Engaging with Victor Shklovsky's Concept of Defamiliarization: Unpacking Yinka Shonibare's

Yinka Shonibare

Victor Shklovsky, a prominent figure in the Russian Formalist literary movement of the early 20th century, introduced the concept of defamiliarization to invigorate artistic expression by challenging the conventional perceptions of familiar objects and ideas. This essay seeks to explore how Shklovsky's proposition of defamiliarization can be applied to analyze the work of contemporary artist Yinka Shonibare, particularly focusing on his piece "The Swing (after Fragonard)" from 2001, a mixed-media installation that reimagines the iconic Rococo painting "The Swing" by Jean-Honoré Fragonard. By examining how Shonibare employs defamiliarization in this artwork, we can gain insight into the artist's intention and the broader implications of his creative process.

Victor Shklovsky

Defamiliarization: A Conceptual Framework

Victor Shklovsky's concept of defamiliarization, also known as "ostranenie" translating to ‘making stanger’ in Russian formalism, suggests that art can revitalize our perception of the familiar by presenting it in a new, unfamiliar way. He states that the habitualization of everyday objects and experiences dulls our sensory perceptions and critical engagement with the world. He argued that artists should strive to disrupt this complacency by presenting familiar elements in a way that estranges them from their conventional context. In other words, defamiliarization is a deliberate act of making the familiar unfamiliar, challenging viewers to see the world with fresh eyes. (Shklovsky 1917)

This process encourages the audience to reexamine and reconsider their preconceived notions, leading to a deeper understanding of the subject matter. Applying this concept to Yinka Shonibare's work, specifically "The Swing (after Fragonard)," can reveal how he uses defamiliarization to engage with issues of identity, culture, and colonialism.

Yinka Shonibare

Yinka Shonibare: An Overview

Yinka Shonibare 1962 is a Nigerian-British contemporary artist renowned for his exploration of themes related to post-colonialism, identity, and cultural hybridity ‘within the contemporary context of globalization’ (Wikipedia Contributors, 2020). Shonibare's works often feature characters dressed in Dutch wax-printed fabric, which is, ironically, not authentically African but has become emblematic of African identity due to its colonial history. This blending of cultures and the juxtaposition of the familiar and unfamiliar make Shonibare an ideal subject for a discussion on defamiliarization.

1. Cultural Hybridity: Yinka Shonibare's work is known for its exploration of cultural hybridity, particularly his use of Dutch wax-printed fabrics. In "The Swing (after Fragonard)," he defamiliarizes these fabrics by using them in unconventional ways, by using African fabrics in a context associated with 18th-century European art. Shonibare challenges the viewer's expectations, prompting them to question cultural norms and stereotypes. (Stamberg, 2009). For, according to him, “a colonial invention, Dutch wax fabric offers itself as both a fake and yet "authentic" sign of Africanness, and Shonibare's use of it in his paintings and sculptures accentuates a politics of (in)authenticity by simultaneously presenting both the ideal of an "authentic" identity and identity as a "fabrication”. (Downey and Shonibare, 2005)

2. Historical Context: Recreating Jean-Honoré Fragonard's iconic painting "The Swing" but with a significant twist – replacing the traditional white female figure with a headless, Victorian-era mannequin dressed in African fabrics. This juxtaposition of the European Rococo painting style with African textiles defamiliarizes the familiar narrative, highlighting the complex relationship between Europe and Africa during the colonial period.

"He can move from enlightenment philosophy to 19th century politics and mores, to the history of art history, ballet, opera, environmental concerns, multinational corporations and the oil industry," says Milbourne. "All of this is addressed in his work, and yet you could go through the show and not care because it's just so gorgeous." (Stamberg, 2009)

3. Identity and Stereotypes: By subverting the gender and racial stereotypes present in the original artwork the headless figure and the use of African fabrics raise questions about identity and the ways in which we construct and perceive it. This defamiliarization forces viewers to reconsider their assumptions about race, gender, and class in art and society.

"The absence of a head makes it difficult to read racial identity into his artworks," says Karen Milbourne, curator at the museum. (Stamberg, 2009)

4. Colonialism and Power Dynamics: By appropriating and defamiliarizing the European artistic tradition, Shonibare's work critiques the power dynamics inherent in colonialism. The swing, which was historically associated with leisure and privilege, is reimagined as a symbol of colonial exploitation. This challenges viewers to think critically about the historical and contemporary implications of colonialism, defamiliarizing the romanticized narratives often associated with this period.

5. Mixed-Media Installation: Shklovsky's concept extends to the medium and presentation of art. Shonibare's use of mixed media in "The Swing (after Fragonard)" further defamiliarizes the work by combining sculpture, textiles, and historical references. This multifaceted approach engages the viewer's senses and intellect, inviting them to explore the piece from various angles and perspectives.

Conclusion

In conclusion, Yinka Shonibare's "The Swing (after Fragonard)" employs Viktor Shklovsky's concept of defamiliarization to challenge viewers' perceptions of culture, identity, and colonialism. By recontextualizing familiar elements in unexpected ways, Shonibare encourages viewers to critically engage with the complexities of these themes, ultimately promoting a deeper understanding and reflection on the issues he addresses in his artwork. "The Swing (after Fragonard)" is a compelling example of how the concept of defamiliarization, as proposed by Victor Shklovsky, can be applied to contemporary art. Shonibare's reimagining of a familiar painting challenges viewers to engage with cultural, historical, and identity-related themes in a new and thought-provoking way. Through the use of Dutch wax-printed fabric, headless mannequins, and cultural juxtaposition, Shonibare encourages us to see the world with fresh eyes and to question our preconceived notions about art, culture, and identity. In doing so, he exemplifies the power of art to defamiliarize the familiar and stimulate critical reflection on complex and enduring themes.