[-empyre-] welcome to paradise

Ana Valdés agora158 at gmail.com
Wed May 2 07:54:31 EST 2012

In my nove to Montevideo I shipped almost my entire collection of books,
around 3000 books now crambling my small apartament in Montevideo. I look
often at some of the Art cathalogs of the exhibitions I saw and loved,
Documenta X wonderful political texts, L'Immateriel, Lyotard's postmodern
exhibition at Beaubourg.
And I read today, again, regading our discussion, the cathalog of "Les
Magiciens de la Terre", if I don't remember wrong the first world
exhibition where artists from Kuba, Africa and South America were presented
for their own premises.
I think it's again a matter of paradigm, the Western had Modernity and
Expressionism and all these changes produced by painters and artists
working and living in the big European metropolis, London, Paris, Vienna,
Barcelona, Madrid, Prag, Rome, Berlin, etc. And New York painters and
artists come to Europe and moved back and forth and were also a part of
these movement.
But the Middle East didn't have a Modernity, not either Africa. And the
Latinamerican Modernity was shaped in other forms than the Europeans or
North Americans.
But, again, the problem is who generates the discourse, who is the one
giving certain Art the rang of Art and classifying other Art as naif or
amateur or just primitive,
The critics have the monopoly of the discourse as well the curators and the
marchands and the auctioners and the researchers, if their context or
borders are not wide enough to reach to other parts of the world and see
Art in their own context, we are never going to have a fair conception of
Art who changes the world and our lives with it.

On Tue, May 1, 2012 at 7:56 PM, Timothy Conway Murray <tcm1 at cornell.edu>wrote:

> Thanks so much for this clarification, Christiane, and for helping to
> articulate what Renate and I anticipated might be voiced by such an
> international and diverse group of participants this month who work among
> artists in India, Hong Kong, Romania, Africa, Canada, the US, and the
> Tuskahora Peoples.  Many crucial seams for conversation about global/local
> flows and disruptions of hegemonic curating have surfaced over the month.
> This should give us plenty of food for thought and future discussion, as
> Arshiya suggests.
> For those whose schedules might have precluded their participation early
> on in the month, please remember that you can access the archives of all
> -empyre- discussions at: http://lists.cofa.unsw.edu.au/pipermail/empyre/
> Best,
> Tim
> Director, Society for the Humanities
> Curator, Rose Goldsen Archive of New Media Art
> Professor of Comparative Literature and English
> A. D. White House
> Cornell University
> Ithaca, New York. 14853
> ________________________________________
> From: empyre-bounces at lists.cofa.unsw.edu.au [
> empyre-bounces at lists.cofa.unsw.edu.au] on behalf of
> Christiane_Paul at whitney.org [Christiane_Paul at whitney.org]
> Sent: Tuesday, May 01, 2012 1:44 PM
> To: empyre at lists.cofa.unsw.edu.au
> Subject: Re: [-empyre-] welcome to paradise
> Hi Johannes,
> thanks! I hope I can clarify a bit...
> Johannes wrote:
> > Finally, it puzzled me to no end that no one seems to disagree with
> Christiane's resigned-sounding point of view :
> Sorry if this came across as "resigned," that certainly wasn't the
> sentiment behind it. Again, I want to point out that I very much liked the
> work by the artists from around the world that I saw at The Ungovernables.
> No reason for resignation. However, I do get the impression that the art we
> encounter in "international" art exhibitions (e.g. the Biennials and
> Triennials around the world -- from Venice to New Orleans and Sao Paolo)
> often "speaks" a common aesthetic language. This is no doubt a
> generalization -- I also recall seeing work in Venice that constituted a
> distinct break with the common aesthetic paradigms of the overall
> exhibition.
> Christiane wrote:
> > ... the "globalized art world" seems to adhere to a largely Western
> paradigm of artistic expression. I was thinking about this phenomenon when
> I saw The Ungovernables (http://www.newmuseum.org/exhibitions/448) at The
> New Museum in NYC. I very much liked a lot of the art (only 3 artists were
> from the US), but -- the different subjects of the work aside -- most of
> the artists seemed to have gone to the same "art school" (no matter if they
> were from Africa or Colombia or ...). It would be great to see more art
> with a distinctly different aesthetic language from other parts of the
> world; I would assume that it is precisely this "difference" (visual or
> conceptual languages that are not easily categorizable) that poses problems
> for the global art scene. There is a need for more international curatorial
> voices who could introduce this art.
> >>>
> >
> > I think there a great deal of work with  distinctly different aesthetic
> languages from other parts of the world existing and being produced.
> Precisely.
> > Your last sentence, Christiane, is a bit confusing to me, as surely you
> are not arguing that globalized/international curatorial voices
> should/could introduce globalized/international art scene art?
> I was arguing that there should be more opportunities for curators from
> around the world (whose work is not regularly seen) to introduce "work with
> distinctly different aesthetic languages" from their own cultures (and
> beyond).
> > When you say "More international curatorial voices" (outside New York),
> whom do you have in mind?
> First of all, I think of international as bigger than outside New York (my
> original post referred more to curators from non-Western cultures). There
> are many curators -- from Asia and Africa -- whose exhibitions and choices
> I would like to see outside of their country, on an "international" scene.
> My point being that a Venice Bienniale curated by Raqs Media Collective
> presumably would look very different from one curated by Francesco Bonami.
> All best,
> Christiane
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"When once you have tasted flight, you will forever walk the earth with
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