Danya Lipshitz 1380417 1 Africa Remix; Reposted Curating African Identity in Postcolonial & Digital Spaces Danya Lipshitz 1380417 WSOA8000A In fulfilment of the degree of Masters in Digital Arts by Research. Supervisor: Dr Oluwarotimi Randle Danya Lipshitz 1380417 2 Acknowledgements This project, a labour of love and determination, would not have reached fruition without the unwavering support and belief of numerous individuals, to whom I owe my heartfelt gratitude. First and foremost, my deepest thanks goes to my husband, Kevin. His steadfast belief in me and constant reminders of why I embarked on this journey have been invaluable. When the path seemed daunting, Kevin was there to remind me of my passion for art and the joy it brings to my life. His support has been a source of comfort and motivation, for which I am eternally grateful. I am so grateful for my family—my parents and brothers. Their endless encouragement and faith in me have been the bedrock of my strength and perseverance. In the moments of doubt and challenge, their support was the guiding light that led me through. I extend my sincere thanks to my team at Softserve Digital Development, whose expertise and dedication played a pivotal role in the creation of the site. In particular, I wish to acknowledge my boss, Andrew, for his guidance and insight. Every question, no matter how trivial it seemed, was met with patience and thoughtful responses. Lastly, thank you to my supervisor, Kieran Reid. Your guidance, patience, and wisdom have been pivotal in shaping this project. To each one of you, thank you. Your support and belief in me have made this journey not just possible, but profoundly rewarding. Danya Lipshitz 1380417 3 Research Question How does the digital platform Artspace.Africa, as a reimagined space inspired by the Africa Remix: Contemporary Art of a Continent exhibition, challenge or reinforce postcolonial narratives and perceptions of authenticity in African art and culture? Danya Lipshitz 1380417 4 Abstract This research interrogates the notion of "Authenticity" in the context of African art, both within the continent and the diaspora, particularly in digital platforms. Using Artspace.Africa—a reimagined version of the exhibition Africa Remix: Contemporary Art of a Continent—as a focal point, the study explores the complexities of African identity, spirituality, and spatial representation. I adapt Simon Njami's original thematic divisions— Identity & History, Body & Soul, and City & Land—while integrating Henri Lefebvre's layered concept of 'space,' involving physical, planned, and lived spaces. This curatorial approach aims to challenge monolithic perceptions of Africa, illuminating its diversity through an exploration of different types of space as theorised by Lefebvre. The methodology is qualitative, using my own curation as the primary lens for investigation. I consider the implications of digital platforms on the perceived "Authenticity" of artworks and the transformative role of the digital realm in archiving and exhibiting African art. The study also acknowledges its limitations, particularly concerning the digital divide and the limited access to the internet within a South African context. This research aims to contribute to a deeper, more nuanced understanding of African art and its multi-dimensional representations in the digital age. The database that was built for this research can be found here1. The website, Artspace.Africa, can be found here2. 1 https://africa-remix.notion.site/Africa-Remix-Contemporary-Art-of-a-Continent- 9fbcb1dc891d4e65b3a080d4f177d034 2 https://artspace.africa/ https://africa-remix.notion.site/Africa-Remix-Contemporary-Art-of-a-Continent-9fbcb1dc891d4e65b3a080d4f177d034 https://artspace.africa/ Danya Lipshitz 1380417 5 University of the Witwatersrand, Johannesburg School of Arts SENATE PLAGIARISM POLICY Declaration by Students I DANYA RAQUEL LIPSHITZ (Student number: 1380417) am a student registered for WSOA8000A in the years 2021-24. I hereby declare the following: ● I am aware that plagiarism (the use of someone else’s work without their permission and/or without acknowledging the original source) is wrong. ● I confirm that ALL the work submitted for assessment for the above course is my own unaided work except where I have explicitly indicated otherwise. ● I have followed the required conventions in referencing the thoughts and ideas of others. ● I understand that the University of the Witwatersrand may take disciplinary action against me if there is a belief that this is not my own unaided work or that I have failed to acknowledge the source of the ideas or words in my writing. Signature: _________________________ Date: 13/03/2023 Danya Lipshitz 1380417 6 Table of Contents Acknowledgements ................................................................................................................ 2 Research Question .................................................................................................................. 3 Abstract .................................................................................................................................. 4 Table of Contents ....................................................................................................................... 6 Playing Tennis with Simon Njami...................................................................................... 9 Introduction .............................................................................................................................. 11 Aim ................................................................................................................................... 11 Methodology ..................................................................................................................... 13 Structure............................................................................................................................ 14 Chapter 1 – Theoretical Framework: My Interpretive Lens .................................................... 17 Postcolonial Theory .......................................................................................................... 17 Decolonial Theory ............................................................................................................ 20 Postcolonial, Decolonial and the Digital .......................................................................... 21 Space & Place ................................................................................................................... 22 Cyberspaces ...................................................................................................................... 31 Chapter 2 – Archive and Exhibition: Their Historical and Postcolonial Contexts .................. 36 Archive ............................................................................................................................. 37 Exhibition ......................................................................................................................... 42 The Spaces of the Archive & Exhibition .......................................................................... 46 Chapter 3 – Digital Realm, Authenticity, and the Diaspora .................................................... 50 Authenticity ...................................................................................................................... 50 African Narratives ............................................................................................................ 55 Revising the Table ............................................................................................................ 63 The Limitations of Digital Space ...................................................................................... 66 Reproducing an Artwork .................................................................................................. 66 Danya Lipshitz 1380417 7 Chapter 4 – Case Study: Navigating Africa Remix: Contemporary Art of a Continent .......... 70 Africa Remix: Contemporary Art of a Continent .............. 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Database ............................................................................................................................ 92 The Creation of the Database ......................................................................................... 112 Reflection........................................................................................................................ 116 Chapter 5 – Curatorial Approach: Reading Africa Through Space ....................................... 117 Introduction to Curatorial Journey ................................................................................. 119 Conceptual Framework ................................................................................................... 120 Curatorial Analysis Revisited ......................................................................................... 125 Henri Lefebvre's Concept of Space ................................................................................ 125 Curatorial Approach ....................................................................................................... 133 Process ............................................................................................................................ 136 The Digital Archive as a Curatorial Tool ....................................................................... 136 The Digital Curation Journey ......................................................................................... 136 Challenges ...................................................................................................................... 146 Conclusion and Future Directions ......................................................................................... 149 Contemporaneity ................................................................................................................ 149 A Fire in the Cape .............................................................................................................. 150 References .............................................................................................................................. 152 Danya Lipshitz 1380417 8 Note from Simon Njami on my copy of the Africa Remix catalogue. It reads: "For Danya, who found this thing. And hopefully will find something in it. JB 27/08/22" Danya Lipshitz 1380417 9 Playing Tennis with Simon Njami I wasn’t going to finish this paper. It’s been almost two years since I started my masters. Whenever someone asks what my topic is, I can see them zone out. Bored. Then I met Mr. Simon Njami. I was part of the Moleskine Foundation’s Atwork programme. He signed the catalogue of Africa Remix: Contemporary Art of a Continent that I tracked down and found. I sat with him for 5 days among another 24 creators. I thought I might learn about art. Mr. Njami forbade us from using that word, though. I learnt about myself. When I thanked Mr. Njami for the experience, I told him that I was going to give up this topic. He asked if I play tennis. I don’t. He said that when you’re playing a good game of tennis and you serve the ball to your opponent, they hit it back to you. He said he had not thought about Africa Remix: Contemporary Art of a Continent in so long that he’d almost forgotten about it. That was his serve – my bringing the catalogue to the workshop was my return. Why had Simon Njami almost let the seminal Africa Remix exhibition slip from his memory? Was it merely the passage of time and the constant influx of new projects that dimmed this chapter of his career, or does it suggest a deeper narrative about the lifecycle of artistic endeavors? Njami's engagement with countless initiatives might partly explain his lapse in memory. However, considering his role as a curator and art critic, it's conceivable that his momentary forgetfulness underscores a broader truth about the art world. Art is perpetually forward- moving, always in search of the next groundbreaking idea or exhibition. In this context, even monumental projects like Africa Remix can recede into the backdrop, making room for new creative ventures. Mr. Njami and I at the Atwork exhibition opening. Photo: Kevin Flowers Danya Lipshitz 1380417 10 When Njami inquired about my interest in the catalogue, it was as though he was challenging me to uncover layers of the exhibition itself and of the broader discourse on African art. Perhaps he hoped I would find not only inspiration but also a sense of continuity and renewal in revisiting the exhibition. By encouraging me to delve into the catalogue, Njami might have been steering me towards discovering the enduring relevance of Africa Remix in contemporary discussions on postcolonialism, identity, and digital representation. In response to my ideas, Njami's perspective was both enlightening and enigmatic. His analogy of the tennis match suggested an expectation for a dynamic exchange—a hope that my research would not only draw from the foundation laid by Africa Remix but also contribute new insights, propelling the dialogue into uncharted territories. This exchange symbolized not just a passing of the torch but an invitation to expand the conversation beyond its original confines, exploring how digital spaces can reinterpret and immortalize physical exhibitions. Njami's subtle encouragement served as a catalyst, urging me to approach my thesis with a sense of purpose and innovation. It wasn't just about revisiting the past; it was about reimagining the future of African art discourse through the digital lens. This journey through the catalogue, spurred by Njami's cryptic guidance, transformed my thesis into a quest for deeper understanding and fresh perspectives. Simon Njami's brief lapse in memory and our subsequent conversation were not mere coincidences but a deliberate provocation. It challenged me to engage with the exhibition in a manner that transcends mere academic interest, urging me to contribute to the evolving narrative of African art in the digital age. He flung the ball back into my court, so I guess I need to finish this. Danya Lipshitz 1380417 11 Introduction Africa has often been represented as a monolithic entity in public discourse, a simplification that obscures the continent's rich tapestry of diverse experiences, cultures, and identities. Contrary to this narrow viewpoint, this research adopts the idea that art serves as a universal language, echoing Simón Njami's perspective articulated in his seminal essay. Artists, particularly those from Africa and its diaspora, utilize this language to express intricate realities and emotions, often untranslatable through words alone. Within this framework, the act of curation emerges not as mere assembly but as a transformative practice. It becomes a means of constructing a narrative of African identity as told by the artists themselves. This deviates from traditional archival practices that often predicate the 'archivability' of an item based on predetermined standards and norms, granting authority to institutional gatekeepers. Instead, the focus here shifts to the artists' personal stories and subjective existences, democratizing the archive and providing a nuanced' understanding of African identities. Central to this research is the concept of "authenticity," which serves as a lens to critically examine the inherent complexities of institutionalised practices surrounding the Archive and Exhibition. By delving into the intricacies of digital curation through the case study of Africa Remix: Contemporary Art of a Continent, and my online exhibition Artspace.Africa, this study aims to explore how notions of space, knowledge, power, and identity are interrogated and reconstituted within digital environments. The ultimate goal is to offer alternative perspectives on both the concept of 'authenticity' in African Art and the role of digital platforms in archiving and exhibiting this art. This is operationalized through Artspace.Africa, a curatorial endeavour that seeks to test and extend the theories and findings discussed, while also illuminating the multiplicity of African identities. Aim The primary objective of this research is to challenge prevailing narratives that portray Africa as a monolithic entity by leveraging art as a universal language. Drawing on the insights of Simón Njami, this study acknowledges the power of art to convey intricate experiences and emotions, often ineffable through mere words. The act of curation is hence elevated from Danya Lipshitz 1380417 12 simple assembly to a transformative exercise, one that creates a narrative of African identities directly from the artists themselves. Within this framework, this research aims to scrutinize traditional methods of archiving and exhibiting art, which often rest on predetermined, institutionally approved criteria. I critically dissect the complexities of the institutionalised practices surrounding the Archive and Exhibition in preserving and presenting African art, particularly in a Postcolonial context. I am interested in how these institutional practices engage with the concept of Authenticity. I explore these issues using a case study: the exhibition Africa Remix: Contemporary Art of a Continent (2004). This exhibition, originally curated by Simon Njami, serves as a lens through which to explore how ideas of Archive and Exhibition evolve in digital spaces, particularly when considering diasporic communities. I am specifically aiming to dig deep into digital curatorial practices through my online exhibition. Inspired by Africa Remix: Contemporary Art of a Continent, I explore how concepts like space, knowledge, power, and identity are reshaped in a digital setting. The case study, as well as my re-curation of the exhibition, intends to shift towards incorporating the artists' personal stories and subjective experiences as valid archival materials. This reconceptualises what is considered "authentic," particularly within a digital space (in my curation), moving it away from institutional gatekeeping towards a more democratized understanding. I am particularly concerned with the exhibition and preservation of African Art in a Postcolonial paradigm. Postcolonial theory questions the production of knowledge; this ideological paradigm scrutinizes the exclusion of Africa and other non-European/Western cultures from the documentation/creation of history, as well as the notion of the West as the origin of modernity (Said, 1995). This one-sided documentation of history minimizes the West’s role as an imperial institution in the domination and erasure of other cultures. This study aims to offer a comprehensive understanding of the impact of digital curation on the reception and interpretation of African art and culture. Through Artspace.Africa, I seek to provide a multifaceted view that incorporates individual experiences, collective meanings, and representation, challenging traditional archival methods and illuminating the diverse identities within the African diaspora. Danya Lipshitz 1380417 13 Methodology Research Design and Theoretical Framework This research employs a qualitative methodology that foregrounds curatorial practice as both subject and method. The cornerstone of this study is my curation of Artspace.Africa, a reimagining of the exhibition Africa Remix: Contemporary Art of a Continent My curatorial approach is underpinned by theoretical frameworks from key theorists like Henri Lefebvre, who extensively elaborated on the production of space, and Walter Benjamin, known for his thoughts on art and mechanical reproduction. Curatorial Approach One of the primary aims of curating Artspace.Africa is to deconstruct the monolithic perception of Africa. To do this, I have adapted Simon Njami's original thematic categories— Identity & History, Body & Soul, and City & Land—infusing them with Lefebvre's nuanced concept of 'space.' By doing so, I explore how different types of space—physical, planned, and lived—intersect and interact with diverse African identities and landscapes, both urban and rural. This curatorial strategy serves as a mechanism to challenge stereotypical views of Africa, broadening the discourse surrounding African identities. Comparative Analysis I conduct a comparative analysis between the original Africa Remix: Contemporary Art of a Continent and Artspace.Africa, with particular emphasis on how the concept of 'space' evolves between the two. This analysis serves to elucidate the transformative role of digital platforms in archiving and showcasing African art. Data Collection This research essentially employs a qualitative methodology, leveraging existing data and my case study for textual analysis. The study consists of both primary and secondary data; I provide my descriptive data of the case study and engage with literature reviews, discussions, and other scholarly metrics. The data was initially stored in a Notion ‘database’ before the curation process. Database I have constructed a database of the artworks showcased in the Africa Remix: Contemporary Art of a Continent exhibition. By categorizing the artworks and compiling data about the Danya Lipshitz 1380417 14 artists, their backgrounds, and the countries they originate from, the database can illuminate the various cultural perspectives and experiences exhibited in the collection. My objective is to provide fresh insights into the exhibition and its broader cultural and historical context. I can organize and structure information in a way that is not limited by the physical confines of a traditional exhibition space. This approach also allows for more flexibility and accessibility in terms of how the information can be presented and analyzed. Through my efforts to establish this database, I aim to contribute to the democratization of knowledge and information, making it more widely accessible to researchers, artists, and the public. LimiTations The digital nature of Artspace.Africa also introduces a limitation that cannot be overlooked— the digital divide. While the online platform serves as the space for challenging conventional narratives about Africa, it's essential to acknowledge that this space may not be universally accessible within Africa itself due to varying degrees of internet access. This limitation further amplifies the urgency for exploring how digital platforms can both expand and constrain the spaces in which African identities are understood and experienced. By using Artspace.Africa as a lens, this curatorial approach not only aims to challenge pre- existing ideas about African identity but also to explore the possibilities and limitations of digital spaces in advancing this critical discourse. Structure Theoretical Framework: My Interpretive Lens In the initial chapter, I not only discuss the concept of "Authenticity" but also briefly introduce other guiding theories like Henri Lefebvre's 'space.' I explain how these theories frame my approach to the study. This chapter will include a literature review, where I delve into the key theories and debates surrounding "Authenticity" in African art. Archive and Exhibition: Their Historical and Postcolonial Contexts Danya Lipshitz 1380417 15 I keep my focus on Archive and Exhibition but plan to extend the discussion to how these constructs have evolved in the digital age. Digital Realm, Authenticity, and the Diaspora I merge my discussions on the digital realm and diaspora, examining how digitalisation affects the perception of "Authenticity" and how the diaspora engages with it. Given that Artspace.Africa is a digital platform, a significant aspect of this study involves scrutinizing how digitalisation impacts the "authenticity" of the artworks displayed. It becomes crucial to question whether this digital medium either challenges or perpetuates existing colonial narratives, particularly when engaging with diasporic interpretations of African art. Case Study: Navigating Africa Remix: Contemporary Art of a Continent and Artspace.Africa I introduce my case studies and break them down into sub-sections that correlate with the thematic categories I adapted from Simon Njami. Curatorial Approach: Reading Africa Through Space This section will detail my approach to curating Artspace.Africa. I detail my process and curatorial choices. My focus on curatorial approaches remains critical. I add subsections that delve into how each of Lefebvre's types of 'space' manifests in the different sections of Artspace.Africa. One of the key ambitions in curating Artspace.Africa is to challenge the monolithic perception of Africa by illuminating the diversity of African identities, both within the continent and the diaspora. To achieve this, I have adapted Simon Njami's original thematic divisions—Identity & History, Body & Soul, and City & Land—and enriched them through Henri Lefebvre's layered concept of 'space,' comprising physical, planned, and lived spaces. By juxtaposing Njami's themes with Lefebvre's multi-dimensional understanding of space, I aim to dissect the stereotypical images of Africa that persist in the global imagination. Each of the three sections in Artspace.Africa is designed to unravel a specific type of space, as Danya Lipshitz 1380417 16 theorised by Lefebvre—physical spaces as geological realities, planned spaces as institutional or political constructs, and lived spaces as daily experiences and subjective perceptions. This approach seeks to excavate the myriad ways Africa exists in the real world, contrasting sharply with its often one-dimensional representation. Lefebvre's conceptualization of space is not just a theoretical exercise; it’s an interrogation of how historical processes and knowledge production have shaped the Africa we perceive today. By integrating these types of space into the curation of Artspace.Africa, the exhibition serves as a critical tool for puncturing simplistic views, revealing instead the complex tapestry of spaces that make up Africa. Conclusion and Future Directions Finally, I summarize my findings and suggest avenues for future research or practical applications, especially regarding how my study could influence the curation of African art moving forward. This structure allows me to offer a rounded and in-depth exploration of my research topic. Danya Lipshitz 1380417 17 Chapter 1 – Theoretical Framework: My Interpretive Lens In this chapter I unpack Postcolonial Theory and Decolonial Theory as pertaining to culture and African Diasporic identities. I argue that postcolonial theory allows for the creation of new histories and narratives through bearing witness and recontextualization. I unpack and discuss the notions of space and place and outline the key frameworks within which I conduct my research. These form a fundamental foundation of theoretical discourse that will be broken down into the following categories: Postcolonial Theory, Decolonial Theory, Authenticity, Archive, and Exhibition. Postcolonial Theory Gurminder K Bhambra’s 2014 Postcolonial and Decolonial Dialogues is a text pivotal to my research as it succinctly explains how Postcolonial Theory questions the production of knowledge and offers feasible solutions to create "new dialogues" (Bhambra, 2014, p. 117). Bhambra discusses how Postcolonialism and Decolonialism challenge the insularity of knowledge production by the West. Both schools of thought challenge the one-sided historical narrative perpetuated by the West. Modernity is not an internal product created in-house by the West. The world does not exist as it does today because of a single viewpoint. Rather, it is the result of hundreds of years of cultural exchange, narratives, and subjectivities. Postcolonialism is an intellectual movement. It is a response to nineteenth and twentieth century European imperialism and is primarily concerned with material, socio-economic, and cultural issues. It is the primary paradigm through which I approach my research. Post- colonial theory concerns itself with the interconnected issues of race, nation, empire, migration, and ethnicity within cultural production from the moment of colonization to the present day. In contemporary society, the interaction of race, empire and ethnicity is not a disinterested interaction as the historically dominant metropolis – the West – and its diasporic post-colonies interact with non-western cultures in a manner that replicates the old hegemonies. Rather, they interact in a subtler way than before, reflecting changed political circumstances. Bhambra elaborates upon three core contributors to the theoretical landscape of Postcolonial studies: Edward W Said, Homi K Bhabha and Gayatri C Spivak (Bhambra, 2014, p. 115). Danya Lipshitz 1380417 18 Edward Said questions the production of knowledge from a global perspective (Said, 1995). He explains that there is no such thing as a "universal truth" because historical documentation divides the West and the other. The other is then either excluded, or they are absorbed into a broader history, spoken about only in terms of their contact with the West. A fallacy reliant on the divide between "the West" and "the rest". This results in the exclusion of "the rest" from the documentation/creation of history and, consequently, modernity (Bhambra, 2014, p. 116). This one-sided history falsely credits the West as the origin of modernity, minimizing its role as an imperial institution in the domination and erasure of other cultures. Homi Bhabha, another key Postcolonial theorist, engages with the representation of contemporary inequalities, their historical conditions, and the relationships between these aspects. Per Bhabha, Postcolonial theory is an attempt at interrupting Western modernity by re-inscribing non-Western discourse, critical theory, and perspectives into narratives of modernity. Doing so intends to transform the narratives both historically and theoretically as opposed to merely altering their names or contexts (Bhambra, 2014, p. 116). Bhabha argues that new narratives can be constructed when observing or witnessing alternative (to the West) histories. Doing so, he purports, turns the individual from observer to interrogator, establishing and creating new histories, presents, and futures (Bhambra, 2014, p. 116). However, Gayatri Spivak emboldens the idea of creating/perpetuating narratives by highlighting the significance of who is telling the story. In her argument of speaking on behalf of the subaltern, Spivak expresses her fear that attempting to speak on behalf of the Subaltern is a limited approach. This is because doing so seems to inevitably flail around in hegemonic concepts and diction (Spivak, 1990, p. 70). Essentially, attempters would be merely speaking to themselves within their own discourse. Within the confines of my research, Bhabha’s is a productive approach to reclaiming narratives/the production of knowledge. However, I cannot do so without acknowledging Spivak’s work and being cognizant of how I may or may not be approaching this research within the confines of the discourse that I seek to undermine. I address this in detail when I discuss my case study. In the chapters to come I discuss at length the Archive and Exhibition as institutions for storage and display, whereby the preservation and curation of historical objects perpetuates existing narratives as documented by the Western imperial forces that established the concepts of such institutions to begin with. But that aside, the approach that Bhabha takes to reclaiming the narrative speaks to an ability that supersedes these institutions and the Danya Lipshitz 1380417 19 physicality of the items they contain. It is through the viewers’ observations and recontextualizations that new narratives form. Knowledge production and the notion of modernity is challenged in the Postcolonial establishment of new discourse. The intention is to bring new understandings to modernity as it exists in a socio-political realm (Bhambra, 2014, p. 116). The role of Postcolonial scholarship in challenging popular/Western discourse cannot be understated. We understand the world around us because of contextual conventions. In a world saturated with knowledge produced and distributed by the West, Postcolonialism strives to reclaim not just the narratives themselves, but the coded system in which they were documented. Danya Lipshitz 1380417 20 Decolonial Theory I cannot entirely dismiss Decolonial Theory. Reconstructing narratives of non-western histories that had been abolished by colonialism requires subverting the conventions/institutions which maintain or enforce those colonial dynamics to permeate how knowledge is produced, displayed, documented, etc. In a de-colonial context of ‘de-linking’ the terms (concepts) and the content (histories) of the conversations on modernity/coloniality, non-Western localities need to be understood as prior to European incursions. As such, a decolonial epistemic shift would have to take place. This shift would reveal a locality – let’s say here, South Africa – it would expose and display South Africa’s history and culture as it was before it was colonized (Mignolo, 2007). This would then lead to a new understanding of "the rhetoric of modernity" and would emancipate "ideals of modernity in the perspective of coloniality" (Bhambra, 2014). Western knowledge production has removed the presence of "the other". Decolonising knowledge means acknowledging where knowledge came from, as well as how that knowledge is enacted/practiced outside of a Western frame of reference. Since codes and institutions govern how knowledge is created and stored, and what knowledge is important, when those institutions are Western, their codes and customs seek self-affirmation and radical removal of the "other". De-linking requires one to look at things through a different frame of reference, not only through the lens of those institutions. It was not until I read Henri Lefebvre’s "The Production of Space" that I fully understood the necessity and true meaning of decolonialism. It only appears second because without Postcolonialism, there would be no essay. This is because Lefebvre dissects the production of knowledge in the same manner that Postcolonial theory as an ideology concerns itself with questioning the way power underpins knowledge and its production (Bhambra, 2014, p. 120). Postcolonialism attempts to disrupt this "universality" and construct new narratives of modernity (Bhambra, 2014, p. 120). Danya Lipshitz 1380417 21 Postcolonial, Decolonial and the Digital It is vital for me to address the way digital technologies impact Postcolonial and Decolonial theories. Digital space – specifically the internet – has facilitated rapid globalization, yet there are cultural disparities in global and local engagements with digital infrastructure. In this section, I unpack these disparities; the key themes being "cultural imperialism", "digital empowerment" and "geographical knowledge". Danya Lipshitz 1380417 22 Space & Place In this section, I discuss the terminology and conceptualizations of space and place. This means tackling the concepts from socio-political, physical, and digital angles. The conceptualization of "Space" cements the conventions and codes prevalent in Western institutionalised practices, while the notion of "place" - and in turn, "Cyberspaces" - may provide a way we can engage with the case study, in a digital setting, that is exempt from Western institutional framing. Types of Space In his 1974 book entitled “The Production of Space”, Henri Lefebvre, discusses different types of spaces and how they flow in and around each other, cementing the objects, interactions, and internalizations of all that exists: perceived, conceived, and lived space (Lefebvre, 1974, p. 19-22). The three types of space he identified are as follows: Perceived space This type of space refers to the physical environment that we experience through our senses. It is the space we see, hear, feel, taste, and smell; it is subjective and can vary based on an individual's perception, cultural background, and personal experience. Conceived space This is the space that is created through planning and design. It is deliberately constructed for specific purposes, such as urban planning, architecture, and landscape design. Conceived space is a product of social, economic, and political processes, and it reflects the values and interests of those who create it. Lived Space Also known as "social space," this is the space that is created through social interaction and daily life. It is the space where people come together and engage in social and cultural activities, such as work, leisure, and social gatherings. This is the most complex and dynamic of the three types of space, as it is constantly being redefined and reshaped through human activity. Danya Lipshitz 1380417 23 The Production of Space Henri Lefebvre views production as a fundamental aspect of social life and argues that the production of space is closely tied to social relations and the exercise of power. He claims that the production of space is not solely a technical process, but also a social and cultural process that reflects the values and interests of those who control the means of production (Lefebvre, 1974). Lefebvre also highlights the role of space in the reproduction of social relations and the maintenance of power. He argues that space is not neutral, but rather it is produced and shaped by social relations and power dynamics. The production of space, in turn, influences social relations and power dynamics. As part of his criticism of capitalism, Lefebvre comments on how space is often treated as a commodity, where the production of space is driven by profit and private interests rather than the needs and desires of communities. This commodification of space leads to social and spatial inequality and the displacement of marginalized communities. Understanding Space Based on his work, as well as other key theorists in this paper, I have established three similar categories of space. The following three categories are vital in understanding how Western conventions have framed the perceptions and conditions with which African art is created and viewed. Mental Space (Representational System) The structural conception of culture ("social space") revolves around symbolic forms in systematized contexts, and the further social contextualization of such symbolic forms (Thompson, 1990, p. 359). "Mental space" is produced through signs and symbols, representing people or concepts, ideas, or feelings - it is a language; representational system (Hall, 1997, p. 1). It is the space in which thoughts, ideas, and feelings are represented and is central to producing meaning. It is a space produced through shared codes in which the dynamic between the signifier and its counterpart are forged. However, mental space is reliant on social space (culture) to provide a framework in which to establish these relationships between signifiers and concepts (Hall, 1997, p. 21). Danya Lipshitz 1380417 24 Physical Space (Naked Existence) Physical space, while not primarily referring to that which we can perceive through our senses, also relates to the immediacy typically associated with what exists within the physical realm (Lefebvre, 1974, p. 19-22). This type of space is not unlike what Aldous Huxley refers to as "naked existence" (1962, p. 17) in "The Doors of Perception", where meaning and existence, pattern and colour become more significant than spatial relationships and time. In this "naked existence", duration is replaced by a perpetual present, and where impressions are intensified and experience is not limited by chronological flow (Huxley, 1962, pp. 20-21, 24). However, Huxley was experimenting with hallucinogens. Lefebvre’s physical space reminds me of Huxley because of the immediacy of the now. We often think of it as what we see when we see it as it is in that moment without considering all the moments that came before. If physical space is the realm of existence, however, can space be empty? Existence does not stop because you have left the room. There is an interesting link between "physical space" - "naked existence" - and the moment of interaction with an artwork. In my honours thesis in History of Art (2018), I looked at art as the moment of interaction between subject, artist, and viewer. Evrard and Krebs stress that this dynamic is a core aspect of authenticity in Western art (Evrard & Krebs, 2017, p. 358). With Diego Velazquez’ Las Meninas as my primary case study, I wrote the following: Las Meninas presents an intricate diagram of the mechanics of representation. The painting’s discourse is "as constructed around what you can’t see as it is around what you can see," (Hall, 1997, pp. 58-61). In the painting, Diego Velazquez stands behind a canvas with a brush in hand. We (the viewers) cannot see what he’s painting. There is a mirror on the back wall of the room and the attention of the visible subjects appears to be divided between the Infanta and an unseen subject, located in the same position as the viewers (Foucault, 1970, pp. 14-15). The absent subjects could be King Phillip IV and Maria Anna – as implied by the mirror on the wall opposite the viewer. But the location of the royal couple marks the point at which each of the Danya Lipshitz 1380417 25 three parties (artist, viewer, and subject) have been, or are implied to have been, relatively located to the scene. Looking at this painting is like stepping into a dimension in which viewpoints and subjectivities collide. It’s a motif in creative expression, whereby the work becomes alive in the moment that the artist, viewer, and subject collide. The act of looking – or interacting – seeming takes a moment, but in that time, captures the convergence of these viewpoints; it is a "direct and tangible confrontation," (Evrard & Krebs, 2017, p. 358). The only thing that’s ever agreed upon (Lefebvre’s words) is that production exists. Hence, The Production of Space. Physical space exists as a production of the moments before it (Lefebvre, 1974, p. 19-22). This is relevant to the notion of the Aura, which I discuss in a later chapter. Social Space (Culture) Social space is the space that produces the conventions through which we speak, learn, live, and think (Lefebvre, 1974, p. 27-34). There is a striking similarity between what Lefebvre calls "social space" and what Stuart Hall calls "culture", which Hall regards as a space for shared meaning (1997, p. 1). According to Hall, culture comprises exchanging symbolic forms within structured social contexts in which they are produced and received. Stuart Hall asserts that culture is fluid. It is not something which already exists, transcending place and time. It is a brewing pot that produces identities which reflect the common historical experiences and shared cultural codes. It is a frame of reference (Hall, 1990, p.132). There is a common link with what Homi K. Bhabha suggests regarding modernity: it is not a singular event; rather, it is the amalgamation of a historical enunciation based upon dominant discourse (Bhabha, 1994; Bhambra, 2014, p. 116). Social space is the space produced by historical conventions and context. It’s a child of the intimate affair of power and knowledge. It’s how history is told by the victor and is built around an illusion of totality, suggesting a clear, easily justifiable narrative that links the past to the present concisely. It’s colonialism. To draw a link here with Postcolonial theory: as an ideology, Postcolonialism concerns itself with questioning the way power underpins knowledge and its production (Bhambra, 2014, p. Danya Lipshitz 1380417 26 120). Postcolonialism attempts to disrupt this "universality" and construct new narratives of modernity (Bhambra, 2014, p. 120). Danya Lipshitz 1380417 27 Place While Lefebvre regards space to be the place-maker of all that comes – the producer of places – other theorists disagree. Guo Zhang and Elin K. Jacob contest Lefebvre’s notion that place is a production of space (Zhang & Jacob, 2012, p. 93-94), claiming that they are entirely independent concepts. In "Reconceptualizing Cyberspace: "Real" Places in Digital Space" (2012), Zhang and Jacob discuss the notions of space and place. They explain and outline two main schools of thought on the notions of space and place: horizontal and vertical (Zhang & Jacob, 2012, p. 91). Horizontal approaches to the space/place dichotomy focus on a space being a physical construct and a place being a conceptualization. In this school of thought, place is not a type of space; space is a fact, place is a product that emerges, evolves, and disappears in history (Zhang & Jacob, 2012, p. 91-93). Vertical approaches view space and place as having a hierarchical relationship, in which place is subordinated to space. In this context, place cannot exist without space; place is occupied space (Zhang & Jacob, 2012, p. 91-93). Zhang and Jacob acknowledge the similarity between these notions of "place" and Lefebvre’s "social space" (Zhang & Jacob, 2012, p. 91). They conclude that physical space is not the catalyst of a place because space is not reliant upon a physical environment/location. In turn, a place does not need to be contained within a physical space. Space and place are linked practically and experientially, and through their interaction, we, as humans, experience "spatiality, location, identity, belongingness, and the sense of place," (Zhang & Jacob, 2012, p. 94). Place is a setting defined by inclusivity; "supporting the feeling of being somewhere as opposed to just anywhere" (Kalay & Marx, 2001, p. 19-21). There is a communal aspect in that individuals are exchanging social and cultural interactions in the same environment (though not necessarily geographically linked). This suggests that space is the physical framework in which "place" happens; "a place is a space activated by social interactions, and invested with culturally-based understandings of behavioural appropriateness," (Kalay & Marx, 2001, p. 19-21). ‘Place’ is what happens in a space - but more than that, it also frames the context for social behaviour. While space can be "imaginary", ‘places’ cannot. Danya Lipshitz 1380417 28 Cultural practices that result in the "give and take" of meaning could be associated with this conceptualisation of place (Hall, 1997, p. 1). Having a shared sense of place enables individuals to engage in similar activities within same space. It provides a shared understanding that orients themselves in the space they occupy physically and behaviourally. This enables them to engage with each other - and the world - meaningfully (Kalay & Marx, 2001, p. 19-21). If place is a setting defined by inclusivity and community but not geographical proximity (Kalay & Marx, 2001, p. 19-21), it can be explored in relation to the notions of imagined worlds, community, nation, and diaspora. The concept of imagined worlds refers to the ways in which people create and inhabit fictional or virtual environments that may or may not reflect aspects of the real world. This notion highlights the importance of human creativity and imagination in shaping our understanding of the world around us. Through imagined worlds, individuals and societies can explore alternative realities, experiment with new ideas and values, and challenge existing social norms. These imagined worlds can take many forms, such as novels, films, video games, and virtual reality experiences (Wolf, 2012, p. 3). Imagined worlds can also have political and social implications. For example, the fictional worlds depicted in dystopian novels and films often serve as cautionary tales about the dangers of totalitarianism and the importance of individual freedom. Video games that feature diverse characters and perspectives can challenge stereotypes and promote empathy and understanding. The concept of imagined worlds can be linked to Henri Lefebvre's concept of the production of space in several ways. Both concepts emphasize the importance of human creativity and imagination in shaping our understanding of the world, and the role of mental maps and representations in shaping physical space. Lefebvre's emphasis on the social production of space suggests that the physical environment is not fixed and unchanging, but rather a dynamic product of human imagination and action. This view aligns with the idea of imagined worlds, which emphasizes the importance of human creativity and imagination in shaping our understanding of the world around us. Danya Lipshitz 1380417 29 Lefebvre argues that space is not just a physical entity, but also a social and cultural construct that reflects the values and beliefs of a society. He contends that space is produced through a dialectical interplay between perceived space (how we experience and understand space) and conceived space (how space is planned and designed) (Lefebvre, 1991, p. 39-40). This dialectical process involves the creation of mental maps, images, and representations of space that are shared and reproduced through social practices. This emphasis on the role of mental maps and representations of space in the production of physical space echoes the concept of imagined worlds. Imagined worlds are not just fictional or virtual environments, but also mental constructs that shape our understanding of the world and our actions within it. I would argue that one type of imagined world is an imagined community, which is a construct discussed in detail by scholar and author, Benedict Anderson (1991). Like an imagined world, an imagined community is a construct created through a particular way of seeing and understanding the world. Anderson's concept of an imagined community emphasizes the importance of cultural practices in creating a sense of belonging and identity and highlights the role of discourses and cultural symbols in shaping how individuals understand their place in the world (Anderson, 2006, p. 6). Where the two deviate is that Anderson's concept of an "imagined community" is created through shared cultural symbols and practices. This links closely with Lefebvre’s argument that space is a social product that is produced and reproduced through human activity (Lefebvre, 1991). Lefebvre suggests that space is an active force that shapes social relations and structures. Anderson uses the concept of "imagined communities" to refer to the way that nations are created and sustained through shared cultural practices and discourses (Anderson, 2006, p. 6). Anderson defines an imagined community as a socially constructed entity that is imagined by its members as both limited and sovereign. It is limited in the sense that it has boundaries that distinguish it from other communities, and sovereign in the sense that its members believe in its autonomy and self-governance (Anderson, 2006, p. 6). He goes on to define nations as imagined political communities that derive from the shared belief in a common ancestry, culture, and history (Anderson, 2006, p. 7). Danya Lipshitz 1380417 30 In "Cultural Identity and Diaspora" (1990), Stuart Hall defines diaspora as a "cultural condition" that arises from the dispersal of people from their original homeland or territory to other parts of the world (p. 223). He goes on to say that diaspora is not just about physical movement or displacement, but also about the formation of new cultural identities and practices that reflect the experiences of displacement. This comes as a result of a "splitting" of identity, in which individuals are "doubly articulated" between their cultural roots and their new location (p. 225). This leads to a sense of "in-betweenness" or hybridity, as diasporic communities create new cultural forms that incorporate elements from their original culture as well as from the cultures of their new location(s). Returning to Anderson briefly; he argues that nations are not natural or objective entities, but rather social constructs - places - that are produced and reproduced through cultural practices and discourses (Anderson, 2006, p. 7). In this sense, Anderson’s articulation of national identity encapsulates what Hall outlines as diasporic identity. Hall’s unpacking of Diaspora and hybridity warrants considering the extent to which the notion of a "Third Space" may also tie in to this understanding of place. Homi K. Bhabha, a postcolonial theorist, defines the third space as an "interstitial passage between fixed identifications" (1994, p. 37). Bhabha argues that the third space is a site of hybridity, where different cultural elements come together to create new cultural forms and identities (Bhabha, 1990; Kraidy, 2005, p. 380). It is a space of negotiation and contestation, and this place enables the negotiation of "the intersubjective and collective experiences of nationness, community interest, or cultural value" (Bhabha, 1994, p. 37). Danya Lipshitz 1380417 31 Cyberspaces The distinction of a space and a place is vital when considering the digital realm because digital spaces can be viewed as an altogether new dimension (Zhang & Jacob, 2012, p. 96). Digital realms, henceforth referred to as "Cyberspaces", can be thought of as "places" rather than "spaces" because of their ability to facilitate human interaction for the required purpose and context (Kalay & Marx, 2001, p. 19). The type of social interaction facilitated by digital spaces, can promote/perpetuate cultural values within and among an unspecified, vacuous void, which can just as easily contain its inhabitants and enable them to browse and/or utilize data, communication, and services. Cyberspace can be viewed as a spatial metaphor comprising three key sectors (Zhang & Jacob, 2012, p. 96). The first two are the physical and the technological infrastructures, and the third is the social and cultural conventions entrenched within the interactions/exchanges that take place online (Zhang & Jacob, 2012, p. 97). Globalization Globalization is a complex and multifaceted phenomenon that has transformed the world in numerous ways. It has been shaped by advances in technology and communication, as well as by political and economic factors. While it has brought about many benefits, it has also created new challenges and raised important questions about how to create a more equitable and sustainable global system. The term itself refers to the increasing interconnectedness of the world's economies, cultures, and populations, fuelled by advances in technology and communication. It is the result of the "pace and nature of the pathways taken by the Internet … [and has] been influenced by many actors, including users, making decisions in a variety of specific political, economic, and social contexts," (Haigh et al., 2015, p. 147) and has led to the integration of markets and the growth of global trade, investment, and migration. It has also facilitated the spread of ideas, values, and cultural practices across national borders. Due to the wide-reaching nature of the internet, it is indisputable that contemporary society has an increased awareness of belonging to a global community (Giddens, 1990, p. 64). Subsequently, local communities and identity are constructed within a global context. This is made far more complex when considering the dynamic between the West and the Global Danya Lipshitz 1380417 32 South. Despite being separated spatially, the internet has allowed for "decentred interlocality" which "…depends upon an interplay between Global South and Global North in which the significance of the local increases with the recognition of its connection to the circuits of power, equally intractable and ubiquitous, but simultaneously present in other locations as well," (Trefzer, Jackson, McKee, & Dellinger, 2014, p. 4). As such, the notion of "decentred interlocality" illuminates the process through which the disparities between the Global North and Global South may be recognized and altered. Sociologist and scholar, Anthony Giddens, explains globalization as an "intensification of worldwide social relations which link distant localities" (1990, p. 64). Globalization compresses time and space, meaning that the world is becoming more interconnected and events in one part of the world can have repercussions in another part. Giddens writes, "the world is increasingly becoming one single place, with events in one part of the globe having consequences for people far away" (Giddens, 1999, p. 64). Some scholars argue that globalization is driven by the convergence of technologies and the rise of a global economic system, whereby advances in communication and transportation have made it possible for businesses to operate globally and for individuals to connect with each other across national borders. Some scholars argue that this indicates that globalization is a global condition that frames the social and political workings of the world (Gittinger, 2014, pp. 510-511), whereby the "global competitive playing field is being levelled...in a way that I believe is without precedent in human history" (Friedman, 2005, p. 7). Economic growth, increased access to information and technology, and cultural exchange may be viewed as its perks, but globalization does not come without its pitfalls. Cyberimperialism One of the primary criticisms of globalization is cultural homogenization (Gittinger, 2014, p. 509). Professor Edward Said’s concerns regard cultural homogenization as a form of "cultural imperialism" (Said, 1993, p. 10), resulting from the way the immediacy and reach of the internet enables the dilution of spaces. "Cyberimperialism", a term first coined by scholar James F. Carey in 1992 (Carey, 1992), refers to the domination of global digital communication technologies by developed countries and the ways in which this domination perpetuates unequal power relations between nations. Danya Lipshitz 1380417 33 This term highlights the need for a more equitable and democratic global digital system. Cyberimperialism is perpetuated through various mechanisms (Dyer-Witheford, 1999), namely: the digital divide between developed and developing countries, the use of English as the dominant language in cyberspace, and knowledge production (Deibert & Rohozinski, 2010, p. 43-57). The notion of "geographical knowledge", which alleges that representation is closely associated with power (Graham, 2014, p. 6), is significant in this regard. Information geographies is a concept that refers to the study of how information and communication technologies (ICTs) interact with and shape geographic space. The term was first coined by Mark Graham and Matthew Zook in their 2013 article "Augmented realities and uneven geographies: Exploring the geolinguistic contours of the web" (Graham & Zook, 2013), in which they argue that the internet and other ICTs are not evenly distributed across geographic space, but rather are concentrated in certain regions and languages (pp. 77-99). Information geographies have a close link to the digital divide, as digital technologies can contribute to new forms of spatial inequality, as parts of the world may not be able to access and interact in such spaces (Gittinger, 2014, pp. 510-511). The "Digital Divide" is a term ascribed to the global circumstances surrounding various countries’ capacities to access the internet (Gittinger, 2014, p. 511). This is consequential to a country’s economy and infrastructural capabilities and may even take place within a single nation in a manner that demonstrates the disparities between economic classes. These regions are characterized by limited access to ICTs, low levels of digital literacy, and a lack of digital content that reflects local cultures and languages (Graham, 2011, pp. 211-227). The physical infrastructure that underpins ICTs, such as fibre-optic cables, data centres, and server farms are unevenly distributed across the globe, with many developing countries having limited access to high- speed internet and other digital infrastructure (Graham & Mann, 2013, pp. 345-371). Information geographies highlight that the internet and other ICTs are not neutral, but rather reflect and reproduce existing social and economic inequalities. Graham and Zook (2013, pp. 77-99) note that the majority of online content is produced in a small number of languages, primarily English, and that this linguistic bias reinforces the dominance of Western cultural and economic power. Danya Lipshitz 1380417 34 Scholars argue that the "Digital Divide" is rapidly narrowing (Rangaswamy & Arora, 2015, pp. 611-613) as technology gradually becomes part of daily life by means of "leisure avenues" and providing individuals with "diverse levels of literacy" (Rangaswamy & Arora, 2015, pp. 615-616). However, many developing countries are marginalized in that they have limited access to the benefits of digital space. This notion points toward a form of systemic imperialism – an instant whereby dominant cultures implement their societal norms upon other localities (Gittinger, 2014, pp. 512-514; Manovich & Lovink, 1999, p. 83). The result of such imperialism is that the paradigm of information production and consumption may be entirely altered. For example, the most popular global social media platforms, such as Facebook and Twitter, are owned by Western companies. These platforms have become crucial channels for communication and information sharing, but they are controlled by a handful of companies based in developed countries. This concentration of power has led to concerns about the potential for censorship, surveillance, and the manipulation of public opinion (Deibert & Rohozinski, 2010, p. 43-57), which could perpetuate colonial aspects of power and knowledge as "…the core nations could, in theory, control the world through how they describe political events, ideologies, or other civilizations…" (Gittinger, 2014, pp. 512- 514). Information geographies is a concept that highlights the ways in which ICTs interact with and shape geographic space. This field of study emphasizes the importance of understanding the uneven distribution of digital infrastructure, the linguistic and cultural biases of online content, and the potential for new forms of spatial inequality created by digital technologies (Graham, 2014, pp. 7-9). This greatly impacts the sources from which information is produced, and the socio-economic circumstances leading to the information manifesting in such a manner (Graham, 2014, p. 4, Gittinger, 2014, pp. 516-518). However, Globalization does not inevitably lead to homogenization, although it does use similar "instruments of homogenization (armaments, advertising techniques, language hegemonies, and clothing styles) that are absorbed into local political and cultural economies…" (Appadurai, 1990, p. 48). Cyberspaces may also provide the foundation for marginalized voices to define their own image in a manner that reflects diversity (Gittinger, 2014, pp. 512-514). The notion of "imagined worlds" could pose as an alternative framework to theorize globalization in its acknowledgement of "the complexity of the current global economy", which implicates a "certain fundamental disjuncture between economy, culture Danya Lipshitz 1380417 35 and politics," (Appadurai, 1990, p. 41). The global reach of Cyberspaces may enable individuals to deliberate and project meaning from their local contexts. Online engagements serve as integral foundational sites, accessible despite spatial and social constraints, whereby a bi-directional flow of information allows for an immersive dynamic to emerge between "people, digital media and informal learning," (Rangaswamy & Arora, 2015, pp. 611-613). Hybridity, the "interpenetration and intermingling of cultures", and the creation of new cultural forms and identities (Kraidy, 2005, p. 380), has emerged as a result of cultural globalization, which is leading to the creation of new hybrid cultural forms and practices. To revisit the concept of "imagined worlds" (Rangaswamy and Arora, 2015, p. 616-618), digital technology may form an integral part of the facilitation and sharing of cultural symbols and practices, providing a platform on which Cyberspaces can construct and reconstruct diasporic identities (Rangaswamy and Arora, 2015, p. 616). As a result, communities determine and define the dynamic between general understandings of technology, and how these technologies are used by their community (Rangaswamy & Arora, 2015, pp. 615-616). Websites and other digital technologies have the potential to create new cultural forms and practices that challenge traditional notions of identity, culture, and place. Cyberspaces can be viewed as "third spaces" in that they challenge traditional notions of identity, culture, and place (Bhabha, 1990; Kraidy, 2005, p. 380). They create new forms of cultural expression that are not tied to any particular culture or identity, but rather emerge from the interaction between different cultures (Kraidy, 2005, p. 380). Such spaces are important for understanding the complex and dynamic nature of cultural globalization, and for developing new ways of thinking about identity, culture, and communication. Danya Lipshitz 1380417 36 Chapter 2 – Archive and Exhibition: Their Historical and Postcolonial Contexts In this chapter, I unpack the notions of the Archive and the Exhibition. I conclude with a section that suggests a framework for how these two concepts function spatially, and how this is relevant going forward. The acts of collection and display – the archive and the exhibition – are part of a larger colonial enterprise described as "a hegemonic activity, an act of appropriation," (Kasfir, 1992, p. 42) as well as an anthropological method of documentation. It is the West that determines an art-object’s authenticity. This is part of the construction of the fallacy of a ‘universal’ truth (Said, 1995), which divides "the West" and "the rest" and proceeds to exclude the latter from any meaningful contribution/documentation of history and, consequently, modernity (Bhambra, 2014, p. 116). Postcolonialism attempts to disrupt this "universality" and construct new narratives of modernity (Bhambra, 2014, p. 120). Danya Lipshitz 1380417 37 Archive The Power of the Archive and its Limits by Achille Mbembe (2002) forms part of a debate formulated in the book Refiguring the Archive (2002), that interrogates how the concept of the archive preserves the past and/or determines the future. Mbembe classifies the term ‘archive’ as a public institution as well as a process of preservation. As a "public institution", the archive plays a complex and contested role in the dynamic between the state, civil society, and the public sphere in contemporary democracies (Mbembe, 2002, p. 19). The term "public institution" refers to any organization or structure that is established by the state or other public authorities and serves a public function. While they are an essential part of modern democracies, as they provide the infrastructure and services necessary for the functioning of society, Mbembe also acknowledges that public institutions are not neutral or apolitical entities. Rather, they are shaped by the social, political, and economic contexts in which they operate, and are often sites of contestation and struggle over power, resources, and representation (Mbembe, 2002, pp. 19-22) Mbembe specifies in his definition of the term ‘archive’ that it refers to the dynamic between the architectural space in which the archived documents are stored, and the rituals by which they are categorized and deemed "archivable" (Mbembe, 2002, p. 20). It is an entity that serves to collect histories, and the way the archive is accessible in the present day serves as linking the past to the present (2002, p. 19). However, the archive protects mere snippets of history – it does not preserve a nation’s entire past. The reason for this may lie within the notion of "archivability", which refers to the capacity of an object or event to be preserved in repositories of historical records and documentation. In other words, archivability is the quality that makes an object or event worthy of being remembered and recorded for posterity. Mbembe asserts that an imperative aspect to the qualification of "archivability" is the notion of death, as death is one of the most "radical attempts to destroy life and all relations to it" (Mbembe, 2002, p. 22). The archive prevents the remainders of death from being eliminated, preserving histories so that they may one day "acquire life" once again (Mbembe, 2002, p. 22). The building in which the archive is held constitutes a type of tomb – not necessarily to lay the documents in a perpetual slumber, but to preserve their content. Danya Lipshitz 1380417 38 Archivability is closely linked to issues of power and representation. There is an inherent bias in which documents are considered "worthy" of being archived, as Mbembe explains, "for a memory to exist, there must be a temptation to repeat an original act," (Mbembe, 2002, p. 24); an item that is archivable is one that has the potential to become part of the historical record and to shape our understanding of the past and the present (Mbembe, 2002, p. 21). Archivability is not a neutral quality but is shaped by the dynamics of power and representation (Kasfir, 1999, p. 47). Material Status The physical/architectural space of the archive is an integral part of identification and interpretation. Mbembe asserts the preference of such "material status" in an age before the digital archive. Such a status appeals to senses, whereby the archived document can be engaged with via touching, viewing, and a cognitive process of reading and decoding (Mbembe, 2002, p. 20). There are similarities between Mbembe and Lefebvre's texts in that they both highlight the ways in which material objects and spaces are not simply physical entities but are actively produced through social practices and carry cultural and political meaning. By examining the interplay between materiality, power, and space, these theorists offer insights into the complex dynamics of social life and the ways in which culture and politics are intertwined with the physical world. There are several points of connection between Mbembe's notion of material status and Lefebvre's ideas about the production of space. Firstly, Mbembe argues that material objects can become "archives" that carry the weight of history and memory, and that these archives can be mobilized for political purposes (Mbembe, 2002, p. 19). Lefebvre argues that space is produced through social practices that carry historical and cultural meanings (Lefebvre, 1991, p. 91). Mbembe discusses the ways in which archives can be used to reinforce or challenge dominant power relations (Mbembe, 2002, p. 18). Lefebvre argues that the production of space is intimately tied to struggles over power and control (Lefebvre, 1991, p. 283). Mbembe also emphasizes the importance of "rituals of consumption" that imbue material objects with social and cultural meaning (Mbembe, 2002, p. 19). Lefebvre argues that the production of space is tied to consumption practices and the commodification of urban life (Lefebvre, 1991, p. 217). Danya Lipshitz 1380417 39 Imaginary status The concept of "imaginary status," refers to the ways in which objects and artifacts can become invested with symbolic and cultural meaning that transcends their physical properties (Mbembe, 2002, p. 18). In the context of Achille Mbembe’s articulation of the way the archive links the past to the present so as to preserve memory (2002, p. 22), the process erects an "imaginary status", in which the role of the archive is to reassemble the debris of lost histories. Doing so explores the power of the archive as an instituting imaginary that serves as a manner of recalling (Mbembe, ibid.). This proposes that through archived documents, time can be pieced together as fragments are recovered, providing the illusion of totality, suggesting a clear, easily justifiable narrative. Just as nations are constructed through the circulation of symbolic forms, including language, print culture, and visual media (Anderson, 1991, p. 6), Mbembe argues that objects can become invested with symbolic and cultural meaning through their circulation in networks of power and through the narratives that surround them (Mbembe, 2002, p. 18). Lefebvre argues that the production of space is tied to the circulation of signs and symbols, which can produce particular meanings and associations (Lefebvre, 1991, p. 81). Mbembe emphasizes the importance of historical narratives and memories in shaping the imaginary status of objects (Mbembe, 2002, p. 19), which add to the historical narratives and mythologies that shape collective imagination and history (Anderson, 1991, p. 15). Lefebvre argues that the production of space is tied to the construction of historical narratives and the commemoration of events (Lefebvre, 1991, p. 87). Mbembe also discusses the role of the imagination in producing and sustaining the symbolic and cultural meaning of objects (Mbembe, 2002, p. 18). Lefebvre emphasizes the importance of the imagination in the production of space, arguing that it is through the imagination that social actors can create new spatial possibilities and challenge dominant spatial formations (Lefebvre, 1991, p. 97). This is not unlike Benedict Anderson's thoughts on imagined communities, as he argues that the construction of nations is closely tied to the exercise of power, including the power to define who belongs and who does not belong to the national community (Anderson, 1991, p. 7). The symbolic and cultural dimensions of social life are produced through shared cultural practices and narratives. Danya Lipshitz 1380417 40 Collective Ownership The conceptualization of the archive as an "instituting imaginary" (Mbembe, 2002, p. 23) relies on a parasitic relationship between the archive and the state whereby neither could exist without the other. There would be no state without the archive to document its history and no governing body to regulate what constitutes "history". Time, with relation to archives, has a political dimension – it exists within a realm of "collective ownership" (Mbembe, 2002, p. 19). The transition from viewing documents as components of an archive to considering art- objects in a similar vein necessitates an understanding of archives not just as repositories of textual records but as comprehensive collections that encompass a wide array of cultural artifacts. This broader conception aligns with the idea that archives serve as sites of memory and history, preserving the tangible manifestations of culture, identity, and heritage. Art-objects, much like documents, are imbued with narratives, contexts, and significances that contribute to the collective memory and identity of societies (Mbembe, 2002, p. 18). When these objects are archived, they are not merely preserved; they are inserted into a narrative framework that institutionalizes their meaning and importance. This process of archiving art-objects extends the archive's role beyond the preservation of state and official documents to include the safeguarding of cultural heritage and artistic expression. However, this inclusion also introduces complexities related to the "discrimination of selection" mentioned by Mbembe (2002, p. 20). The decision-making process about what art- objects are archived often reflects power dynamics, cultural biases, and historical narratives that privilege certain viewpoints over others. This selection process can lead to the recontextualization of non-Western art-objects, where their original meanings, functions, and cultural significance are reframed to fit into the Western archival and historical narratives. This recontextualization can detach art-objects from their cultural and geographical origins, transforming them into objects of study rather than lived heritage, and contributing to the phenomenon of the "nameless artist" as described by Kasfir (1992, p. 44). The archival process can strip art-objects of their original functions and meanings, relegating them to historical artifacts rather than living components of their cultures. This detachment raises questions about ownership, representation, and the role of archives in constructing history. It underscores the need for an inclusive and reflective archival practice that Danya Lipshitz 1380417 41 acknowledges the diverse origins and significances of art-objects and strives to preserve their connections to their cultural contexts. In sum, the inclusion of art-objects in archives underscores the political dimension of archival practices and highlights the need for critical engagement with how cultural artifacts are selected, preserved, and interpreted. It challenges us to reconsider the archive not just as a space for storing history but as an active participant in the creation and perpetuation of cultural narratives and identities. Danya Lipshitz 1380417 42 Exhibition "Inside the White Cube: The Ideology of the Gallery Space" is an essay by Brian O'Doherty that explores the ways in which the gallery space shapes our experience and understanding of art. The essay was originally published in Artforum in 1976 and comprises critical reflection on the way the gallery space is an "ideological apparatus" that frames and shapes our perception of the artworks (O'Doherty, 1976, p. 13). There are three key characteristics of the gallery space that contribute to this ideological framing: its white walls, its uniform lighting, and its spatial configuration. According to O'Doherty, the white walls of the gallery space create a sense of "purity" and "isolation" that separates the artwork from the outside world and presents it as a self- contained object (O'Doherty, 1976, p. 13). The uniform lighting of the gallery further emphasizes this isolation by creating a "totalizing" effect that erases any sense of depth or texture in the artwork (O'Doherty, 1976, p. 15), while its spatial configuration, with its carefully controlled in circulation and viewing angles, directs the viewer's attention and shapes their experience of the artwork (O'Doherty, 1976, p. 16). These features create a "spectacle" of the artwork that emphasizes its formal qualities and aesthetic value, while obscuring its social and historical context to reinforce the social and economic power of the art world and its institutions (O'Doherty, 1976, p. 17). Like an archive, the term "exhibition" refers to both objects on display as well as the physical space in which it takes place. Another crucial link relates to archivability, in that the art objects chosen for an exhibition can reveal a form of historical revisionism, as they are often selected and displayed from a position of privilege (O’Doherty, 1986, p. 70). Exhibitions are paradoxical in that they are fleeting moments in time and space, yet they want to exist outside of such restraints. This space is set up with the intention of suspending time and space temporarily so that artworks may be viewed without the socio-political implications brought upon by the time that has passed since their creation (O'Doherty, 1986). However, the exhibition is bound to exist in a predetermined and limited time and space, existing onwards in "afterlives". The concept of exhibition afterlives recognizes that the impact of space on spectatorship extends beyond the immediate exhibition context. It can continue to shape our perception of art even outside of the exhibition space and time. O'Doherty argues that the space in which art is exhibited has a lasting impact on our Danya Lipshitz 1380417 43 understanding of that art, even when we encounter it outside of the exhibition context (O'Doherty, 1976, p. 15). While O’Doherty’ s concept of exhibition afterlives focuses specifically on the art world and the impact of exhibition spaces on our perception of art, it draws an important link with Lefebvre's "Production of Space." The impact of space extends beyond its immediate context (Lefebvre, 1991, p. 26). Key aspects to the understanding of the exhibition are the notions of spectatorship and curation. As the white cube gallery space "insists on the viewer's isolation" (O'Doherty, 1976, p. 14), it is designed to control the behaviour and movement of the viewer. Through the curation of the space, an ideological construct emerges, and it separates art from its context and reduces it to an aesthetic experience (O'Doherty, 1976, p. 14). In doing so, the space asserts and assigns certain meanings and values, such as the importance of certain artists or the relationship between different pieces of art (Fischer, 2004, p. 83). This reveals the way the curation of exhibition spaces is part of the production of space and reflects the power relations and social structures that shape our experience of space (Lefebvre, 1991, p. 37). Critic and curator Paul O'Neill, in his book "The Curatorial Conundrum", cements this notion by stating that "curatorial practice is never neutral; it is always embedded within a complex web of political, social, economic, cultural and institutional interests" (O'Neill, 2016, p. 11). O'Doherty refers to the implication of this space on spectators as a "ritualistic" experience, in which individual viewers lose their autonomy and become part of a collective "hive mind" (O'Doherty, 1986). As the exhibition space creates an artificial, unshadowed, white, and clean environment that eliminates personal subjectivity and creates a timeless, eternal display for the artworks (O'Doherty, 1986, p. 15), the viewer's self is meant to be eliminated. An interesting concept to consider is the flaneur, as described by French poet and cultural critic Charles Baudelaire. The flâneur is a leisurely stroller who wanders the streets of the city, observing and absorbing the urban environment. Baudelaire described the flâneur as a "viewer who takes pleasure in abandoning himself to the artificial world of high capitalist civilization," (Lauster, 2007, p. 140). This concept has been taken up by scholars and critics in the fields of art and cultural studies as a way of exploring the relationship between the individual, the city, and the spectacle (Baudelaire, 1995, pp. 1-40). Walter Benjamin, for example, views the flaneur as "a Marxist critique of commodity fetishism," (p. 140). To Benjamin, the flâneur is almost a satirical parody of capitalism; "an Danya Lipshitz 1380417 44 observer and connoisseur of market fluctuations... on a reconnaissance mission in the consumer's realm... to register all the signs of commodification," (p. 140). This notion aligns with O’Doherty’s description of how the hivemind functions in the exhibition space. The hive mind operates and thinks as a single mass, and the exhibition space reflects the abandonment of personal subjectivity in a "neutralized" environment that allows the viewer to experience art in a detached and disembodied way (O'Doherty, 1986, p. 15). However, Baudelaire discusses the concept of the flâneur as both the subject and the object of the spectacle. In his essay "The Painter of Modern Life", he argues that the flâneur is a privileged figure who can observe the world around him while remaining detached from it. The flaneur observes and reflects on the dynamic and ever-changing nature of the urban environment; (Baudelaire, 1995, p. 14). Meanwhile, the urban environment is also a spectacle; created and maintained by the cultural and social practices of its inhabitants (1995, p. 10). The flâneur's experience of the urban environment is akin to that of a spectator who enjoys the spectacle from a position of detachment. Curation, then, is a crucial element in the dynamic discourse of knowledge production between the artists and audiences (Johnston, 2014, p. 23). The notion of "socially engaged curatorial practice" may pose a solution to detached spectators, as it intends to address the "production, distribution, and consumption of art through multiple platforms with an emphasis on process and connecting with audiences," (Johnston, 2014, p.24). The limitation, here, however, is that this process prioritizes the curator’s role in the understanding of an exhibited artwork, "as well as innovative methods and approaches to mediation—which is often from the inception of a project to production and presentation," (Johnston, ibid.). The most pertinent part of socially engaged curating is the way it highlights the experience of viewing an artwork. Doing so requires an attempt "to activate the space between object and audiences," (Johnston, 2014, p. 24). The city (to Baudelaire), just like the exhibition space, is not just a physical space, but is also a social and cultural space that is constantly being shaped and remade by the practices of its inhabitants. The flâneur is not just a passive spectator but is also an active participant in the urban spectacle (Baudelaire, 1995, p. 13). Spatial practice - the ways in which people use and interact with space - is a key element in the production of space (Lefebvre, 1991, p. 26), and socially engaged curating appears to be a key aspect in Danya Lipshitz 1380417 45 empowering the spectator to be an active participant, impacting how meaning is created and exchanged. Danya Lipshitz 1380417 46 The Spaces of the Archive & Exhibition Guo Zhang and Elin K. Jacob propose a framework that may be useful in understanding space, place, and their interrelationships. This is especially helpful when considering how space and place transform and shift when considered digitally. It is also extremely beneficial when considering the complexities of the archive and the exhibition as institutions - spaces - as well as places. There are four dimensions that Zhang and Jacob break down. Space Place Shape Spatial; neutral; objective. Spatiotemporal; affective; intersubjective. Structure Undifferentiated; without boundary. Distinct; bounded. Context Incomprehensible; a collection of possibilities; without behavioral constraints; conceptually unconstrained. Known; recognized opportunities; with behavioural guidelines and expectations; conceptually constrained. Experience Uninhabited; potential mental framework for human experience; unfamiliar and unknown. Inhabited; everyday classification/representation of human experience; familiar. Table A: Four-Dimensional Perspective on Space and Place (Zhang & Jacob, 2012, p. 94). Based on the detailed framework provided by Guo Zhang and Elin K. Jacob regarding the concepts of space and place, it's clear how these distinctions can be instrumental in examining the roles and functionalities of archives and exhibitions within the digital and physical realms. This framework lays a foundational understanding that space, characterized by its neutrality and potential, contrasts with place, which is imbued with specific meanings, experiences, and social constructs. The application of this four-dimensional perspective enables a deeper exploration into how exhibitions and archives, as institutions, navigate between being spaces—containers of infinite possibilities—and places—sites of curated narratives and preserved histories. In the context of digital transformation, Zhang and Jacob's framework becomes particularly salient. Digital platforms dissolve traditional boundaries and expand the notion of space, allowing for a reimagined engagement with place. Archives and exhibitions, when digitized, transcend physical limitations, offering new ways to interact with, experience, and interpret art and historical documents. The digital shifts the experience from a physical to a virtual realm, where the interplay between space and place is reconfigured, challenging traditional notions of accessibility, interpretation, and engagement. Danya Lipshitz 1380417 47 For archives, the transition from physical to digital spaces opens up unprecedented possibilities for access and engagement, while also raising questions about the authenticity and preservation of digital artifacts. Digital exhibitions can extend the reach and impact of art beyond conventional gallery walls, fostering an inclusive and interactive engagement with audiences worldwide. However, this also necessitates a reevaluation of how we curate, experience, and understand art and history in the digital age. By applying Zhang and Jacob's framework, we can critically assess the evolving dynamics of space and place in the digital landscape, offering insights into the potentialities and challenges faced by archives and exhibitions. This perspective not only enhances our understanding of these institutions in a digital context but also prompts a reconsideration of how digital spaces can serve as new sites for cultural expression, memory, and identity construction. In exploring exhibitions and archives within the realm of art history, it is essential to dissect the intricate dynamics between 'space' and 'place'—concepts that, while often used interchangeably, possess distinct qualities that profoundly shape our interaction with and understanding of art and historical narratives. Drawing upon the theoretical framework proposed by Zhang & Jacob (2012, p. 94), this examination adopts a 'four-dimensional perspective' that delineates 'space' as an abstract, potentially neutral container of possibilities, and 'place' as a defined, contextually rich site imbued with specific meanings and experiences. This differentiation is crucial in understanding how art exhibitions and archives, as institutions, function both as physical and conceptual entities. The following tables are constructed with the intent to elucidate the complex interplay between 'space' and 'place' across two distinct but interrelated domains: exhibitions and archives. By dissecting these dimensions, we aim to reveal how the spatial configurations and the curated or archived content within these settings not only coexist but also interact to create rich, multifaceted experiences. These explorations are grounded in the notion that 'space' and 'place' are not merely passive backdrops but active participants in the creation and interpretation of art and history. Through this lens, we seek to uncover how exhibitions and archives serve as crucibles for cultural expression, memory preservation, and the negotiation of historical narratives, contributing to a deeper understanding of their roles in shaping our perception of art and its historical significance. Danya Lipshitz 1380417 48 Archive (Table B) Space Place Shape A public institution; has a physical address and a tangible structure; storage for various documents that are typically text-based. A process of recollection; preservation of history. Structure Characterized by the architectural and organizational setup that houses documents and facilitates access to them, emphasizing the materiality and sensory engagement with archived materials (Mbembe, 2002). Shaped by the archival practices, policies, and rituals that determine what is deemed 'archivable,' highlighting the socio-political and cultural contexts that influence these decisions (Mbembe, 2002). Context A neutral, potential-filled container that physically preserves history, providing a space where the past can be stored and accessed (Mbembe, 2002). A dynamic process informed by power relations, representation, and collective memory, where the archive serves as a site for contestation over which histories are remembered and how (Mbembe, 2002). Experience Involves direct, tactile interaction with archival materials, engaging the senses and allowing for a personal connection with history (Mbembe, 2002). Engages with the symbolic and cultural meanings of archives, where documents and objects transcend their material status to become part of broader narratives and imaginaries (Mbembe, 2002). Table B: Four-Dimensional Perspective on Space and Place of the Archive This table articulates the multifaceted nature of archives, distinguishing between their physical embodiments ('Space') and the processes and implications of archiving ('Place'). It highlights how the architectural and organizational structures of archives facilitate the preservation and access to historical documents, while also underscoring the role of societal norms and institutional policies in shaping what is preserved. Through this distinction, the table explores how archives serve as both repositories of tangible documents and as sites where historical narratives are constructed and legitimized. The emphasis on 'Experience' reflects on the sensory engagement with archived materials and the role of archives in affirming historical narratives, contributing to our collective understanding of the past. This approach aims to provide a clearer understanding of how archives function within society, bridging the gap between their physical infrastructure and their cultural and historical significance. Danya Lipshitz 1380417 49 Exhibition (Table C) Space Place Shape An institution in which artworks and art-objects are displayed, emphasizing the physical and architectural aspects. A specific curation or exhibition within a space, focusing on the intentional arrangement and presentation of artworks. Structure Serves as a neutral backdrop, aiming to communicate narratives through thematic grouping of items, yet influenced by institutional power dynamics. The detailed orchestration of artworks, influenced by curatorial decisions that shape the narrative, interaction, and engagement with the art. Context The 'white cube' concept isolates art from external environments, creating a universal viewing context that emphasizes the art's autonomy. The context is dynamically shaped by the specific curation and exhibition, highlighting the relationship between art, its presentation, and the viewer's interpretation. Experience Designed to suspend sociopolitical implications temporarily, allowing for a focused engagement with the art itself. Influenced by the interactions among artists, curators, and viewers within the exhibition. The experience is shaped by the familiarity and personal engagement each stakeholder has with the space and the art, fostering a unique interpretive community. Table C: Four-Dimensional Perspective on Space and Place of the Exhibition The purpose of this table is to delineate the conceptual distinctions and interactions between 'space' and 'place' in the context of art exhibitions. By comparing these dimensions, the table clarifies how the physical environment ('space') and the curated experience ('place') influence the perception and interpretation of artworks. The inclusion of stakeholders (artists, curators, viewers) under 'Experience' emphasizes the importance of human interaction in shaping the exhibition's impact. This approach allows for a nuanced understanding of how art is experienced and interpreted within the gallery framework, highlighting the dynamic interplay between architectural neutrality, curated narratives, and participatory engagement. Danya Lipshitz 1380417 50 Chapter 3 – Digital Realm, Authenticity, and the Diaspora Now that I have discussed how the archive and exhibition are institutions that promote and perpetuate their spaces and places, I discuss the notion of authenticity. This will lead to a discussion regarding how the archive and exhibition shift in a digital space. Authenticity In an era where the digital and the postcolonial intersect with unprecedented complexity, the discourse surrounding authenticity, Aura, and the reproduction of art objects finds itself at a critical juncture. At the heart of this discourse lies a profound inquiry into the nature of art, its cultural significance, and the mechanisms through which it is curated, archived, and exhibited. This exploration necessitates an understanding of authenticity, a concept deeply entwined with the historical and social contexts of art production and reception. As we delve into the realms of African art and digital spaces, questions of cultural authenticity and the creation of meaning become paramount, challenging traditional narratives and inviting a reevaluation of what constitutes the original and its Aura in a digitally saturated landscape. The Aura There is a vital link between the archive and the exhibition: both t