Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South African Coloured Identity.

摘要

Berni Searle is an artist based in Cape Town, South Africa who uses her body in performance and photographic works. In this dissertation, articulations of identity within the context of Searle's work are examined in their social-historical relationships. Searle, in her art, both uses her body to illustrate constructions of identity and reclaims her body (and by extension, other similar bodies). These performances of articulated identity considered through the rubric of reprendre will elucidate the construction of Coloured identity in the South African body politic. These performances will also allow a consideration of counter-spaces for discussing political agency.;Since the collapse of apartheid in South Africa in 1994 the citizens of the new, non-racial state have had to contend with lasting effects of the violence and racism that founded much of South African history. Coloured identity emerged as a distinct one early in the development of South African nationhood. Problematically, Colouredness has been associated with absence and socio-political marginalization that tended to undermine this community's agency during the apartheid era and after. The trend can lead to contesting racial tropes of national belonging that only serves to increase disenfranchisement in a new democracy. Berni Searle, as a Coloured woman, engages such histories in insightful ways by embodying the shifting paradigms of Coloured identity. In so doing, Searle also participates in important discourses in the African contemporary art community.;Using Searle's work as a lens through which to examine issues of identity, body and enfranchisement, this dissertation demonstrates how her works open up spaces to discuss political agency and racial identity in the post-apartheid era. Such considerations carry important theoretical weight for discourses in South Africa regarding the importance of racial identity in the new nation. In addition to Coloured identity, Searle's works also engages with issues of immigration in a transnational context, which give her work significance beyond the specificity of South Africa. The dissertation contributes much needed detailed analysis of Searle's work, contemporary South African art, and discourses on Coloured identity during South African history.