hrvatski

Varalica uzvraća pogled: rekonceptualizacija drugog u djelima suvremenog indijanskog umjetnika Jamesa Lune

Rad analizira upotrebu humora u djelima umjetnika Jamesa Lune. Kroz performans, fotografiju i instalaciju autor koristi sebe kao objekt prikazivanja i na taj način stvara prepoznatljiv umjetnički izričaj koji se osvrće na kompleksnu problematiku identiteta i prikazivanja američkih Indijanaca u dominantnoj kulturi. Koristeći se teorijama humora, mimikrije i hibridnosti, rad upućuje na subverzivni potencijal Luninih projekata koji istodobno otvaraju nove prostore za društveni dijalog i kulturno preživljavanje.

James Luna ; mimikrija ; Bakhtin ; humor ; Vizenor ; varalica ; dekolonizacija

The paper analyzes the use of humor in the work of Luiseño artist James Luna. Utilizing the media of performance, photography and installation, using himself as the object of representation, Luna has created a recognizable artistic style that addresses the complex issues of American Indian identity and representation. His installations The End of the Frail (1990-91) and The Artifact Piece (1987, 1990) both point at the constructed nature of Native identity. Whereas the former employs satire, self-stereotyping, parody and humor to expose and confront the colonial myths, distorted attitudes and pictographic representations of Native Americans, the latter addresses the issues of Native absence and invisibility in the dominant culture. Representing himself as an artifact to provoke laughter, shock and discomfort, in The Artifact Piece Luna clearly disclosed the relationship between Western institutions of knowledge and the culture of the spectacle. Both installations draw attention to the tie between imperialism and material forms of production and representation, indicating the still ongoing institutional investment in Native allegorization through commodification and scientific prac