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dc.contributor.authorKing, Dorothée
dc.date.accessioned2019-01-24T12:39:14Z
dc.date.available2019-01-24T12:39:14Z
dc.date.issued2018-06
dc.identifier.urihttp://hdl.handle.net/11654/27281
dc.description.abstractFor this paper, I take up a thesis recently formulated by Jonathan Reinartz concerning the historical qualities of smell as a divider and identifier of communities (Historical Perspectives on Smell, University of Illinois Press, Champaign, 2013). In applying this historical thesis to contemporary art, my approach shows the strategies of artists in commenting on smell-based signifiers for social relationships and local identification. I am researching art projects that track odors which mark the smell-based differences between “the healthy us” and “the dangerous other”– particularly in the context of growing inequality in a globalized culture marked by capitalism and climate change. As case studies, I will analyze Teresa Margolles: Vaporización (2002), Sissel Tolaas: The Fear of Smell – The Smell of Fear (2006), and Michael Pinsky: Pollution Pod (2017).
dc.language.isoen_US
dc.accessRightsAnonymous
dc.titleSmell and Air in Contemporary Art
dc.type06 - Präsentation
dc.spatialUniversity of Warwick, GB
dc.eventCultural Histories of Air and Illness Conference
dc.audienceScience
fhnw.publicationStatePublished
fhnw.ReviewTypeAnonymous ex ante peer review of an abstract
fhnw.InventedHereNo
fhnw.PublishedSwitzerlandNo
fhnw.IsStudentsWorkno


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