Bruce Naumann (Fort Wayne, 1941)
Anthropology/Society (Rotation), 1991
Three projectors, six color monitors, six DVD players, multiple sizes. Kunsthaus Hamburg, Hamburg, Germany
What is the next topic to discuss, this is naturally not the task of the historian who established these. What one can try to do is argue around this topic in the last forty or fifty years of the 20th century: the study of the increasingly unimportant concept of the "history" of art and the phenomenon that the scope of art extends globally. There is no doubt that in many parts of the world, from Mexico to Scandinavia, from Russia to South Africa, contemporary art is now the face of neoliberalism. Judging by the number of large exhibitions and art fairs, we now have about 160 international events a year. Because of the superimposed effects of global economic geography, we can't make a list. Leaving aside the circulation of art at the many biennales (Venice Biennale and São Paulo Biennale), from the current point of view, international and art-related funds are already circulating around the world, from Vilnius to Dakar, from Istanbul to Gwangju. In areas like Palestine and Bosnia and Herzegovina, which are desperate to gain a reputation in the arts, some institutions are either being established or have already been established.
Never before has art been, as it is today, a symbolic and legitimate instrument of exchange under foreign policy, and an additional phenomenon to the exchange of international relations and funds: very specifically, it is necessary to admit, and it has to be admitted, that art is one of the largest areas of money recovery. The contentment to rebuke this phenomenon and to flaunt the most active (and therefore the most famous) representatives of the process means that people remain on the surface of the problem. It is true that there are many artists who understand globalization in a narrow sense as multi-ethnic, appealing to as many audiences as possible through speculative and sensational products. Barber also confirmed this in his paper on consumer childhood and In Turck's study of the anomaly of agitation. But it's also true that many actors in the "art world" see political globalization as an opportunity to showcase unknown history and culture, as in some of the cases we've tried to discuss.
Today's problems in the field of art are not confined to a certain region, but are related to the whole world. The first question is how much authenticity the individual has left. Previously artists were tasked with taking responsibility for their work, defining themselves in a cultural context, expecting (or self-deluding) to control or change the world. The artist should now face two challenges: on the one hand, he needs to accept the multiculturalism that breaks the Eurocentrism and presents a new "world" to the world; at the same time, he needs to avoid becoming a cynical manipulator influenced by superficial phenomena, supported by an intricate horizontal art "system". The circulation of local cultural symbols benefits from the globalization of capital. In this sense, I think that the requirements of the theme of "cognitive cartography" proposed by Frederick Jameson also seem reasonable. Frederick Jameson, a Marxist scholar, did not mystify his study of Marxism: "An educational and political culture that seeks to give the individual subject a growing new consciousness of his or her place in the global system." ”
When one can conceive of the 20th century, which is coming to an end, Jean Baudrillard can give a frustrating vision of the future without difficulty. He did not think that art became mediocre and useless in an uncertain cycle, nor did he want to be seen as a theorist of this type of art. He wanted to rebuke a pernicious aesthetic pleasure, a strong emotion that could be reflected in the following quotation:
Contemporary art uses uncertainty and the impossibility of making value judgments to consider the discernment of errors of those who know nothing or understand that there is nothing to figure out. Amid the disappointment of the commenters and the frenzy of the business, how does this process continue? If it can be done, how long, a hundred years, can this disguise and concealment last? Two hundred years?
Excerpt from Contemporary Art
Global Art History
[Italy] by Alexandre del Popo
Translated by Zhou Binbin
Shanghai Sanlian Bookstore Phoenix Yili
The problem in the art world today is that art can make people think of many things, but in particular, art is not like anything. We know what art means, but we're not sure what it is.
The book is accompanied by exquisite pictures that show the reader the development of modern art.
Synopsis
Contemporary Art is one of the books in the "Global Art History" series. This book introduces readers to the development of contemporary art from the 20th century to the present, taking the rise of a new generation of artists represented by Pollock as the source, selecting iconic events in contemporary art to expound, and revealing the roots of some interesting phenomena unique to contemporary times.
Introduced from Italy, the "Global Art History" series is a new, open and systematic encyclopedia of world art that introduces readers to artistic creations from different periods and countries.
About the Author
Alexander del Popo is a professor at the University of Udine in Italy, a researcher of art history, and the author of several works on art history, including Contemporary Art.
Translator Profile
Zhou Binbin, graduated from Beijing Second Chinese College of Foreign Language and Literature, majoring in Italian Language and Literature. She has translated manuscripts for a number of cooperative units, participated in international level examination projects and obtained excellent results, translating "Art in the Romantic Era", "Art in the Napoleonic Era", "Vatican Tombs" and so on.
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