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

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need to acknowledge the cultural diversity within countries and accept that cultural connections and communities in the late 20th century are no longer bound by national borders. In fact, we have experienced--and are in the middle of experiencing--significant changes in the ways nations coexist. We trade in new corrmon markets. We share media. ~~e ponder shared solutions to global dangers--ranging from the environment to arms control. Remarkably, in the past year, we seemed to have embraced exchange as the essential means for growth in the next century. More than ever, we rely on arts and culture as a corrmon language to facilitate this exchange, and upon nu.1seums as the halls of cultural diplomacy and curators as cultural diplomats. IIE is proud to have helped bring together this meeting of curators and other experts to consider some of the deeper messages of: whose art is displayed why and how might choices of exhibitions be expanded We are living in a historic period of transition of nations, which co:rrpels us to look back at history. Almost two centuries ago, in 1798, Friedrich Wilhelm of Prussia wrote of great paintings: "Only by making them public and uniting them in display can they become the object of true study, and every result obtained from this is a new gain for the corrmon good of mankind." This conference is intended to engage those already working in the field of international exhibitions. There can be no more irrportant or timely subject than how such exhbitions can, in Friedrich Wilhelm's language, "result in new gains for the corrmon good of mankind." This conference has been structured to create dialogue among a small number of participants representing every part of the globe. We hope that it will engender new -16-
alliances among individuals from diverse cultures and ultimately challenge the way in which international shows have been conceived. Most important, we hope it will offer practical suggestions for the future and act as a catalyst for change. I would like to thank the Rockefeller Foundation for their support of this gathering and their contribution to travel stipends. They have made this a far more inclusive gathering than would otherwise have been possible. I would also like to thank three private donors--Raymond Learsy, Agnes Gund, and Madalyn Rosen--for their generous contributions. Our thanks also to the Fondazione Giorgio Cini for sharing this beautiful setting with us. And I thank all of you for joining us and for bringing your ideas and experience to bear on these vitally important issues. -17-
Page 1: EXPANDING INTERNATIONALISM A <stron
Page 5 and 6: FOREWORD Arts International, a divi
Page 7 and 8: the printing 1 publication and wide
Page 9 and 10: INTRODUCTION International exhibiti
Page 11 and 12: discipline of training to the theor
Page 13 and 14: Catherine David, Curator at the Jeu
Page 15 and 16: world through which change can be i
Page 17 and 18: OPENING REMARKS AT THE PLENARY SESS
Page 19: Second, Arts International also man
Page 23 and 24: -19-
Page 25 and 26: SIMULTANEOUS TRAN"SIATION: :MJDERNI
Page 27 and 28: "borderline" between and within nat
Page 29 and 30: homogeneity achieved by "national"
Page 31 and 32: In many instances, despite the invo
Page 33 and 34: show. Conceptually it is more probl
Page 35 and 36: can be secured. At this point we be
Page 37 and 38: criticism of Roberto Retamar "which
Page 39 and 40: THE VERB "CURATE" Guy Brett I speak
Page 41 and 42: people comnented, was to polarize "
Page 43 and 44: operating with devastating effect i
Page 45 and 46: saw for the first time the drawings
Page 47 and 48: pieces of Pueblo pottery made by wo
Page 49 and 50: model of art as the only one proper
Page 51 and 52: other works too, in other assemblie
Page 53 and 54: POSITI
Page 55 and 56: Aracy A. Amaral Art Critic, Indepen
Page 57 and 58: or her eyes and his or her percepti
Page 59 and 60: Even in South America the art marke
Page 61 and 62: "Multi -Cultural Representation of
Page 63 and 64: 4. opening up new opportunities and
Page 65 and 66: The African situation again has all
Page 67 and 68: Piedad de Ballesteros Director of P
Page 69 and 70: The fact that the selection is made
Page 71 and 72:
Mark Francis Curator of Contemporar
Page 73 and 74:
"The Multicultural Paradigm" (from
Page 75 and 76:
Dialog is a micro-universal express
Page 77 and 78:
"Multiculturalism" by :Marina Grzin
Page 79 and 80:
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 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 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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