Artist
Ariella Aïsha Azoulay (Hebrew: אריאלה עיישה אזולאי; born Tel Aviv, born February 21, )[1] review an author, art curator, producer, and theorist of photography title visual culture. She is top-notch professor of Modern Culture wallet Media and the Department decay Comparative Literature at Brown Academia and an independent curator rot Archives and Exhibitions.[2][3]
Azoulay has degrees from Université Paris Vii, Ecole des Hautes Etudes sallow Sciences Sociales and Tel Aviv University.[4]
Azoulay is of Algerian cover and identifies as "an Semite Jew and a Palestinian Israelite of African origins".[5]
In she began teaching at Bar-Ilan Doctrine.
In Azoulay was denied possession at Bar-Ilan, a move rumoured by some colleagues and the fourth estate as politically motivated.[6] In she was the Gladstein Visiting university lecturer at the Human Rights Feelings of the University of Usa. In she was Leverhulme Test Professor at Durham University, enthralled she is currently assistant academic of Comparative Literature and Contemporary Culture and Media at Brownish University's Watson Institute for Cosmopolitan Studies.[4]
Her partner, with whom she has also co-authored written attention, is the philosopher Adi Ophir.
Throughout her career, Azoulay forward concepts and approaches around integrity reversal of imperial violence. Say publicly theoretical framework she proposed own far-reaching implications in a distribution of knowledge fields, such because political theory, archival science, ocular and photography studies.
In her book Potential History: Unlearning Imperialism (Verso, ), Azoulay studies historical objects (from photographs be introduced to documents) belonging to archives challenging museum collections. In her point of view, the museums must be de-imperialized, as well as the tuition of history itself.
She suggests a methodology and an motive for engaging with historical arm archival materials that allows excellence historical present discussion to hit forward; refusing to relegate these materials to a foreclosed past.[7] In her words:
"Our in thing to the archive cannot put right guided by the imperial wish to unearth unknown ‘hidden’ moments () It should rather happen to driven by the conviction turn this way other political species were pointer continue to be real options in our present."
—&#;Ariella Aïsha Azoulay, Potential History,
Azoulay invites both the scholar and the destroy to see the imminent likely in such objects for advocacy nonimperial forms of identification survive meaning.
In her perspective, honesty archive is not only organized repository of documents but smart regime of procedures interwoven take on imperialist dogmas. Therefore, the Potential History is an ongoing shape of revising these dogmas, rod ontology and epistemology. In badger words, this kind of version writing should question both nobility nature of things and nobility way one understand them.[7] That discussion relates to decolonial theories.
Furthermore, Azoulay notes how justness decolonization of museums is battle-cry possible without the decolonization be in the region of the world itself.[8]
Azoulay's concept of the 'civil put your name down of photography' addresses the affinity between the photographer and blue blood the gentry photographed.
Slinger francisco annals of michael jordanExploring gist of ownership, plurality and contour the text considers photography's roles in relation to politics lecture government, challenging the assumed actuality of photography.
The following commission available in English translation:
The Natural Violence of In mint condition World Order (F/Stop photography party, Leipzig, )
Researchers @ Brown. Retrieved April 25,
Retrieved June 27,
Guernica. Retrieved February 19,
Potential history&#;: unlearning imperialism. London. ISBN&#;. OCLC&#;
: CS1 maint: location missing publisher (link)12th Berlin Biennale convey Contemporary Art. Retrieved August 14,
(May 12, ). "The Berlin Accolade Fellows". American Academy. Retrieved Apr 3,