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  • II-1Griffin - Tim - Global Tendencies - 2003

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    Felipe Suárez Mira
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    10 views14 pages

    II-1Griffin - Tim - Global Tendencies - 2003

    Uploaded by

    Felipe Suárez Mira

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 14
    GLOBAL | TENDENCIES » & GLOBALISM AND & THE LARGE-SCALE EXHIBITION On hen Francesco Bonami, director of fast ‘summer's Venice Biennale famously wate inisexntion catalogue that “The "Grana Show ofthe 21st centuy must alow mulipicty, versity and contraction to exist inside the structure of an exhton a world where the confts of gJobaliation are metby the romantic dreams of anew modernity,” it was reasonable to imag. Ine that he was responding to structural an thematic questions posed by Oke Enwezor in his Documenta 11 of the preceding year. After al, the Nigeianbom ‘curator, focusing onthe issue of globalization hain a sense defocused his evert, ‘ivding it into “platforms"—conferences and lecture series engaging figures from a wide range of ciscipines—that tok pace at diferent locales round the wore verte course ofthe year leading up to the instalation n Kassel Of course, this very commonality sets up a signifcant contrast. Enwezor's globalism resonated aferent from Bonam's: The same word ically used—as at Venice — to describe an ever-expanding creuiation of communications and commerce (with althe attendant conflets that such con- ection entails) was in Kassel inked to the acute value of regional and die. lence, where the emergence ofthe local ‘and particular precluded the possibilty of any unifying system or thematic but nev. ertheless comprised a fla of what could be called "minor knowledges.” Indeed, few terms are so frequently Danced about in atte alogue today “gobalism.” and yet fw terms ae so mu tiferious in thei current usage, or unos nso mary dimensions. For example, the ‘hetore of globalization allows fr discus- sion ofneccolonialism nan expanded art ‘marketplace while atthe same time entertaining the notion that New York has ‘ceded ts historical poston asthe city that stole the idea of modem at” perhaps becoming inst te capita of capa), and colncdng with these insight sa sti- ‘mately with the Dakar based cODESRIA (Counel forthe Development of Social Science Research in Arc, the preemi- ‘ent Soc science think tank in Africa to lear more about the instiue's research In Lagos, the critical parcipaton ofthe Nigerian public showed the degree 10 which intense local debates could intervene in assumptions about power so often arogated to centers inthe West. Most important, the platforms offered th oppor- ‘unity to confront the limits of any exhibition model that tiesto simply approps- ate the tem “globalization” without rigorous review of what the “global” actualy isin relation to diferent spaces of production, But to answer your question as to whether the platforms have actually stopped would say n, i the sense thatthe individual publication connected «ach project is today being read avidly a an important contribution to each ofthe diferent disciplines we focused on, whether urbanism and architecture, theories of justice, comparative literature, fm, oF postcolonial studies. Hans-Ulrich Obrist "Utopia Station” owes a debt to novelist, poet and Caribbean studies theorist Edouard Glsant’s ideas regarding large-scale extbi- ‘ions and globalization, especially his understanding of the exhibition as archipel- ago—vhich cartes with it the idea ofthe coexistence of several time zones. He believed thatthe exhibition should resist he time format ofthe fly-in yo exi- ‘on industry, in which an exhibition ix switched on and of and where everything is repainted white once the show is dismantled, The exhibition, according €o ssant, shouldn't be consumed in one visit but be an ongoing experience. In fat, ‘he understood the exhibition as research an occasion fora group to work together and progress—not a model for showing materials but for creating acolectve form ofintligence. Thus "Utopia Station” is perma- rently changing, both in its presentation and “content” (goals and reservoir of ideas). The structure will evolve, and different artists will be included, demonstrating that an exhibition is not ‘merely a producto be packaged and shipped of to the next venue. And through tis process, we hope to demonstrate the exhibition's poser to caitique globalization understood as a homoge- nizing force—the exhibition becomes a process of tasformation onthe local level For another example of an altematveexhi- bition time frame, consider the example of ‘The Land, large-scale social colborativeand imerdiscplinary project started in 1998 on 2 plot tha Tiavania purchased in the village of Sanpatong, near Chiang Mai, Thailand. I's a HANS-ULRICH OBRIS’ ‘One can't emphasize enough the importance of the “peripheral” biennials in the '90s, which helped a generation of artists from different cultures become internationally visible. rel kind of laboratory fr sl sustainable development, site where anew model for living is being tested. There ate two working rice fields, monitored by students from the University of Chang Mai and lea village. A slew of contemporary arists have cared out projects Kamin Lerdchipaser bul gardeners hour, ‘Ale van Lieshout developed a toilet system, and Tobias Rehberge, Alc Fram and Kal Holmgvst wodked on housing structures. Arthur Meyer con- structed a system for haresing solar power, PrachyaPhintonga program fr sh farming. Mit Chatinn planted tees to be later made into basket, nd the Danish collective Supertex developed a system for the production of Bogs Foal, Pipp Pereno andthe archi tect Frangois Roche have begun theie | she for cal acy al tat wil fnetion a botechnology-diven hyperplg. The Plug-In Satin uses nature wo produce the interface: wl make use of satelite dotlink, and ancephant will enerate the necessary power. Compose of complex exchanges that have begun amon india all over

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