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

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There is a need to establish a dialogue between curators of different countries so that the preparation of exhibitions is collaborative and correctly aimed to the local audience. Of course, it is important that foreign curators study the art of the non-Western countries, but this should not exclude the involvement of local curators in these countries. Otherwise we will see a monopoly on curatorial work that excludes non-Western curators. This is occurring as part of a worldwide trend to open up space for showing the art of non-Western countries, namely through the many recent exhibitions of Eastern European and Latin America art. But in these instances, institutions seem more open to saying that non-Western countries produce art, than that they can curate their own art. Again, there is no need for paternalism, but rather the exchange and confronting of curatorial ideas. The rna jor countries should open up opportunities for training curators .. from host .non:-::'We~tern ~Q91JI1tr~es, otherwise, theirs will remain a voiceless art. Certain international exhibitions, involving art from all over the world, might be only a disguised way of reinforcing the centers of the art world and the statute of the marginal areas. This is true on conceptual levels, as well as on the aforementioned political level of the monopoly of the curatorial work, and even of the circulation of ideas. How to make ideas spread around the world An exhibition would reach a universal audience if its catalogue is made available to the libraries of the main art institutions on all continents. How can an exhibition really be international if its catalogue does not even circulate properly In the Third World libraries are the major source of information about international contemporary art available to the public. -128-
Many non-Western countries are confined and limited to the exclusive role of being a host and not an active participant in shaping the event. They remain as if they were still the "jungle, " in the Hegelian sense of a place with no history, and not as an ecological sanctuary. Writing history, including the process of curatoring exhibitions, is an instrument of power in the art system. Sometimes the art of those non-Western countries is excluded from some international exhibitions because they are considered marginal to history (i.e., they have not been treated in texts, exhibitions, and collections) . In a world of inequalities, it is true that marginality feeds marginality. -129-
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EXPANDING INTERNATIONALISM A <stron
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FOREWORD Arts International, a divi
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the printing 1 publication and wide
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INTRODUCTION International exhibiti
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discipline of training to the theor
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Catherine David, Curator at the Jeu
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world through which change can be i
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OPENING REMARKS AT THE PLENARY SESS
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Second, Arts International also man
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alliances among individuals from di
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-19-
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SIMULTANEOUS TRAN"SIATION: :MJDERNI
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"borderline" between and within nat
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homogeneity achieved by "national"
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In many instances, despite the invo
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show. Conceptually it is more probl
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can be secured. At this point we be
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criticism of Roberto Retamar "which
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THE VERB "CURATE" Guy Brett I speak
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people comnented, was to polarize "
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operating with devastating effect i
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saw for the first time the drawings
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pieces of Pueblo pottery made by wo
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model of art as the only one proper
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other works too, in other assemblie
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POSITI
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Aracy A. Amaral Art Critic, Indepen
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or her eyes and his or her percepti
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Even in South America the art marke
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"Multi -Cultural Representation of
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4. opening up new opportunities and
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The African situation again has all
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Piedad de Ballesteros Director of P
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The fact that the selection is made
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Mark Francis Curator of Contemporar
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"The Multicultural Paradigm" (from
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Dialog is a micro-universal express
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"Multiculturalism" by :Marina Grzin
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themselves as Kazimir Malevich. In
Page 81 and 82: The effect of these quotations, rep
Page 83 and 84: "Notes on Internationalism<
Page 85 and 86: trends, inspirations consumed from
Page 87 and 88: Jean-Hubert Martin / Director MUsee
Page 89 and 90: Gerardo MOsquera Cuarta Bienal de l
Page 91 and 92: Bernice Murphy Assistant Director a
Page 93 and 94: the atrophying configuration of man
Page 95 and 96: David A. Ross Director The Institut
Page 97 and 98: Art is not a competitive sport, and
Page 99 and 100: Ryszard Stanislawski Director, Muze
Page 101 and 102: "What is International" by Vladimir
Page 103 and 104: venues just for the sake of it, but
Page 105 and 106: SlMWUES CF ROONDTABIE DISCUSSICNS -
Page 107 and 108: MULTICULTURALISM What Role Does MUl
Page 109 and 110: of other cultures and how such noti
Page 111 and 112: labels "Brazilian" or "Flemish." Ot
Page 113 and 114: THE OTHER How do we represent other
Page 115 and 116: At that point Araeen criticized the
Page 117 and 118: INTERNATIONAL EXHIBITIONS TODAY Wha
Page 119 and 120: international exhibitions and the n
Page 121 and 122: Discussion then returned to the not
Page 123 and 124: different, and it is precisely that
Page 125 and 126: extent, Nittve asked, do the artist
Page 127 and 128: INTERNATIONAL EXHIBITIONS AND THE H
Page 129 and 130: stability. However, in many cases,
Page 131: Exhibitions alone might not be enou
Page 135 and 136: NEW FORUMS How can we address the n
Page 137 and 138: These voices fairly well illustrate
Page 139 and 140: exhibitions both at home and when s
Page 141 and 142: place. To make creative use of exhi
Page 143 and 144: PARTICIPANTS -139-
Page 145 and 146: I. AFRICA Morocco Mohammed M=lehi D
Page 147 and 148: Katalyn Neray Venice Commissioner a
Page 149 and 150: Mark Francis Curator of Contemporar
Page 151 and 152: V. lATIN AMERICA Argentina Jorge He
Page 153 and 154: Lynne Cooke Art Critic 42 Brecknock
Page 155 and 156: Invited Participants Unable to Atte
Page 157 and 158: Christina Galvez Guzzy Director Ruf
Page 159 and 160: Susanne Landau Curator The Israel M
Page 162: Alexandre Yakimovich Salvador Alien
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Expanding Internationalism - A Conference on ... - Mary Jane Jacob

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