25 resultados para Lebanese Contemporary Art


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This article examines the absence of atrocity in the photographic series The Course of History by the Belgian-born, New York-based photographer Bart Michiels (1964–). It shows, in beautiful, large-format prints, seemingly innocent landscapes and confined views of nature. Only when viewers read the titles of the photographs do they become aware of the violent history of the sites. These turn out to be the fields of fierce European battles such as Verdun, Waterloo and Stalingrad. The present article reviews recent trends towards using place as a motif in contemporary art photography and focuses on the ‘empty’ landscape as a pictorial strategy that opens up a narrative space, one that needs to be completed by the viewer. The absence evoked by the image is treated as antithetical to the conventional ethos of photography, which canonically stands as the evidence of an occurrence.

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This paper focuses on the normative notion of ‘good death’, its practical relevance as a frame of reference for ‘death work’ procedures in institutional elder care in Switzerland and the ways in which it may be challenged within migrant ‘dying trajectories’. In contemporary palliative care, the concept of ‘good death’ focuses on the ideal of an autonomous dying person, cared for under a specialised biomedical authority. Transferred to the nursing home context, characterised by long-term basic care for the very old under conditions of scarce resources, the notion of ‘good death’ is broken down into ready-to-use, pragmatic elements of daily routines. At the same time, nursing homes are increasingly confronted with socially and culturally diversified populations. Based on ethnographic findings, we give insight into current practices of institutional ‘death work’ and tensions arising between contradicting notions of a ‘good death’, by referring to decision-making, life-prolonging measures, notions on food/feeding and the administration of sedative painkillers.