Witnessing the work of Yhonnie Scarce: an intimate encounter with one’s own crime scene
In 2021 the Kokatha and Nukunu artist Yhonnie Scarce presented work at the Australian Centre for Contemporary Art on Naarm (Mlebourne) entitled Yhonnie Scarce: Missile Park. The work was centred around glass objects and spoke to the genocide toward Indigenous people in the colonial encounter sometim...
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| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
| Veröffentlicht: |
2023
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| In: |
Criminological encounters
Jahr: 2023, Band: 6, Heft: 1, Seiten: 157-168 |
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| Zusammenfassung: | In 2021 the Kokatha and Nukunu artist Yhonnie Scarce presented work at the Australian Centre for Contemporary Art on Naarm (Mlebourne) entitled Yhonnie Scarce: Missile Park. The work was centred around glass objects and spoke to the genocide toward Indigenous people in the colonial encounter sometimes called australia. The work was focused on the nuclear experimentation conducted on Indigenous land in the 1950s and the accompanying devastation of Indigenous lives. In this article I discuss how the work formed a kind of accusation toward colonial viewers and how the viewing, accompanied by the accusation provided a context for a visceral intimacy with one’s own crime scene such that the affect of the viewer was its own criminogenic scene. I consider how this intimacy functions in the form of witnessing and, utilising the work of psychoanalyst Jacques Lacan, I consider how it evokes what Lacan calls the extimate - the intimate/external - where the colonial viewers identity as coloniser, as perpetrator is writ large. In the final sections I consider how the gaze toward the art functions as a kind of attempt at remorse for the genocide having been and still being done. |
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| Beschreibung: | Literaturverzeichnis: Seite 166-167 |
| ISSN: | 2506-7583 |
| DOI: | 10.26395/CE.2023.1.12 |
