ACCESSIBILITY TO ART INCREASED EXPONENTIALLY IN THE TWENTIETH CENTURY, PRIMARILY THROUGH THE POWER OF REPRODUCTION AND THE WORK OF MUSEUMS OPEN TO THE GENERAL PUBLIC. the democratization of art is one of the important aspirations of modernity, although in many ways this is still limited to educating from above and the selective standards that entails. but TODAY THIS ENLIGHTENMENT MODEL IS ALREADY BEING THREATENED BY KNOWLEDGE PENETRATING FROM BELOW. THESE CURRENT PROCESSES OPPOSE THE VARIOUS HEGEMONIC MODELS CREATED BY WESTERN MODERNITY. modernity is not a historical period BUT A DISCURSIVE RHETORIC THAT IS A PERSUASIVE DISCOURSE PROMISING PROGRESS, CIVILIZATION AND HAPPINESS. this is how walter mignolo describes modernity, especially with regard to its darker side, which he calls COLONIALITY. for theorists of decoloniality, coloniality is something that still persists today, and in opposition to the processes of decolonization. contemporaneity is our subject - not as a historical period, not as an explicit body of materials, not as a mode of proximity or relevance to the subjects we are talking about, but rather as a CONJUNCTION. contemporaneity means that in the contemporary moment there is a certain number of shared issues and urgencies, a certain critical currency, but perhaps most importantly A PERFORMATIVE ENABLEMENT - a loosening of frames all around us, which means we can move around more freely, employ and deploy a range of theoretical, methodological and performative rhetoric and modes of operation. the mature art system and its market contributed crucially to the fact that a given artwork could become part of history through countless cycles of repetition. and this hegemonic art system, with its museums, theory, and market, makes possible the repetition of artistic concepts over various historical periods. however, what the system assimilates must conform to its standards. so when we speak of a new narrative that would be more suitable to the present and to the global situation, we can only speak of narratives in the plural. while the concept of the plurality of narratives can be connected with the idea of the unfinished nature of the historic avant-gardes, it should, however, be linked first and foremost to the unfinished project of decoloniality. THE PRODUCTION OF LOCAL BODIES OF KNOWLEDGE, WHICH INCLUDE THE GENEALOGIES OF LOCAL AVANT-GARDES, IS A PRECONDITION FOR ESTABLISHING ANY “PLANETARY NEGOTIATIONS” ON AN EQUAL BASIS. the decolonialists oppose the concept of transmodernity to the western concepts of postmodernity and altermodernity, as well as to such notions as alternative modernities, subaltern modernities, and peripheral modernities. in mignolo’s view, ALL THESE CONCEPTS STILL MAINTAIN THE CENTRALITY OF EURO-AMERICAN MODERNITY OR ASSUME ONE MODERNITY OF REFERENCE’ AND PUT THEMSELVES IN SUBORDINATE POSITIONS. PLURI-VERSALITY REQUIRES CONNECTORS, CONNECTORS AMONG PROJECTS MOVING, ADVANCING, UNFOLDING IN THE SAME DIRECTION (DEPARTING FROM THE COLONIAL MATRIX OF POWER), BUT FOLLOWING SINGULAR PATHS EMERGING FROM LOCAL HISTORIES.
Posted on: Mon, 12 Jan 2015 21:32:27 +0000
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