Publication: En el umbral del Arte global: metáfora, complejidad y conficto
Authors
Hernández Navarro, Miguel Ángel
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Publisher
Murcia: Universidad de Murcia, Editum
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DOI
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info:eu-repo/semantics/article
Description
Abstract
Este texto problematiza el discurso de la globalización en el arte reciente. Frente a la idea de un arte híbrido, mestizo e intercultural,
se observa la presencia de un conficto irresoluble causante de que muchas realidades no puedan ser representadas correctamente
en el sistema global del arte. El arte español contemporáneo es un ejemplo de ese tipo de prácticas que no caben en los sistemas de
representación hegemónicos. Tras analizar la obra de Santiago Sierra y constatar que el arte español contemporáneo se encuentra
en el ámbito de la subalternidad, se examina la necesidad de buscar un paradigma de la complejidad capaz de acoger realidades no
estandarizadas. La obra de Gonzalo Ballester y la de Ursula Biemann sirven de ejemplo para este nuevo paradigma elevado sobre el
uso de la metáfora de la “contrageografía” y la “contracronología”.
Global art is based upon the presence of an insoluble, global confict in space and time, a type of blind spot that shatters all representations within symbolic discourse. Some of these invisible or only partially represented realities existing outside the system, showing that global art, in contrast to discourse on global art, is counter-geographical and counter-chronological. I begin by treating the example of contemporary Spanish art and its lack of presence in the global art world, focusing in the work of Santiago Sierra. After that, I go on show that the new geographies of art (like the new temporalities) are incapable of representation, at least not within the systems of representation originating in visual thought. Nevertheless, certain contemporary artistic practices utilize this inability to represent complexity as their starting point; the work of Gonzalo Ballester and Ursula Biemann serves as example of this. Lastly, I shall be considering the diffculties faced by the art system in general, and museums as a privileged tool, to incorporate these complex practices.
Global art is based upon the presence of an insoluble, global confict in space and time, a type of blind spot that shatters all representations within symbolic discourse. Some of these invisible or only partially represented realities existing outside the system, showing that global art, in contrast to discourse on global art, is counter-geographical and counter-chronological. I begin by treating the example of contemporary Spanish art and its lack of presence in the global art world, focusing in the work of Santiago Sierra. After that, I go on show that the new geographies of art (like the new temporalities) are incapable of representation, at least not within the systems of representation originating in visual thought. Nevertheless, certain contemporary artistic practices utilize this inability to represent complexity as their starting point; the work of Gonzalo Ballester and Ursula Biemann serves as example of this. Lastly, I shall be considering the diffculties faced by the art system in general, and museums as a privileged tool, to incorporate these complex practices.
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