atopic
发表于 2025-3-27 00:50:08
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Aesthete
发表于 2025-3-27 01:23:52
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使闭塞
发表于 2025-3-27 07:42:54
Comedy in Crises978-3-031-18961-6Series ISSN 2731-4332 Series E-ISSN 2731-4340
allude
发表于 2025-3-27 09:48:12
Transition to a Market Economy in Polandsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘activist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues including colonialism, capitalism and racism.
Vsd168
发表于 2025-3-27 15:59:10
Positioning Humour Within Indigenous Paradigms: An Interview with Richard Bellsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘activist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues including colonialism, capitalism and racism.
小平面
发表于 2025-3-27 18:12:11
Laughing in an Emergency: Weaponising Humour in Contemporary Art,ical and humanitarian crisis. Although this shift in art practice is evident across a broad spectrum of both geography and forms of ‘crisis’ (from military occupation in Palestine, to the struggle for indigenous sovereignty in Australia, and economic crisis and austerity in Greece), there remains a
牵连
发表于 2025-3-27 22:20:46
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PALMY
发表于 2025-3-28 05:23:31
“And a More Offensive Spectacle I Cannot Recall”: Humour in , (1999) by Suzanne Treistere Holocaust in order to save her grandparents but mistakenly arrives on the set of . in 1993. In this joke, Treister points to the potency of Spielberg’s representation in the 1990s imaginary, such that it would supplant memory of the Holocaust itself—or, indeed, impede time travel. Gillian Rose’s 1
不吉祥的女人
发表于 2025-3-28 09:56:33
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女歌星
发表于 2025-3-28 11:14:21
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