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dc.contributor.authorWallace, Clare
dc.date.accessioned2021-08-13T07:40:15Z
dc.date.available2021-08-13T07:40:15Z
dc.date.issued2021
dc.identifier.urihttp://hdl.handle.net/20.500.11956/128407
dc.language.isoencs
dc.publisherUniverzita Karlova, Filozofická fakultacs
dc.subjectMigratory aestheticscs
dc.subjectinstallation artcs
dc.subjectimmersive performancecs
dc.subjecttheatre of migrationcs
dc.titleThe Camp and the Journey: Aesthetic Encounters with Forced Migrationcs
dc.typeVědecký článekcs
dcterms.accessRightsopenAccess
dcterms.licensehttp://creativecommons.org/licenses/by-nc-nd/2.0/
uk.abstract.enWith reference to Sara Ahmed’s analysis of the stranger as figure and Mieke Bal’s term “migratory aesthetics,” this article considers some of the affective qualities and ethical challenges that emerge in recent artistic work that features forced migration. It focuses on three examples: Law of the Journey (2017), an exhibition by Chinese artist Ai Weiwei, The Jungle (2017), a theatre play by Joe Robertson and Joe Murphy, and CAMPQ (2019), a collectively created immersive performance. The article examines the ways each of these works generate environments of encounter with the refugee migrant, in which the camp and the journey operate not only as thematic content, but also as affective propositions for audiences, viewers, or participants. The modes of recognition and relation these works afford or foreclose are assessed through discussion of the aesthetic strategies they use ‒ namely, installation, immersion and participation.cs
dc.publisher.publicationPlacePrahacs
uk.internal-typeuk_publication
dc.identifier.doi10.14712/2571452X.2021.61.5
dc.description.startPage60cs
dc.description.endPage79cs
dcterms.isPartOf.nameLitteraria Pragensia
dcterms.isPartOf.journalYear2021
dcterms.isPartOf.journalVolume2021
dcterms.isPartOf.journalIssue61
dcterms.isPartOf.issn2571-452X
dc.relation.isPartOfUrlhttp://litteraria-pragensia.ff.cuni.cz


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