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This book explores the work of art crossing borders, transforming them from ordering and excluding formations into zones where the possible might hatch. It comprises reports, case studies, projects, experiences and hypotheses that have emerged from inter-continental projects, dialogues and collaborations, and from imaginative crossings between the international and the local, between institutions and communities, between government and civil society, the traditional and the contemporary, memory and the future. In its own way, this book constitutes a space in-between, mobilising hybridity and agency to bring forth formerly unrealised possibilities in the spheres of art, art education and the everyday.
About the author
Bernadette Van Haute was Professor of Art History in the Department of Art and Music at the University of South Africa (retired in 2022). She studied Ethnic Art in Belgium and wrote her Master’s dissertation on selected art of Central Africa. Her Doctoral thesis focused on a monograph and catalogue raisonné of the Flemish artist David III Ryckaert (2000, Brepols). Van Haute also published a book on 17th century Flemish paintings in public collections in South Africa (2006, Unisa Press). Her research interests include the representation of Africa in the art of the 17th-century Netherlands; African modernism and contemporary art in Africa.Ernst Wagner, wissenschaftlicher Mitarbeiter an der Akademie für Bildende Künste in München, Projekt BKKB: Bildkompetenz in der Kulturellen Bildung: „Was ist und wie fördert man Bildkompetenz?“ Entwicklung eines Messinstruments und Untersuchung der Unterrichtsqualität.
Summary
This book explores the work of art crossing borders, transforming them from ordering and excluding formations into zones where the possible might hatch. It comprises reports, case studies, projects, experiences and hypotheses that have emerged from inter-continental projects, dialogues and collaborations, and from imaginative crossings between the international and the local, between institutions and communities, between government and civil society, the traditional and the contemporary, memory and the future. In its own way, this book constitutes a space in-between, mobilising hybridity and agency to bring forth formerly unrealised possibilities in the spheres of art, art education and the everyday.
