Without attempting a comprehensive analysis of Pacific visual cultures and their labyrinthine identity politics, the following discussion examines aspects of urbanization and globalization as experienced by contemporary artists in and of Anglophone Pacific/Oceania (these terms are subject to changing interpretations and are used interchangeably when referring to the southern Pacific region). In particular, the study seeks to interrogate the continuing marginalization of contemporary Pacific cultures beleaguered by Eurocentric stereotyping, which has defined cultural production of this region as nature rather than culture, as immobilizing history rather than engaging contemporary currency, and privileging ethnographic artefact rather than art. A visual void also remains evident within global art events, such as the Venice or Gwangju Biennales and the quinquennial Documenta held in
Kassel, Germany. Closer to home, and apart from efforts by Queensland Art Gallery/Gallery of Modern Art (QAG/GOMA) to embrace Oceania, contemporary Australian Pacific art is virtually invisible in major Australian exhibitions and state collections, yet its inclusion can contribute to the re-imagining of place for Australia as part of a Pacific region.
It was a magical, surreal place. About twelve miles Tangshan Metro Map east of the crescent lake lie the Magao Caves, which date from the fourth century and Tangshan Metro Map shelter the oldest surviving frescoes still in China. Next morning I teamed up with Ellen, a young New Zealand nurse who shared my hotel dormitory, and we caught a public bus to see them. There are about 400 caves, set on different levels of the sandstone cliff face. Where it has crumbled away it reveals their anterooms and interiors. Some are painted with frescoes or hold statues, and they are interconnected by steps and paths.
Tangshan Metro Map Photo Gallery
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