Główna zawartość
Kurs: Global cultures 1980 - now > Rozdział 1
Lekcja 2: Przywłaszczenie i krytyka ideologii- Pictures Generation
- Czym jest zawłaszczenie?
- Ai Weiwei, "Remembering" i "Politics of Dissent"
- Ai Weiwei, Sunflower Seeds (Nasiona słonecznika)
- The Case for Ai Weiwei
- Keith Haring, Subway Drawings
- Sherrie Levine, Bez tytułu (na podstawie pracy Edwarda Westona, ok. 1925 r.)
- Sherman, Niezatytułowana stopklatka #21
- Cindy Sherman, Bez tytułu #228 z serii Portretów Historycznych
- Kara Walker: Rebelia w Darkytown
- Sztuka, Rasa i Internet: Mendi + Keith Obadike i Black.Net.Art Actions
- Masami Teraoka, American Kabuki
- Hans Haacke: "A Breed Apart" in South Africa
- The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea
- Julie Mehretu, Stadia II
- Julie Mehretu, Stadia II
- Doris Salcedo's "Shibboleth"
- Doris Salcedo: Shibboleth (Szybolet)
- Doris Salcedo, Shibboleth (Szybolet)
- Jeff Koons, Różowa pantera
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Hans Haacke: "A Breed Apart" in South Africa
This video brought to you by Tate.org.uk
Since the early 1960s, German-American artist Hans Haacke has been producing controversial work, often seeking to expose systems of power and influence. While some artists might work to engage with local concerns, Haacke brings his art and its topics to a global scale. In this video, he explains his 1978 photographic series A Breed Apart, a group of montages which targets former car manufacturer British Leyland and for its insidious campaigns and actions in apartheid—or racially segregated—South Africa. By juxtaposing slick advertising shots with images of Leyland vehicles “in action,” as he puts it, against the black indigenous population of South Africa, Haacke highlighted the incongruities of the company’s stance.
Since the early 1960s, German-American artist Hans Haacke has been producing controversial work, often seeking to expose systems of power and influence. While some artists might work to engage with local concerns, Haacke brings his art and its topics to a global scale. In this video, he explains his 1978 photographic series A Breed Apart, a group of montages which targets former car manufacturer British Leyland and for its insidious campaigns and actions in apartheid—or racially segregated—South Africa. By juxtaposing slick advertising shots with images of Leyland vehicles “in action,” as he puts it, against the black indigenous population of South Africa, Haacke highlighted the incongruities of the company’s stance.
“I believe it is necessary for the public... the voters... to become aware of these interdependencies, and come up with, hopefully, an alternative,” says Haacke. Do you think art and artists have a responsibility to inform and activate the public?
Learn more about Hans Haacke and his politically engaged works of art here.
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