Globalizing Contemporary Art

Lotte Philipsen

Description

Today, contemporary art is a global phenomenon. Biennales, museums, art fairs, galleries, auction houses, academies and audiences for contemporary visual art are all institutions whose presence on a global scale has widened tremendously during the past two decades. Thus, by including contemporary art from non-Western regions, these traditional Western art institutions have not only broadened their scope to a greater extent, but have also been challenged themselves by the new cultural, economic and media world order of globalization. How contemporary art is made 'international' is the subject of this book, tracing as it does developments during the past two decades, while focusing particularly on the mechanisms of 'globality' which are at work in the art world today. The book critically investigates fundamental questions like: What is 'New Internationalism' in contemporary art, and how it affected the art world? How does New Internationalism relate to concepts like ethnicity, aesthetics, standard art history, and new media? And how is New Internationalism, rather paradoxically, furthered to a greater extent by global capitalism than it is by seemingly progressive art projects?

Sujets

• History of art

Informations

• Publié par: Aarhus University Press
• Date de parution: 31 octobre 2010
• Nombre de lectures: 0
• EAN13: 9788779343481
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

Globalizing Contemporary Art

The art world’s new internationalism

Globalizing Contemporary Art

The art world’s new internationalism

Aarhus University Press

Glôbàlîzîg Çôémôày A © Lôé Pîlîŝé à Aàûŝ Uîvéŝîy Péŝŝ 00 Çôvé: Kîé Fééŝà Tyéŝéîg: Nààyàà Péŝŝ Tyé: Gààmô

eISBN 978 87 7934 348 1

Aàûŝ Uîvéŝîy Péŝŝ

Aarhus Làgélàŝgàé  DK – 800 Aàûŝ N

Copenhagen Tûbôgvéj  DK – 00 Çôéàgé NV

www.ûîéŝŝ.k

Pûblîŝé wî é fîàçîàl ŝûô ôf Té Aàûŝ Uîvéŝîy Réŝéàç Fôûàîô Té Nôvô Nôîŝk Fôûàîô Kîŝà & Vîggô Pééŝéŝ Fô

Contents

Introduction: New Internationalism 7

Chapter 1: The art of old and new internationalism 21

Chapter 2: Exhibiting artistic modernism and modernity 35

Chapter 3: Racial, sexual and aesthetic differences in art 63

Chapter 4: New international influences 89

Chapter 5: Global dimensions of contemporary art 105

Chapter 6: Formally and thematically global dimensions 123

Chapter 7: From art to ethnic politics 147

Conclusion 179

Bibliography 185

Notes 197

Introduction

New Internationalism

Kàŝŝél, Gémày, 00: ,00 Çîéŝé mé à wômé vîŝîé éDocumenta 12à éxîbîîô àŝ à à ôf é wôkFairytaleby é àîŝ Aî Wéîwéî. Aà fôm é mày Çîéŝé vîŝîôŝ, é wôk çôŝîŝé ôf ,00 éŝôé wôôé çàîŝ fôm é Qîg yàŝy, wîç wéé làçé àôû é éxîbîîô véûéŝ fô vîŝîôŝ ô ûŝé. Aççôîg ô é çààlôgûé, é wôk à îŝ îlé àî ôm‑ àgé ô ‘é Bôéŝ Gîmm wô wôé é màjôîy ôf éî fàîyàlé çôlléç‑  îô î Kàŝŝél béwéé 8 à 8.’ ï à fàîyàlé, àyîg çà àé. Màgîçàlly, éôlé à çéàûéŝ mày àŝfôm à môvé, ûéŝîçé by é làwŝ ôf yŝîçŝ à lôgîç, à î îŝ éŝéç é à wôl ôày éŝémbléŝ à fàîyàlé wé çômàé ô é ŝîûàîô à féw éçàéŝ àgô.  Fô îŝàçé, î îŝ ôbvîôûŝ ô çôŝîé Aî Wéîwéî’ŝ wôk àŝ à çômméày ô é wôk7,000 Oak Treesby Jôŝé Béûyŝ, wîç wàŝ îîîàé àDocumenta 7î 98 à çômléé by é ôéîg ôfDocumenta 8î 98. By é  ,000 ôàk ééŝ à béé làé î Kàŝŝél. Tôûg é ŝàégîéŝ ôf é wô wôkŝ éŝémblé éàç ôé, àŝ bô àvé éléméŝ ôf àéîgŝ à léàvé yŝîçàl évîéçé, é îffééçé béwéé làîg ééŝ à flyîg î Çîéŝé éôlé à çàîŝ mîôŝ ô ŝômé éxé é îffééçé béwéé é à wôl î 98 à î 00. Té ŝôlî gôûîg ôf ééŝ à àé méà ô gôw fô çéûîéŝ à émàély bé à ôf Kàŝŝél àŝ ôw béé élàçé by à bîéf vîŝî by éôlé. Wééàŝ Béûyŝ wàŝ îmŝélf Gémà, à ûŝ ‘à ômé’ î Kàŝŝél, Aî Wéîwéî wàŝ bô, lîvéŝ à wôkŝ î Béîjîg; bû ŝîçé é îŝîû‑ îôàl àààûŝ ôf çôémôày à àŝ ûégôé à ôfôû glôbàlîzàîô ûîg é àŝ çôûlé ôf éçàéŝ – fô îŝàçé Aî Wéîwéî lîvé î Néw Yôk 98‑99 – î ŝéémŝ àé àûàl, ôày, ô îvîé Aî Wéîwéî ô àîçîàé îDocumenta.  Té glôbàlîzàîô ôf é wôl ôf çôémôày à îŝ é émé ôf îŝ bôôk, à é îŝŝûé îŝ ûfôlé by ûŝûîg é fûàméàl qûéŝîô:How



8

Introduction ■ New Internationalism

has New Internationalism in the visual arts challenged the traditional Eurocentric paradigm of the art world?Tîŝ ôvéàçîg qûéŝîô gûîéŝ é éŝéàç à ààlyŝîŝ, à ï ôé à é éàé wîll fî î ŝàîŝfàçôîly àŝwéé àfé éàîg é bôôk. Bû béfôé évé ŝàîg ô éàl wî îŝ qûéŝîô, ŝômé fûàméàl émîŝéŝ éé ô bé éŝàblîŝé.  Té çéàl ôbjéç ôf îvéŝîgàîô îŝ wà îŝ kôw î é fîél ôf çô‑ émôày à àŝ ‘Néw ïéàîôàlîŝm’, ŝô ï ŝàll bégî by bîéfly àççôûîg fô é méàîg ôf îŝ ém, wîç ôffîçîàlly ŝémŝ fôm é éŝàblîŝmé ôf Té ïŝîûé ôf Néw ïéàîôàl Vîŝûàl Aŝ (ïNïVA) î Lôô î 99. Té éààôy wôk fô é îŝîûé wàŝ çôçlûé by àFinal Report: The Institute of New International Visual Arts, wîç, àmôg ôé îgŝ, éŝçîbé ‘Néw ïéàîôàlîŝm: A Emégîg Çôçé’, lîŝé àŝ îé ààgàŝ. Sîçé îŝ lîŝ fôm 99 ééŝéŝ é ôly ôffîçîàl àém évé màé ô àçûàlly éfîé é çôçé ôf Néw ïéàîôàlîŝm ôŝîîvély, wé mày îk ôf î àŝ à ŝéûô‑màîféŝ:

ï é àîŝéà ô é îŝûà àŝ ‘ïéàîôà’ àŝ éçôé à é ŝôôûŝ ô î éŝé Éûôé à é UŚĀ. îŝ îîî éŝé / Éûôçéîç éîîîô àŝ éà à î àçîçéthe vast majority of the world’s cultures (includ ing minority cultures with western states)[sic]have been excluded from exhibitions and from the history of art.

‘é îéàîôàîŝ’ àéŝŝéŝ îŝ îŝçéàç  àçî é àçîéééŝ ô é àôî çûûéŝof the worldîô é îŝçôûŝéŝ, é éîîîôŝ à é îŝô ôcontemporary visual arts.

ôé îôà î ôéŝ é îŝûà éçéîôŝ, é îôŝôîéŝ à é îŝôîéŝ ô ô-Éûôéà à àôî çûûéŝ àŝnew and challenging contributions of the mainstream of the visual arts.

Éŝŝéîà îreflects a changing moment in art history, éŝûî ô ôŝ-à î- àîô à é ŝîî ô çûûà à îéôôîçà ôûàîéŝ. ï îŝ ŝûéç ô éôûîôà çàé à ééôé çàô é àô éîé ô îé, îçîà éçàûŝé î ééçŝ îŝ àŝîîôà ôé î îŝô.

ï àŝ ééé àŝ à çôçé îçposes questions to the world of artà îŝ àûîéçé àôû é àûé, éî éçéîô à îééàîô ô çôéôà à àçîçé.

New Internationalism

ï àîŝ ô î é îŝŝûéŝ ô çûûà îééçé à çûûà îî îô é ôîà îŝçôûŝé àŝ à îà çôîûîô ô é ééôé ô îŝûà à î é é îŝ çéû.

‘é ïéàîôàîŝ’ îŝnot exclusive. ï î ô îŝéà é àçîéééŝ ô éŝé Éûôé à é UŚĀ. éîé ôéŝ î ŝéé à éàîé çôôàîô î éŝé Éûôçéîç à îŝô. ï éŝîéŝ îŝéà ô ôàé ôû ûéŝàî ô é îŝô ô à éô é àô çôîéŝ ô é àŝ.

‘é ïéàîôàîŝ’ éàçéŝ é çôçé ô ‘àç Ā’ éçàûŝé î îéŝ ûô à çôŝŝ-éîîŝàîô ô îéŝ î é çôéôà îŝûà àŝ. Hôéé î àôŝ à- îŝŝ à çôîçé, à ŝûéçîé éçîŝîô-àî ôçéŝŝ àŝé ô éŝôà ééîéçé îç àéŝ îbeyond the definitions of ‘Black Art’.

‘é ïéàîôàîŝ’ îôûçéŝ é àŝ ô àéŝŝî ôûçîô, éîîîô éŝéàîô à îééàîô à îgenerate critical debateîî é àî-  ŝéà îŝîûîôŝ î îça healthy dialogue is envisaged.

Té àbôvé îé‑ôî lîŝ éŝçîbéŝ Néw ïéàîôàlîŝm àŝ à àîûé à àîmŝ à îŝîûîôàl îçlûŝîô ôf ô‑Wéŝé vîŝûàl à, à éçé àŝ à à‑ îûé à béàkŝ wî à îéô évàîlîg Eûôçéîç ôîô ôf ‘îéàîô‑ àlîŝm’ î é vîŝûàl àŝ, wîç wàŝ çôfîé ô Wéŝé à. Tûŝ, é àîm ôf Néw ïéàîôàlîŝm îŝ ô élàçé é ‘ôl’ îéàîôàlîŝm ôf é à wôl, wîç wàŝ àçîçàlly çôfîé ô é Wéŝ à wîç àŝ éé ô màké ûŝé ôf à ôûblé‑ŝàà ŝyŝém, wéé ô‑Wéŝé à îŝ jûgé îfféély à Wéŝé à. Té fàç à é à wôl (=é Wéŝé à îŝîûîôàl àààûŝ) àŝ béé îgôà ôf é wôl‑wîé ŝçôé ôf çôémôày à îŝ wà Néw ïéàîôàlîŝm çàllégéŝ. Fôllôwîg gàûàlly fôm é ŝûççéŝŝ ôf îŝ çàllégé, é ôîô ôf ‘Néw ïéàîôàlîŝm’ îŝ ôày ôfé ŝîmly élàçé by é ôîô ôf ‘glôbàl’. Lîkéwîŝé, é làî ôîô ôf ‘îéàîôàl à’ àŝ béé éŝûéçé, bû ôw î îŝ éw, glôbàl çôçéîô î wîç î‑ éàçîô ô éxçàgé béwéé çôfîé àîôŝ àvé béé élàçé by à mûç wîé à îŝîûîôàl fîél î wîç é çôçé ôf é àîô‑ŝàé ôéŝ ô éçéŝŝàîly lày à ŝîgîfîçà ôlé.  Té ém ‘Néw ïéàîôàlîŝm’ îŝ ûŝé î ŝévéàl ôé fîélŝ, fô îŝàçé ôlîîçàl ŝçîéçé à éçôômîçŝ, wî îfféé méàîgŝ à à îéé éé. ï îŝ bôôk ‘Néw ïéàîôàlîŝm’ wîll éfé ŝîçly ô é méàîg

9



Introduction ■ New Internationalism

éŝçîbé wîî é fîél ôf çôémôày vîŝûàl à, à é fôçûŝ ô é vîŝûàl àŝ méàŝ à îvéŝîgàîôŝ ôf îŝîûîôàl glôbàlîzàîô méçàîŝmŝ ôf à fômŝ bélôgîg ô ôé ômàîŝ – fô îŝàçé éfômàîvé àŝ, mûŝîç, çîémà à lîéàûé – lîé béyô é ŝçôé ôf îŝ bôôk.

The (un)official status of New Internationalism Té éŝàblîŝmé ôf ïNïVA î 99 màké à ûîg ôî fô Néw ï‑ éàîôàlîŝm, ŝîçé à çàll fô îŝîûîôàl éçôgîîô ôf glôbàlly fôûé çôémôày vîŝûàl à à ôw béé àké ô à lévél ôf ôffîçîàl éçéîvééŝŝ î Bîàî, ŝûôé fîàçîàlly by é Bîîŝ Aŝ Çôûçîl à é Lôô Aŝ Bôà. Hôwévé, é éŝàblîŝmé ôf ïNïVA ŝîmûlàéôûŝly màkŝ é ôffîçîàl fôûîg ôf é ôîô ôf Néw ïéàîôàlîŝm à îŝ îŝmàlîg. Çûîôûŝly, é ïïVA wébŝîé àéŝ é éŝàblîŝmé ôf é îŝîûé ô 99 – wîç wàŝ é yéà é îŝîûé môvé îô îŝ bûîlîg î Rîvîgô Séé, Lôô – à î 00 ïïVA ûblîŝé îŝ ôw éôŝéçîvé îŝôy î é bôôkChanging States: A Unique Anthology of Essays and Artworks Celebrating 10 Years of InIVA. Sômé îmé béwéé é fôûîg î 99 à 99 é ôf‑ fîçîàl àmé ôf é îŝîûé wé ôûg à ŝlîg àléàîô, ôîg é ‘éw’ à ôf Néw ïéàîôàlîŝm. Aŝ ôf 99, é àbbévîàîô ïNïVA wàŝ çàgé ô ïïVA – ôé é ŝîf ô à lôwé‑çàŝé ‘’, wîç ŝéémŝ ô àvé wôké îŝ wày îô é ôffîçîàl lôgô à ŝômé ôî î é làé 90ŝ – wîç ŝàŝ fô ‘ïŝîûé ôf ïéàîôàl Vîŝûàl Aŝ’, à î ŝéémŝ àŝ îf é îŝîûé ôffîçîàlly éîéŝ é éxîŝéçé ôf îŝ çîlôô yéàŝ. Té àléàîô fôm ‘éw îéàîôàl’ ô ‘îéàîôàl’ éxéŝŝéŝ é îffééçé béwéé Néw ïéàîôàlîŝm ô é ôé à àŝ à ôffîçîàlconcept, à wà ô é ôé mày bé çôŝîéé à bôàé fûçîôàldiscourse. Fôm îŝ ôî ô î ŝéémé à ûŝîg é ém ‘Néw ïéàîôàlîŝm’ àŝ ôffîçîàlly àŝ î é îlé ôf é îŝîûé wàŝ ôô éŝîçîvé à ôblîgàôy, çôŝîéîg é îŝçôûŝé’ŝ ééôgééôûŝ àgéà.  Té ûîg àwày fôm Néw ïéàîôàlîŝm àŝ à ŝîç çôçé îŝ çlôŝély lîké ô é îŝçûŝîvé àçîçé à ŝélf‑ûéŝàîg éxéŝŝé by é éôlé îvôlvé wî Néw ïéàîôàlîŝm. A îmôà îŝîg îô é îéîôŝ ôf Néw ïéàîôàlîŝm îŝ gàîé fôm lôôkîg îô wà îŝ ôw ôffîçîàlly çôŝîéé é fîŝ ûblîç îîîàîvé àké by ïïVA, wîç wàŝ é ôgàîzîg ôf à ŝymôŝîûm éîléA New Internationalism, él à é Tàé Gàlléy î  Lôô ô ‑8 Aîl, 99. Dûîg éŝé wô àyŝ, à vàîéy ôf vîéwŝ ô Néw ïéàîôàlîŝm wéé ôfféé by  ŝçôlàŝ, çûàôŝ, àîŝŝ, à é‑