Advertisement

Decolonising the Exhibitionary Complex: Australian and Latin American Art and Activism in the Era of the Global Contemporary

  • David CorbetEmail author
Chapter
Part of the Studies of the Americas book series (STAM)

Abstract

This chapter problematises the notion of a Global Contemporary, a term arising in the aftermath of the postcolonial turn in the visual arts, critiquing it from an overarching perspective of geopolitical and cultural decolonisation. This perspective foregrounds activist curatorial, artistic and institutional practices, contextualising them in relation to other art forms and academic disciplines, specifically focusing on developments in Australia, Brazil and Mexico. Some key artistic currents, exhibitions, thinkers and institutional critiques from these regions are explored, including an examination of Euro-American modernism and philosophical thought as vectors of epistemic occupation by a hegemonic Northern ‘exhibitionary complex’. It also considers emerging, technologically-connected artistic and exhibitionary incubators, alongside biennials and triennials, as the primary sites of The Global Contemporary. The focus is on exhibition practice, rather than individual artists’ works; intersections with academic, institutional and museum cultures; and with broader notions of place and place-making. This includes a consideration of a worldwide turn towards socially engaged artistic practices; the ways in which the exhibitionary complex is responding to the emergence of new methodologies and identity formations; and possible futures for latitudinal artistic exchange among independent institutions and collectives within a globalised spectacle economy.

References

  1. Appadurai, Arjun. 1996. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.Google Scholar
  2. Araeen, Rasheed, and Hayward Gallery (eds.). 1989. The Other Story: Afro-Asian Artists in Post-War Britain. London: South Bank Centre.Google Scholar
  3. Archery, Karen, and Robin Peckham. 2014. Art Post-Internet. Beijing: Ullens Centre for Contemporary Art.Google Scholar
  4. Bennett, Tony. 1998. The Exhibitionary Complex. New Formations 4 (Spring): 73–102.Google Scholar
  5. Bhabha, Homi K. 2004. The Location of Culture. New York: Routledge.Google Scholar
  6. Bishop, Claire. 2006. The Social Turn: Collaboration and Its Discontents. Artforum 44 (6): 179–184.Google Scholar
  7. Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso Books.Google Scholar
  8. Bourriaud, Nicolas. 2002. Relational Aesthetics. France: Les presses du réel.Google Scholar
  9. Bourriaud, Nicolas, and Tate Britain (Gallery). 2009. Altermodern: Tate Triennial. London: Tate Publishing.Google Scholar
  10. Buarque de Holanda, Sérgio. 1978. Raízes Do Brasil, Coleção Documentos Brasileiros. Rio de Janeiro: J. Olympio.Google Scholar
  11. Chambers, Iain, et al. 2014. The Postcolonial Museum: The Arts of Memory and the Pressures of History. Oxford: Routledge.Google Scholar
  12. Connell, Raewyn. 2007. Southern Theory: The Global Dynamics of Knowledge in the Social Sciences. Crows Nest: Allen & Unwin.Google Scholar
  13. Connell, Raewyn. 2016. Keynote: ‘Australia in the Global Economy of Knowledge’. Paper Presented at the Symposium: Epistemologies of the South: Mapping New Directions in Australian Social Sciences, April 14, held at the University of Sydney.Google Scholar
  14. Danto, Arthur C. 1997. After the End of Art: Contemporary Art and the Pale of History. Princeton: Princeton University Press.Google Scholar
  15. Davidson, Helen. 2013. Australian Art Show in London—The Reviews Are In. The Guardian, September 23. https://www.theguardian.com/world/2013/sep/23/australia-art-london-reviews-roundup. Accessed January 2018.
  16. de Andrade, Oswald, and Benedito Nunes. 1990. A Utopia Antropofágica, Obras Completas De Oswald De Andrade. São Paulo: Globo. Google Scholar
  17. Debroise, Olivier, et al. 2006. Geneology of An Exhibition. In La Era De La Discrepancia: Arte Y Cultura Visual En México, 1968–1997, 2 vols., 27–32. México: Universidad Nacional Autónoma de México/Turner.Google Scholar
  18. Enwezor, Okwui. 2009. Modernity and Postcolonial Ambivalence. In Altermodern: Tate Triennial (Exhibition Catalogue), ed. Nicolas Bourriaud and Tate Britain (Gallery). London: Tate Publishing.Google Scholar
  19. Fanon, Frantz. 1986. Black Skin, White Masks. London: Pluto.Google Scholar
  20. Gardner, Anthony, and Charles Green. 2013. Biennials of the South on the Edges of the Global. Third Text 27 (4): 443.CrossRefGoogle Scholar
  21. Gardner, Anthony, and Charles Green. 2016. Biennials, Triennials, and Documenta: The Exhibitions That Created Contemporary Art. Chichester: Wiley Blackwell.Google Scholar
  22. Halperin, Julia. 2015. Almost One Third Per cent of Solo Shows in US Museums Go to Artists from Just Five Galleries. The Art Newspaper, April 2. http://old.theartnewspaper.com/articles/Almost-one-third-of-solo-shows-in-US-museums-go-to-artists-represented-by-just-five-galleries/37402. Accessed August 2017.
  23. Lafuente, Pablo, and Lisette Lagnado. 2014. Cultural Anthropophagy: The 24th Bienal De São Paulo 1998. Exhibition Histories. London: Afterall Books.Google Scholar
  24. Langton, Marcia. 2004. The Others. In Terra Alterius: Land of Another, ed. Margaret Farmer. Sydney: Ivan Dougherty Gallery, UNSW.Google Scholar
  25. McLean, Ian. 2009. Provincialism Upturned. Third Text: Third World Perspectives on Contemporary Art and Culture 23 (5): 625–632.Google Scholar
  26. McLean, Ian. 2011. How Aborigines Invented the Idea of Contemporary Art: An Anthology of Writing on Aboriginal Art 1980–2006. Australian Studies in Art and Art Theory. Sydney: Power Publications.Google Scholar
  27. Medina, Cuauhtémoc. 2010. Contemp(t)orary: Eleven Theses. e-flux Journal, New York 12 (January). http://www.e-flux.com/journal/12/61335/contemp-t-orary-eleven-theses/.
  28. Morris, Frances. 2016. Keynote: ‘Expanding Horizons: Rethinking the Past Through the Lens of the Present.’ Museum of Contemporary Art, September 1, Sydney, Australia. Video recording available online. https://www.mca.com.au/events/international-keynote-address-frances-morris/.
  29. Muñiz Reed, Ivan. 2016. Thoughts on Curatorial Practices in the Decolonial Turn. Broadsheet Journal 45 (2): 14–19.Google Scholar
  30. Murray, Kevin. 2014. The Art of Southern Theory. In South: Contemporary Art from Australia | Mexico | South Africa, ed. David Corbet and Jane Somerville, 18–21. Sydney: Hazelhust Regional Gallery & Arts Centre.Google Scholar
  31. Okwunodo Ogbechie, Sylvester. 2005. Ordering the Universe: Documenta11 and the Apotheosis of the Occidental Gaze. Art Journal 64(1): 80–83.Google Scholar
  32. Okwunodo Ogbechie, Sylvester. 2008. The Perils of Unilateral Power: Modernist Metaphors and the New Global Order. In Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity, ed. Terry Smith et al., 165–186. Durham: Duke University Press.Google Scholar
  33. Osborne, Peter. 2013. Anywhere or Not at All: Philosophy of Contemporary Art. London: Verso Books.Google Scholar
  34. Papastergiadis, Nikos. 2008. Spatial Aesthetics: Rethinking the Contemporary. In Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity, ed. Terry Smith, Nancy Condee, and Okwui Enwezor, 363–381. Durham: Duke University Press.Google Scholar
  35. Pedrosa, Adriano. 2014. Histórias Mestiças São Histórias Descolonizadoras (Mestizo Histories Are Decolonising Histories). In Histórias Mestiças (Catálogo), ed. Adriano Pedrosa, Lilia Moritz Schwarcz, and Instituto Tomie Ohtake. São Paulo: Cobogó.Google Scholar
  36. Pedrosa, Mário. 1975. Crise do Condicionamento Artístico. In Mundo, Homem, Arte Em Crise, Coleðcäao Debates 106: Arte, ed. Mário Pedrosa. São Paulo: Editora Prespectiva. Google Scholar
  37. Reilly, Maura. 2015. Taking the Measure of Sexism: Facts, Figures, and Fixes. ArtNews, Special Issue: Women in the Art World (June). http://www.artnews.com/2015/05/26/taking-the-measure-of-sexism-facts-figures-and-fixes/.
  38. Reynolds, Henry. 2006. The Other Side of the Frontier: Aboriginal Resistance to the European Invasion of Australia. Sydney: University of New South Wales Press.Google Scholar
  39. Rushdie, Salman. 1992. Imaginary Homelands: Essays and Criticism 1981–1991. London: Granta in Association with Penguin.Google Scholar
  40. Smith, Terry. 1974. The Provincialism Problem. Artforum 13 (1): 54–59.Google Scholar
  41. Smith, Terry. 2009. What Is Contemporary Art? Chicago: University of Chicago Press.CrossRefGoogle Scholar
  42. Stanner, W.E.H. 1968. After the Dreaming: Black and White Australians, an Anthropologist’s View. Boyer Lectures. Sydney: The Australian Broadcasting Commission.Google Scholar
  43. Steyerl, Hito. 2015. Duty Free Art. e-flux Journal, New York 63 (March). http://www.e-flux.com/journal/63/60894/duty-free-art/.
  44. Tiburi, Marcia. 2017. In Censoring a Queer Museum, Brazil Edges Closer to Authoritarianism. The Conversation, September 22. https://theconversation.com/in-censoring-a-queer-museum-brazil-edges-closer-to-authoritarianism-84199. Accessed January 2018.

Copyright information

© The Author(s) 2019

Authors and Affiliations

  1. 1.University of SydneySydneyAustralia

Personalised recommendations