith-Prei, Sheena Wilson Sponsor: IMAGINATIONS • ISSue 3-1, 2012 • II 3-1, Summer 2012 Stealing the Image Editor: Daniel Laforest Table of Contents | Table des matières Dossier • Stealing the Image Imaginations Interview with Tanya Ury • p. 4-9 Dialogue over Skype between Tanya Ury and Claude Desmarais • p. 10-16 Relationships of Ownership: Art and Theft in Bob Dylan’s 1960s’ Trilogy • p. 17-29 Author: Michael Rodgers Portraits d’un imaginaire de l’avant-garde : le Carré noir sur fond blanc de Kazimir Malevitch et ses réincarnations artistiques • p. 30-43 Author: Geneviève Cloutier In Possession of a Stolen Weapon: From John Gay’s Macheath to Rubén Blades’ Pedro Navaja • p. 45-60 Author: Antonio Viselli Stealing or Steeling the Image? The failed branding of the Guerrillero Heroico image of Che Guevara • p. 64-87 Author: Maria-Carolina Cambre General Contributions Trauma Narratives, Mixed Media, and the Meditation on the Invisible • p. 92-104 Author: Christof Decker Perceptions of Jewish Female Bodies Through Gustav Klimt and Peter Altenberg • p. 109-122 Author: Susanne Kelley Review Essay (E)merging Discourses: Architecture and Cultural Studies • p. 123-131 Author: Sarah McGaughey Front and Back Cover Images by Tanya Ury 1 • ISSue 3-1, 2012 • IMAGINATIONS Special doSSier: STEALING THE image doSSier Spécial: Subtiliser L’image How to define the ownership of an image at a time Comment définir la propriété d’une image à une époque when the media themselves are in a state of constant où les supports médiatiques sont saisis dans un flux flux; where they have become the objects of a profound constant; à une époque où eux-mêmes sont devenus les reorganization in the economy of visual exchange, objets d’une réorganisation profonde dans l’économie distribution, and consumption across cultures? How to des échanges, de la distribution, et de la consommation pinpoint the moment in such a context when a visual culturelle du visuel? Comment, dans un tel contexte, citation becomes an ironic appropriation? Or when an identifier le moment où une citation visuelle bascule du image is actually being stolen? And more bluntly, how côté de l’appropriation décalée? Où alors le moment to simply conceive of an image that has the ability to où une image devient l’objet d’un vol pur et simple? remain private in the early 21st century? This special Plus expressément encore, comment concevoir qu’une dossier on “Stealing the image” is Imaginations’ first image puisse simplement demeurer de l’ordre du contribution to these questions. Much has been said in privé à l’aube du XXIe siècle? On a dit beaucoup de the past decade on the alleged downfall of the music choses durant la dernière décennie sur ce qui est perçu industry caused by a new stage in its mechanical (or comme l’effondrement de l’industrie de la distribution rather digital) reproduction. But things remain unclear musicale, résultat d’un nouveau stade dans l’évolution when it comes to images and their relationship to the de sa reproductibilité technique (ou maintenant same upheaval regarding the notions of property, digitale). Toutefois l’affaire demeure beaucoup moins representation, and circulation in the brave new world claire en ce qui a trait aux images en tant qu’elles of today. Arguably, they are also more complex. sont désormais l’objet d’un bouleversement similaire dans leur rapport à la propriété, dans leur circulation, With this issue, we are also proud to present an exclusive et dans leur représentation. À tout prendre, on peut multimedia portfolio of works by Anglo-German supposer que les choses prennent alors une tournure artist Tanya Ury. Through a dazzling variety of forms beaucoup plus complexe. Ce dossier spécial intitulé ranging from visual poetry to video, from immersive « Subtiliser l’image » entend constituer une première sound experiments to field photography, and from re- contribution de Imaginations au champ constitué par contextualized visual archives to intimate performance, ces questionnements. Ury offers crucial questionings on the state of the cultural as well as the personal self in a world where Dans ce numéro, nous sommes également fiers national identities are being challenged by the shifting d’accueillir un portfolio exclusif des œuvres de l’artiste boundaries between media, between public and private, anglo-germanique Tanya Ury. À travers une variété or even between the senses themselves. étonnante de formes qui vont de la poésie visuelle à la vidéo, de l’expérimentation sonore immersive à la photographie de terrain, et de l’archive photographique recontextualisée à la performance intime, Ury suggère des questions cruciales quant au statut des identités personnelle et culturelle dans un monde où l’idée d’une appartenance nationale nette se voit remise en question par les frontières désormais mouvantes entre les technologies médiatiques, quand ce n’est entre les sens mêmes dont nous disposons tous afin de circonscrire notre place au monde. IMAGINATIONS • ISSue 3-1, 2012 • 2 TANyA uRy STeAlING The Image Guest Artist CONCRETE POETRy SERIES (2011) [P. 18-20-24-26-31-33-35-37-39-46-48-50-52-54-56] SEE ANNEx 1 - P. 132 ALIBIJUDE (2011) [P. 44] SEE ANNEx 2 - P. 133 FADING Into THE FOREGROUND SERIES (2006 - ) [P. 61-62-63] SEE ANNEx 3 - P. 134 WHO’S Boss SOUL Brothers & Sisters SERIES (2006 - ) [P. 88-89-90-91-105-106-107-108] SEE ANNEx 4 - P. 135 HERME (2010) [P. 139] SEE ANNEx 5 - P. 137 (* 1951 à Londres) est une artiste et écrivaine britanno- germanique. Elle a étudié les beaux-arts au Exeter Col- lege of Art and Design de 1985 à 1988, et a complété un (* 1951 in London) is a British - German artist and semestre en 1989 à l’Institute for Theatre, Film and Tele- writer. Ury studied fine art at Exeter College of Art and vision Studies de l’Université de Cologne. Elle a obtenu Design from 1985 to 1988 and in 1989 1 semester at the une maîtrise en beaux-arts de l’University of Reading en Institute for Theatre, Film and Television Studies, Co- 1990, puis a occupé un poste de maître de conférence logne University (D). In 1990 she graduated in Master invité à la Sheffield Hallam University de 1991 à 1992, of Fine Arts at Reading University. From 1991 to 1992 grâce au Colin Walker Fellowship in Fine Arts. Depuis she was a guest lecturer at Sheffield Hallam University, 2010, elle est candidate au doctorat en Humanities au with the Colin Walker Fellowship in Fine Art and from Leiden University Institute for Cultural Disciplines, 2010 a PhD. in Humanities candidate, with Prof. Ernst J. sous la supervision du professeur Ernst J. van Alphen. van Alphen, Faculty of the Humanities, Leiden Univer- Tanya Ury vit à Cologne, en Allemagne, depuis 1993. sity Institute for Cultural Disciplines (LUICD) (NL). She La plupart des membres de sa famille ont vécu en ce has been living and working in Cologne, Germany, since lieu avant de devoir s’exiler à Londres en raison de leur 1993. Most of her family lived here before having to flee origine juive. En tant qu’écrivaine et activiste, de même into exile to London because of their Jewish origins. As qu’avec ses photographies, ses installations, et ses per- a writer, activist, and in her photography, installations, formances sur vidéo, Tanya Ury se confronte aux ques- performance and video art Tanya Ury deals with ques- tions de l’identité judéo-germanique, au traitement par tions of Judeo-German identity, the handling of German l’Allemagne de son passé historique, au rôle subalterne society with its history, the role of subaltern women joué par les femmes en regard de l’immigration et du against the background of migration and racism. Prosti- racisme. La prostitution, le voyeurisme, et l’Holocauste tution, voyeurism and the Holocaust are issues in a large sont également abordés dans un grand nombre de ses number of her works. http://tanyaury.com œuvres. http://tanyaury.com 3 • ISSue 3-1, 2012 • IMAGINATIONS TANyA URy Imaginations INTeRvIeW Army surplus, on the other hand, is an inexpensive way to dress and what’s more, lends the wearer a look that WITh ARTIST TANyA uRy suggests power and standing.
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