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

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o International artists' residencies involve a longer-term commitment on behalf of the host and present for artists rare opportunities. They may have the possibility of spending a period of time in a fresh environment that may help them to examine their work anew as well as to work uninterruptedly. They may be invited to develop a project for a particular space or a community. Face-to-face communications with colleagues elsewhere, personal relationships, and also participation in new circumstances are all partly responsible for changing cultural situations. o "Laboratory" shows (smaller projects) in internationally oriented programs such as the ICAs, Kunstverein, Kunsthalle, other museums or situations outside of museums also make sense. Sometimes taking the form of · site-speci,fic ,shews ·sma,ller in scale, they, .. are .. ~highly. t.apical, concentrated, and dynamically varied. They are known to have given impulse to some of the most talked about or influential large-scale exhibitions, such as ":Magiciens de la Terre." It is here where ideas are allowed to grow and where artists' decisions matter. o We seemed to agree on a focused international exhibition that would take into account the diversity of situations and that would be selected for a particular country on the basis of a particular need. We talked about sensitivity to history, environment, and the interests of the artists and audiences. We liked the fact that, if necessary, such an exhibition can make use of those resources offered to it by a particular situation; it could respond to the cultural heritage of a -136-
place. To make creative use of exhibiting possibilities outside of established or known forms, such as historical or other relevant sites, was coupled with a desire to make a difference to the cultural scene wherever it may be. -137-
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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
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The effect of these quotations, rep
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"Notes on Internationalism<
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trends, inspirations consumed from
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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 and 132: Exhibitions alone might not be enou
Page 133 and 134: Many non-Western countries are conf
Page 135 and 136: NEW FORUMS How can we address the n
Page 137 and 138: These voices fairly well illustrate
Page 139: exhibitions both at home and when s
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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