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

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For many artists, the re-emergence of suppressed national cultural identities is the literal signifier of freedom and independence. As such a"pure" cultural identity is invested with the passion and consequentiality of the hard-won new order. Operating in the traditional mode, the national culture functions as flag and forum -- as a narrative of history and promise. And yet, wrapping art in the flag can be a very dangerous thing indeed. While art can give voice to the struggles of a people, or the history of a place, it can also unwittingly support (and mask) the very conditions supressing marginalized national cultures. While art can veil the state's crisis of legitimization, it can simultaneously signify resistance to the dominance of the state's voice, and the false narrative of state history. It is easy to romanticize the role of the artist as a politically potent force aware of his or her role in the progress of national and international relations. In this moment when political content seems so nruch more enpowering than an art. of mere individual exp:r:-e$$:Lon or private obsession, we need to be e$pecially wary. <strong>Expanding</strong> internationalism and the notion of nationalism it embraces reveals the extreme difference between artists whose work actively engages their national identity in an international forum, and those to whom national character is largely or totally irrelevant. Not that the nation-states cannot make use of the myth of the "pure" individual -- in the late 1950s the U.S. proudly presented Abstract Expressionism in Eastern Europe to symbolize a free and open culture. At this time, however, we nrust question a cultural dialogue among nations which insists on a totalizing discourse -- a discourse in which the individual voice is only valid when it stands for something else, something larger and more important than the voice of a single, independent artist. -92 -
Art is not a competitive sport, and it should not become an extension of politics by other means. To me, it is saddening to see art continually misused in pointless international competitions. But even when the stakes are more serious -- building international understanding or exploring the complexities of national character and civic destiny, art suffers when it is forced to conform to extraneous agendas. Art can do these things, though we distort its function at our collective loss. When considering potential forums for the new internationalism, therefore, it should be sufficient to simply construct opportunities Which allow the artists' unfettered voice to be clearly heard. Each artist should decide the extent to which his or her social contract should frame or reflect their work. At the core of what I would consider a worthy internationalism are ideas that boldly embrace difference, strongly demonstrate a healthy disrespect for the overly reverent, and convey a concern for truth -- mystical or othe:rwise. -93 -
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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
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: David A. Ross Director The Institut
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
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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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Expanding Internationalism - A Conference on ... - Mary Jane Jacob

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