Sade by your side in arabic11/6/2022 In this context, the work of Adnan, who was until recently better known in the literary sphere, deserves special attention. It is often noted that the current discourse of contemporary art tends to perpetuate overly simplistic notions and illustrative conceptions of “political” art. The conversation that follows is intended precisely to better understand how to interpret the work of Adnan, the apparent differences between the political and the metaphysical, the permeability between these two sides. To what degree does her artistic practice contribute to the internal dialectic of Etel Adnan? That question deserves to be discussed as her artistic work, paintings and other things, does not appear, at first glance, to be one of directly political iconography. Yet one wonders how her artistic practice-better known to a wider audience since her participation in Documenta 13 (2012) with paintings, drawings, films, tapestries, artist books and objects-is, or is not, conceived and thought in those terms. The extent of her literary works, her essays, her many artistic collaborations, testify to this characteristic. For example, in The Arab Apocalypse, a major poem of 1980, there is no poetical contradiction between the politicized voice of the writer and the cosmological articulations, her ecstatic and visionary metaphors. In her prose, the result of her experimentation sustained across the years, one notes the coexistence, and even interdependence, between history and metaphysics. Her literary practice combines observations-sometimes diagnostic, sometimes critical-of the historical and contemporary world with poetic and transcendental meditations. Writer, essayist and artist, Etel Adnan (born 1925) is a keen observer of geopolitical unrest and, in particular, of imperialism, colonialism and neocolonialism.
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