Through revisiting the contested histories of how Egyptian collections have been amassed by numerous museums from the 19th century onwards, it brings together antiquities, modernist works, archives, and 26 international contemporary artists and artist collectives to explore the mechanisms by which artworks come to acquire a range of meanings and functions that can embody a number of diverse, and at
times conflicting narratives.
The exhibition explores the visual and literary mechanisms by which artworks come to acquire a range of meanings and functions that can embody a number of diverse, and at
times conflicting narratives.
Not exact matches
Was that
conflict still a living reality at the
time of Christ, or was it a symbolic allusion that the Evangelist invented and wove into his
narrative?
With an almost total lack of dramatic (or even comedic)
conflict, it feels like it's spinning its
narrative wheels for most of its entirely unjustified two - hour - plus running
time.
Though the biker drama's penultimate season has plenty of things worth celebrating (including a larger role for Mark Boone Junior and excellent guest stars like CCH Pounder, Donal Logue and Walton Goggins), a lot of the
conflict this
time around seems to be less about driving the
narrative than shocking the audience, none more so than the death of Maggie Siff's Tara.
Clocking in at a brisk 91 minutes — and taking place in close to real
time — Török and Szántó exploit every frame to render a suspenseful
narrative landscape rife with
conflict and interpersonal power struggles.
My first collection of stories, Faith, consisted of fourteen stories that fell within the 3500 - 6000 word length and, at least structurally, obeyed most of the conventions the fiction writing texts of the
time recommended, as each
narrative hinges upon a protagonist in a vividly rendered place who faces a
conflict and makes a discovery.
The
narrative unspools slowly while grounding itself in its human drama, taking the
time to focus on the minutiae of everyday Japanese life while punctuating its story beats with explosive moments of
conflict.
The
narrative can get heavy - handed at
times, but if it manages to draw you into its
conflict and the philosophical focus at its core, then it's a rewarding experience all the way through.
It takes some
time to get used to its general humor and
narrative style, as at first it seems in
conflict, but everything comes together once you understand the purpose of its silliness.
And so, Raad's astringent performance and sizable exhibition of works associated with the long - term project Scratching on Things I Could Disavow (2007 — ongoing) delve into the after - effects of violence in the Middle East that are not only political but also economic, such as the creation of a retirement fund for artists that blithely hops across the major fault line of the Arab — Israeli
conflict, or the construction of new museum projects in the Gulf, or the movement of Raad's own work in relation to art - historical
narratives in different places and
times that exert various pressures on him, which at one point appear to drive the artist - as - performer insane.
In a post-truth era whereby testimony may be wildly appropriated, Holzer used her privilege to elevate those
narratives that remain largely unheard or unseen, while at the same
time drawing attention to the irregular records of
conflict itself.
Playful while at the same
time deeply disturbing, the cartoon - like imagery with ambiguous
narratives offers uncanny resonances to present - day
conflicts.
One mantra for this team is «and, but, therefore» — a distillation of the idea that any
time you replace an and with a but or a therefore, you're not just listing facts, but creating a
narrative with points of
conflict, tension, humor and the like — in other words, one that might actually captivate an audience.
As long -
time readers know, I'm interested in the emergence of popular
narratives and memes, everything from the Easter Island eco-cide metaphor to the climate wars and climate /
conflict framing.
He's enjoyed a long
time apprenticeship in
narrative ideas and therapeutic practices and is presently developing a new «relational interviewing» approach to working with
conflicted couple relationships.