Abstract:
In
this
research
dissertation
I
argue
that
Pieter
Hugo's
body
of
work
titled
Rwanda
2004:
Vestiges
of
a
genocide
(2004)
can
be
read
according
to
notions
of
the
sublime,
in
particular
those
of
terror
and
the
unpresentable.
I
begin
in
chapter
one
by
tracing
within
the
discourse
of
the
sublime
themes
of
terror
and
the
manner
in
which
certain
sociopolitical
events
can
be
understood
as
sublime
instances
of
terror.
The
essentially
unpresentable
nature
of
such
occurrences
is
another
important
concern.
As
my
focus
is
on
the
aesthetic
produce
of
a
visual
artist
in
regards
to
such
sublime
notions,
I
make
reference
to
various
other
relevant
artworks
and
appropriate
art
theory.
In
chapter
two
I
argue
the
case
for
the
Rwandan
Genocide
as
a
sublime
political
event,
an
instance
of
incommensurable
terror.
In
an
examination
of
Hugo's
Rwanda
2004:
Vestiges
of
a
genocide
I
outline
the
manner
in
which
his
work,
as
an
aestheticization
of
such
terror,
thus
embodies
notions
of
the
sublime.
Via
the
facilitated
experience
of
witness,
I
note
the
manner
in
which
the
art
spectator,
in
response
to
such
work,
experiences
something
of
the
shock
and
horror
associated
with
the
sublime.
As
a
contemporary
artist,
engaging
with
genocide
in
Rwanda,
I
am
careful
to
posit
Hugo's
work
within
the
appropriate
context
of
the
postcolonial,
as
well
as
(in
regards
to
sublime
theory)
the
postmodern.
Chapter
three
examines
a
personal
body
of
work,
Murder
on
7th
(2009)
–
an
investigation
into
the
neurosis
generated
by
the
pervasive
influence
of
violent
crime
in
South
Africa.
Having
already
argued
the
case
for
the
sublime
political
event,
I
propose
for
consideration
certain
social
disorders
like
violent
crime,
as
well
as
HIV/Aids,
as
social
incursions
capable
of
precipitating
the
sublimity
of
terror
