<< Symposium Essays List
Internationalism
and art
Els van der Plas
One of the interesting questions I received not long ago was this: now
that you"ve devoted more than 15 years to stimulating intercultural
exchange, to introducing non-Western art into the mainstream art world,
and to cultivating a better understanding among people of their various
cultural opinions, how do you feel when to all intents and purposes, the
opposite is happening " greater chasms between peoples and cultures,
an intensification of religious schisms, less cultural tolerance, and
greater social unrest? Whether we"re looking at the Netherlands where
a right-wing politician was murdered last year, or at Indonesia where
a bomb exploded last week in the Marriot Hotel, it seems as if it's becoming
harder and harder for us to accept our differences. It's as if we"re
voices crying out in a wilderness of ever-increasing ways to communicate
and more and more cultural exchanges, but that our message is being sent
by homing pigeon.
Fortunately, the time when a curator of a prominent Dutch museum would
ask me a question such as, "Is there such a thing as modern art in
Indonesia?" is past. This happened in 1988, shortly before the 1989
exhibition "Magici"ns de la Terre" opened in Paris"in
the year when the intercultural magazine Third Text had just been launched
in England"and in the year before the opening of the 1989 exhibition
entitled "The Other Story" in the Hayward Gallery in London
" an exhibition that featured African and Asian artists working in
England and which met with scathing criticism. It came on the eve of the
major exhibition entitled "Chinese Modern Art" in the National
Gallery in Beijing that was closed after one day by order of the government,
to be followed shortly thereafter by the outbreak of riots on Tien-an-men
Square in 1989. This was a period when interest in modern art in other
cultures was developing, be it sporadically, in Europe and the United
States. These initial strides toward a real international contemporary
art world created possibilities for initiating exhibitions showing work
by present-day artists working at locations everywhere in the world. At
the same time, these exhibitions and their pieces of art criticised the
history of Western art. The more tentative intercultural activities occurring
during the 1980s can be seen within an historic perspective that goes
back much further than just the twentieth century. The difficulty that
Western artists, critics and experts had in the eighties in appreciating
and embracing so-called "non-Western" art was due to an age-old
philosophy indicating the superiority of European cultural heritage. Colonialism,
slavery and the post-colonial period attested, among other things, to
this Eurocentric vision within which the optimistic concept of progress
was a one-way street. These ideas were only really questioned at the end
of the 20th century, even in the art world, without an immediately forthcoming
and adequate replacement for this philosophy.
A number of critical ideas were catching on at that time. The two major
critiques were that the Western art world was too Eurocentric and that
it had lost touch with society. Artists were no longer playing a role
in society and were living in their own ivory towers where shape and colour
were the determining factors and where, by now, there was a lot of money
to be made. The artistic debate was centred only on itself. New ideas
at the time were that artists should no longer be considered just the
gatekeepers of beauty and morality but should also be magicians important
questions for the art world. Have these intercultural exchanges, the increased
interest in the myriad artistic communications worldwide, and the exhibitions
that put them on display had a positive effect on the way we live within
our society and/or the way we think? Did these intercultural exchanges
ultimately lead to better art? And what are the theoretical questions
we have to consider in relationship to these international exchanges?
Documenta 11
The Documenta, one of Europe"s largest international exhibitions,
is held once every four years in Kassel, Germany. The 11th Documenta held
in 2002 was of great importance within the discussion involving the consequences
of international exchanges. The exposition showed work by artists from
all over the world and broached subjects that appeared relevant and urgent
at the time. What"s more, Okwui Enwezor, the artistic director of
this Documenta and a Nigerian by birth, involved other disciplines than
just art history and art theory in setting up the exposition. Also included
were political science, journalism and history. In doing so, he involved
the artist and the curator as committed players within the international
arena. Enwezor"s masterstroke was the organisation of four platforms
about current social and political themes in locations not considered
international cultural capitals: "Democracy Unrealized" in Vienna
(in March 2001), "Experiments with Truth: Transitional Justice and
the Process of Truth and Reconciliation" in New Delhi, India (in
May 2001), "Creolit" and Creolization" in Martinique (in
September 2001) and "Under Siege, Four Cities: Freetown, Johannesburg,
Kinshasa and Lagos" in Lagos (in March 2002). These sessions would
then act as preparations for the final exhibition " platform five
" in Kassel.
The exposition was impressive. The following characteristics of Documenta
11 were important:
" The topics broached by the organisation had been thoroughly elaborated
by the four platforms. This added depth to the exposition.
" Because the organisation of Documenta 11 took place in various
locations throughout the world " from India to Martinique "
it directed attention to less well-known artists who displayed new approaches.
It thus became what I call a "really international" exchange.
" Documenta 11 devoted a great deal of attention to interdisciplinary
cooperation, examples being video, film and documentaries. This focus
on the narrative aspect of art was relevant within this committed context.
In regard to Documenta 11, the answer to the question about whether the
increasing intercultural exchanges were also making a positive contribution
to society would be "yes".
The outcomes of the conferences, published in four publications, were
the subject of discussion among critics worldwide as well as among the
artists participating in the exhibition. One of the subjects, "Experiments
with Truth: Transitional Justice and the Process of Truth and Reconciliation",
involved the participation of the Prince Claus Fund. The conference, held
in New Delhi, addressed topics relating to truth and reconciliation processes
in the world. Questions included: "Is there a greater degree of reconciliation
in countries where truth and reconciliation processes are being stimulated?",
"Does cultural expression contribute to unprocessed traumatic occurrences
within a society?" and "What locations in the world could be
recommended as sites for applying truth and reconciliation processes,
and why?" The conference attracted a large audience to the Habitat
Centre in New Delhi. The unprocessed emotions in India surrounding the
partition into India and Pakistan and its political consequences were
an important topic of discussion. The highly charged boundary conflict
was then represented in Kassel in the 1997 work entitled "A Season
Outside" by the Indian documentary maker, Amar Kanwar. The topic
was further elaborated by artworks about other boundary conflicts. Pavel
Braila from Moldavia exhibited a 40-minute film entitled "Shoes for
Europe". This documentary showed the changing of wheels on a train
before it crossed the border between Moldavia and Romania at the Ungheni
Station. The western rails are 1435 millimetres wide, while the eastern
rails are 1520 millimetres wide. The difference is 85 millimetres. The
changing of the wheels takes two and a half hours to complete " the
aftermath of a border conflict from the days of the cold war.
Certain recommendations for intercultural exchanges can be distilled
from the intent and the results of Documenta 11. These could be listed
as follows:
1. Integrate current political topics into the artistic debate.
2. Stimulate an awareness of the effect that the colonial history has
had on how we think of culture and deal with it.
3. Decentralise intercultural encounters.
4. At the same time, offer central platforms for unfamiliar and new forms
of art.
5. Present and visualise forgotten and unknown cultural histories.
6. Break down boundaries separating the various artistic disciplines
Enwezor had this to say: "My work in fact, is informed by literature
(poets, essayists, novelists, dramatists), anthropology, sociology, politics
and culture. But there is often this feeling that these subjects are anathema
to art. I completely disagree with that" Art is also a form of politics
and it would be silly to reduce art exhibitions to the ideological dishonesty
of powerful art historians and their institutional supporters."
Venice Biennial
Another major international art event held in Europe is the Venice Biennial.
This year"s edition seemed less successful than the Documenta held
last year and seemed to suffer from the huge number of artists and the
possibilities open to them.
In June of this year, I was one of the thousands of VIPs and special
guests invited to attend the preview of the Venice Biennial. The art,
however, was a vision of dreariness. Poorly presented expositions, unfinished
pieces, and an abominable organisation contributed to a depressing mega-show.
Naturally, there were exceptions such as Santiago Sienna"s walled-off
"Spanish Pavilion": if you wanted to enter it, you had to go
around to the back. The back entrance was guarded by two policemen who
checked your passport. You could enter only if you had a Spanish passport.
A timely and committed work in an exhibition that otherwise displayed
very superficial and unimaginative art.
The most shocking thing about the entire manifestation, I thought, was
the poor level of imagination, in spite of an artist"s expertise.
The exhibition entitled "Utopia Station" by Molly Nesbit, Hans
Ulrich Obrist and Rirkrit Tiravanija, a group of intelligent and inspiring
personalities, was the paragon of non-imagination - installations that
looked a lot like cluttered attics and sloppily pasted, customised poster
art. The cause here appeared to be an excess of commitment and a lack
of imagination. Too much content clouded the message.
Even so, this Biennial was strong in the attention it devoted to intercultural
aspects. The Arsenale, the large halls dedicated to the Biennial"s
central exhibition, displayed Asian art in the exposition of curator Hou
Hanru, work by African artists in the exhibition entitled "Fault
Lines" that was curated by Gilane Tawadros, and Arabic video art
selected by Catherine David. Carlos Basualdo, the Brazilian curator, had
created an international presentation that included works by artists from
such countries as Angola, Brazil and Israel.
Exhibited in the national pavilions were representations of various multicultural
societies. Chris Ofili, an artist with Nigerian roots who grew up in Manchester,
England, set up the English pavilion; Fred Wilson, an African-American,
pursued colonialism in the Italian city of Venice; and the Netherlands
displayed works by Spanish, Beninese and Mexican artists. This, then,
was a collection of pavilions communicating the fact that societies are
composed of various cultures that together form a multicultural society.
So why was this exhibition so confusing and disorganised? Pat Binder
and Gerhard Haupt, the editors of the outstanding informative website,
Universes in Universe " World of Art, blame the failure of the Biennial
on the excess of art: "There is a basic problem with this biennial
which affects all exhibitors equally and of which they themselves are
a part: far too much art. There are over 300 artists and groups assembled
in the 10 central exhibitions alone (8 in the Arsenale, 2 in the Giardini).
And though the (extremely vague) main theme "Dreams and Conflicts
" The Viewer"s Dictatorship" covers all of the exhibitions,
one must adjust to completely different curatorial concepts with each
one."
Bruno Flyte in his article appearing on the studio international website
blames it on the new curatorship: "Now"a new tendency threatens
to bury Venice as a serious art event. This is the Plague of the Curatorium.
Yes, the curators are taking over the works from the artists, which means
that although the subtitle of this Biennial is "The Dictatorship
of the Viewer", it is not the viewers, but the curators who are behaving
as dictators. Bonami was assisted in this regrettable coup d"etat
by a cohort of ten extra curators, and in the case of the least popular
exhibition, "Utopia Station" (a kind of bariada settlement of
squatters) 18 senior and junior curators were actually deployed by Bonami."
One blames it on too much art, the other on too many curators. Another
cause is the improved accessibility to information about artists and cultural
movements worldwide. What started out as a clear art concept that was
mainly white and conceptual turned into an exhibit with the work of Indonesian
performance artists, Libanese photographers, Eritrean filmmakers and English
sculptors shown side by side. When we"re open to such diversity,
making a selection based on qualitative criteria and content is more important
than ever, especially for these kinds of mega-shows.
The "everything is possible" idea doesn"t have to result
in chaos as it did in Venice, but it does require the proper selection
of information, the right experts, and a thorough knowledge of what"s
going on from Phnom Penh to Berlin.
The zones of silence
Chen Shaoxiong"s gracefully swaying skyscraper evades an onrushing
aeroplane. Since nine-eleven, it"s an image we all recognise. Shaoxiong"s
work is about today"s international terrorism and image manipulation.
Entitled "Windows 2002", it refers to both the windows in New
York through which the catastrophe was seen, and to computer magnate,
Bill Gates. Was this really what we saw? It wasn"t a computer manipulation,
was it?
Topical subjects and images dominate the exhibition entitled "Synthetic
Reality". Video, digital media and the energy of youth sizzle through
the space in the East Modern Art Centre, or EMAC, in China. A large unfurnished,
factory-like room has been transformed into a large exciting new-media
show. You"re confronted by video images and strange sounds. You"re
welcome to saunter or stroll through the space. The exhibit takes possession
of viewers. There"s no "viewer"s dictatorship" here.
Instead, viewers have to give themselves over to the power of image and
space.
Ni Haifeng, a Chinese artist who lives and works in Amsterdam, flew back
to his homeland a year ago to set up this exhibition with his artist friends.
No curator, just a big empty room and a sense of urgency were what inspired
these Chinese artists to go ahead with their plans. Although the exhibition
had no major media coverage, the artists did open a website that was then
available to anyone with access to the Internet.
This project is the other side of international exchanges. Due to Western
influence, it wasn"t so long ago that video art started cropping
up in China. Here, it attained a high level of quality and relevance.
And, in spite of strict censorship, these artists, funded by European
sponsors " another result of international communication " and
armed with a lot of dedication, managed to pull this exhibition together.
These kinds of initiatives are gems in a world where international cultural
exchange is a high priority but where the decentralisation of power has
also led to new rulers. Another result of these developments is the travelling
circus of well-known art celebrities and big-name artists. This circus,
however, should be taking responsibility for carrying young artists, interesting
topics and unusual art along in its wake.
Devoting attention to the zones of silence in the areas of geography,
art forms and topics is something that I believe is highly deserving of
recommendation. In the last fifteen years, the art world has undergone
tremendous changes that have resulted in a Documenta 11 and Synthetic
Reality in China " things that were inconceivable fifteen years ago.
But there are still locations and topics in the world that deserve attention
and delving into. Artists can play an important role in this so that art
can be " and will continue to be " a force in positive cultural
and social processes of change.
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