This essay examines how the figure of Liberty has been refashioned in the streets of post‐apartheid South Africa, addressing three public art works installed in Johannesburg over the past decade: Reshada Crouse’s oil painting Passive Resistance, Marlene Dumas’ tapestry The Benefit of the Doubt and William Kentridge’s and Gerhard Marx’s sculpture Firewalker. Even as these monumental works all reprise Delacroix’s Liberty on the Barricades – an icon of the city street and its revolutionary barricades – so too this trio of Liberties have become mere phantoms of their vaunted archetype. Haunted specters, they quarrel with the mythologized chimera of Liberty, taking issue with the fraught tradition of pinning regime change onto the body of the female nude. Drawing instead on South African histories of women’s resistance, in which female nudity has been repeatedly marshaled as a form of dissent, the Liberties circling Johannesburg hybridize their European template with local traditions of female political opposition to colonial and postcolonial male authority.

자유의 여신상의 남쪽에서의 그늘:크라우스(Reshada Crouse)의 <수동적 저항>   
“벗고 걷다”: 남성 권위에 대한 전면적인 공격   
뒤마(Marlene Dumas)의 <불확실함의 이점>  
켄트리지(William Kentridge)와 막스(Gerhard Marx)의 <불을 머리에 이고 걷는 사람>   
참고문헌   
Abstract

• 레오라 말츠-레카(로드 아일랜드 스쿨 오브 디자인 조교수) | Leora Maltz-Leca