Interarts contemporary drawing practices 'write' political histories to expose society. Temporality, spatiality, deferral and corporeality form parameters for critiques of scopic regimes and for the "playacting" of particular traumas.
|Keywords:||Contemporary Drawing, Key Trajectories and Parameters, Temporality, Spatiality, Deferral, Corporeality, Politically Located Drawing Practices, Drawing Exposing Society, Drawing as Indignant Practice, Drawing as Critique of Scopic Regimes, Drawing as "Playacting" of Trauma, Drawing Projects: Six Case Studies|
Working at Otago Polytechnic School of Art in Dunedin, New Zealand, Leoni functions in a milieu modelled on the conservatorium in the sense that media-specific teaching units are maintained with a strong base of material exploration and processual investigation. However, these units also work across and inter- media in their fruitful connection around ideas and histories, both personal and political. In this context, drawing plays across an expanded field and can become a refuge, a home, or a liberation for artists who sometimes still find themselves dominated by disciplinary boundaries. Outside of this immediate milieu, Leoni’s research also involves the work of a range of international artists whose work finds a creative nexus within the multifarious practices of contemporary drawing. She is especially interested in how this plays out in practice and in the theoretical and historical frameworks of drawing as a ludic, performative activity.
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