Venice Biennale 2017: Salon des Réfugiés
This single review of a sprawling international exhibition takes as a conceit the comparison of three Pavilions within the 2017 Venice Biennale – that of Korea, the United States, and Antarctica. The author seizes on the opportunity afforded by the esteemed event’s organization around nation-states...
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2018
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ftuillinoisiopn:oai:journals.iopn.library.illinois.edu:article/65 2023-05-15T13:59:16+02:00 Venice Biennale 2017: Salon des Réfugiés Cheon, Mina 2018-09-26 application/pdf https://iopn.library.illinois.edu/journals/median/article/view/65 eng eng New Media Caucus https://iopn.library.illinois.edu/journals/median/article/view/65/25 https://iopn.library.illinois.edu/journals/median/article/view/65 Copyright (c) 2022 Mina Cheon https://creativecommons.org/licenses/by-sa/4.0 CC-BY-SA Media-N; Vol. 14 No. 1 (2018): CAA Conference Edition 2018; 97-140 1942-017X 2159-6891 10.21900/j.median.v14i1 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2018 ftuillinoisiopn https://doi.org/10.21900/j.median.v14i1 2023-03-07T10:44:27Z This single review of a sprawling international exhibition takes as a conceit the comparison of three Pavilions within the 2017 Venice Biennale – that of Korea, the United States, and Antarctica. The author seizes on the opportunity afforded by the esteemed event’s organization around nation-states to reflect on the radical ways in which the exhibited artists are engaged with the distinct challenges and struggles of their respective homes (or non-homes). This essay is therefore an attempt to culturally compare with nuanced interpretation, as a way to stay close to the formation and ramification of world culture today. To diversify the potential in the read, the piece calls to unfold in rhetoric of postcolonial terms, related to new media scholarship. Article in Journal/Newspaper Antarc* Antarctica IOPN Journals (Illinois Open Publishing Network) Media-N 14 1 |
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English |
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This single review of a sprawling international exhibition takes as a conceit the comparison of three Pavilions within the 2017 Venice Biennale – that of Korea, the United States, and Antarctica. The author seizes on the opportunity afforded by the esteemed event’s organization around nation-states to reflect on the radical ways in which the exhibited artists are engaged with the distinct challenges and struggles of their respective homes (or non-homes). This essay is therefore an attempt to culturally compare with nuanced interpretation, as a way to stay close to the formation and ramification of world culture today. To diversify the potential in the read, the piece calls to unfold in rhetoric of postcolonial terms, related to new media scholarship. |
format |
Article in Journal/Newspaper |
author |
Cheon, Mina |
spellingShingle |
Cheon, Mina Venice Biennale 2017: Salon des Réfugiés |
author_facet |
Cheon, Mina |
author_sort |
Cheon, Mina |
title |
Venice Biennale 2017: Salon des Réfugiés |
title_short |
Venice Biennale 2017: Salon des Réfugiés |
title_full |
Venice Biennale 2017: Salon des Réfugiés |
title_fullStr |
Venice Biennale 2017: Salon des Réfugiés |
title_full_unstemmed |
Venice Biennale 2017: Salon des Réfugiés |
title_sort |
venice biennale 2017: salon des réfugiés |
publisher |
New Media Caucus |
publishDate |
2018 |
url |
https://iopn.library.illinois.edu/journals/median/article/view/65 |
genre |
Antarc* Antarctica |
genre_facet |
Antarc* Antarctica |
op_source |
Media-N; Vol. 14 No. 1 (2018): CAA Conference Edition 2018; 97-140 1942-017X 2159-6891 10.21900/j.median.v14i1 |
op_relation |
https://iopn.library.illinois.edu/journals/median/article/view/65/25 https://iopn.library.illinois.edu/journals/median/article/view/65 |
op_rights |
Copyright (c) 2022 Mina Cheon https://creativecommons.org/licenses/by-sa/4.0 |
op_rightsnorm |
CC-BY-SA |
op_doi |
https://doi.org/10.21900/j.median.v14i1 |
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14 |
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1 |
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1766267780484562944 |