{"id":12880,"date":"2019-04-08T15:03:53","date_gmt":"2019-04-08T19:03:53","guid":{"rendered":"https:\/\/carleton.ca\/africanstudies\/?post_type=cu-events&p=12880"},"modified":"2019-04-08T15:03:53","modified_gmt":"2019-04-08T19:03:53","slug":"lapidary-practice-the-twentieth-centurys-first-death-camp-william-kentridge-and-the-worlds-last-northern-white-rhinoceros-male","status":"publish","type":"cu-events","link":"https:\/\/carleton.ca\/africanstudies\/cu-events\/lapidary-practice-the-twentieth-centurys-first-death-camp-william-kentridge-and-the-worlds-last-northern-white-rhinoceros-male\/","title":{"rendered":"“Lapidary Practice: The Twentieth Century\u2019s First Death Camp, William Kentridge, and the World\u2019s Last Northern White Rhinoceros Male”"},"content":{"rendered":"

Speaker:<\/strong>\u00a0 Brian Macaskill (John Carroll University)<\/p>\n

Macaskill\u2019s presentation circles and cycles around the insufficiently-known genocide committed against the Herero nation in German Southwest Africa, locus of the first death camp in twentieth-century history. It celebrates the artistic response to that disaster by internationally renowned South African artist William Kentridge, who memorializes the catastrophe in Black Box \/ Chambre Noire (2005), a beautifully and sympathetically nuanced multimedia reaction to genocidal atrocity. Glimpsing rhinoceri now and then along its also intermedial trajectory (voice, image, music, text, genealogy too), the presentation pauses \u2014 with a sidewise glance at the Shoah \u2014 over some difficulties confronting memorial commemoration in lapidary practice.<\/p>\n

<\/p>\n

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