Expanding Internationalism - A Conference on ... - Mary Jane Jacob

different, and it is precisely that gap that is most interesting. Swedish
art, for exarrple, has been derivative for most of the 20th century, having
been close to the center but with a different culture.
Beke, noting the circularity and theoretical nature of the
discussion, proposed a practical game of each sending a work of art via
the mail, and then traveling the assembled objects to different nu.1seums.
Cooke pointed out that conceptual art was international in a way that no
other movement of 20th-century art was.
In the '90s she noted, we are not
discussing "internationalism" but rather "nu.1lticulturalism."
In the '60s,
there was the notion that everybody could play the game or was considered
inhibited or prejudiced. Once playing, it was assumed that they would not
be bringing along cultural baggage.
Beke reiterated, in response, that it
is still his fundamental belief that the meaning of objects change as they
travel.. Still, the realities of funding remain.
Nittve noted that it is now the policy of the Swedish government to
send out Swedish art to places where it is least expected, but where there
might be trade or economic connections.
This is not appreciated by the
artists since they feel that the intent of their work is not understood.
However, what is not known is if it is an interesting experience for the
recipient, the viewer.
Beke asked what, in Nittve' s opinion, was the aim
of the Swedish artists. Was it to show their work in as many contexts as
possible, or only in the "best," i.e., most prestigious contexts Nittve
countered that many of the Swedish artists he has talked with tend to work
in an odd way, along the border line of language.
They hope to find
someone who understands and with whom they can communicate.
The chances
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