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

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Some of the "international" exhibitions now have a long history and tradition, as in Kassel, Venice, or the "carnegie International" in Pittsburgh (founded 1896) . If nothing else, those of us who are responsible for these venerable institutions must account for what is being made in the world of art, and continually remake the "carte du monde poetique" (M. Broodthaers) as time passes. And it is to the artists themselves that we should first attend. -68 -
"The Multicultural Paradigm" (from High Perfonnance, Fall 1989) by ltJ Guillermo Gomez-Pena Artist San Diego, California, USA The First and Third Worlds have mutually penetrated one another. The two Americas are totally intertwined. The corrplex demographic, social, and liguistic processes that are transforming the U.S. into a member of the "Second World" (or perhaps Fourth World), are being reflected in the art and thought produced by Latinos, Blacks, Asians, Native Americans, and Anglo-Europeans. Unlike the images on television or in commercial cinema depicting a monocultural middle class world existing outside of international crises, contemporary U.S. society is fundamentally multicultural, multilingual, and socially polarized. So is its art. In order to describe the trans-, inter-, and multicultural processes that are at the core of contemporary border experience as Latino artists in the U.S. , we need to find a new terminology, a new iconography and a new set of catagories and definitions. "We need to re-baptize the world in our own terms." The language of postmodemism is ethnocentric and insufficient. And so is the existing language of cultural institutions and funding agencies. Terms like "Hispanic," "Latino," "ethnic, " "minority, " "marginal, " "alternative," and "Third World," among others, are inaccurate and loaded with ideological irrplications. They create categories and hierarchies that promote political dependence and cultural underestimation. In the absence of a more enlightened terminology, we have no choice but to utilize them with extreme care. -69-
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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
Page 21 and 22: alliances among individuals from di
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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: Mark Francis Curator of Contemporar
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
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different, and it is precisely that
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extent, Nittve asked, do the artist
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INTERNATIONAL EXHIBITIONS AND THE H
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stability. However, in many cases,
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Exhibitions alone might not be enou
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Many non-Western countries are conf
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NEW FORUMS How can we address the n
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These voices fairly well illustrate
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exhibitions both at home and when s
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place. To make creative use of exhi
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PARTICIPANTS -139-
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I. AFRICA Morocco Mohammed M=lehi D
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Katalyn Neray Venice Commissioner a
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Mark Francis Curator of Contemporar
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V. lATIN AMERICA Argentina Jorge He
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Lynne Cooke Art Critic 42 Brecknock
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Invited Participants Unable to Atte
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Christina Galvez Guzzy Director Ruf
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Susanne Landau Curator The Israel M
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Alexandre Yakimovich Salvador Alien
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