Global Art And Politics Of Mobility: (Trans)Cultural Shifts in the ...

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universal works of the global mainstream, nor on the fact that they (plainly) corroborate the validity and contemporaneity of the international art circuit, but rather on the possibility that his figure might generate a non-conforming, critical and reflective geo-aesthetic mentality on the basis of which the appropriation of his particular signs and specific symbolic locations in the global scene would allow the articulation of new subjectivities and new ‘uses’ of transcultural representations as critical strategies to dismantle the politics of understanding ‘peripheral art’ and of the very peripherality as a transcultural value. In short, his geo-political potential should be rooted in the fact that, through his internationalization, one could explain the interests that support the paradox of being simultaneously heroically universalistic and messianically localistic and also demonstrate the politics of representation, circulation, and commercialization that keep the following oxymoron alive: ‘Orozco, the new international Latin-American art’. If this were so, the globalization of diversity through internationalism in art might not automatically become a satisfaction for aesthetic exoticism under the label of multiculturality; it might not always turn out to be an Amor Perro (but insincere) for the peripheral, a fetishization of alterity, a denial of the symbolic dimension of mobility. BIBLIOGRAPHY Adey, Peter, and Bevan, P. (2006) “Between the physical and the virtual: Connected mobility? En: Sheller, Mimi. and Urry, John. Mobile Technologies of the City. (London, Routledge). Adey, Peter, 2006, If mobility is everything then it is nothing: towards a relational politics of (im)mobilities. Mobilities 1 (1) pp. 75-94.
2006, Airports and Air-mindedness: spacing, timing and using Liverpool Airport, 1929-1939. Social and Cultural Geography. 7 (3) pp. 343-363 Amaselle, 1990, Jean-Loup, Logiques métisses. Anthropologie de l'identité en Afrique et ailleurs, Paris, Payot. Anderson, Perry, 1984, “Modernity and Revolution,” New Left Review, no. 144, March-April, 96-113. Anzaldúa, Gloria, 1987, Borderlands: La Frontera: The New Mestiza, San Francisco, Spinsters/Aunt Lute. Appadurai, A., (ed.), 1986, The Social Life of Things: Commodities in Cultural Perspective, Cambridge, Cambridge University Press. 1996, Modernity at Large: Cultural Dimension of Globalization, Minneapolis, Minnesota University Press. 2000, “Vers un choc des cultures ou vers une hybridation culturelle? Les nouveaux territories de la culture: mondialisation, incertitude culturelle et violence” en: Matsuura, Les clés du XXI e siècle, Seuil, UNESCO. Appiah, Adolphe. K., 1997, “The Multiculturalist Misunderstanding”, en: The New York Review of Books, 44:15, October 9; vid. http://darkwing.uoregon.edu/~dgalvan/ps607w04/appah-mcult-misund.htm (visitada en mayo de 2006). Azizov, Zeigam, 2002, “Migrasofía: De ser Artista a Devenir otro”, Brumaria, Barcelona, nº 1, verano.
Page 1 and 2: 1 ASCA 2007 Global Art And Politics
Page 3 and 4: transmigratory and dislocated forms
Page 5 and 6: elation of proximity with a specifi
Page 7 and 8: and its director John Ury’s resea
Page 9 and 10: cultural meaning lies in the symbol
Page 11 and 12: Homi Bhabha’s words on the subjec
Page 13 and 14: institutions that brought about the
Page 15 and 16: Multiculturalism and its strategies
Page 17 and 18: which some cultures are distinguish
Page 19 and 20: As we can see, what persists here i
Page 21: While it is by no means my purpose
Page 25 and 26: Bhabha, Homi, 1986, “The Other qu
Page 27 and 28: Enwezor, Okwui, 2002, “The black
Page 29 and 30: inversa”, en: http://hemi.ps.tsoa
Page 31 and 32: Jencks, Charles, 1992, A Post-Moder
Page 33 and 34: 1999, Local Histories/Global Design
Page 35 and 36: Rabasa, José, 1987, “Representat
Page 37 and 38: 2004, “Border/migration/geography

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