Art, Globalisation and the Exhibition Form: What Is the Case, What Is the Challenge?

Research output: Contribution to journalArticlepeer-review

Abstract / Description of output

Beginning with a critique of Thierry de Duve's return to Kantian aesthetics in order to rescue art from a commodified culture exemplified by the art biennial, this article argues that the globalised proliferation of biennials is a symptom of a broader problem: the hegemony of the exhibition form in the public's encounter with art. The analysis focuses on the concept of globalisation and what it hides from view; participatory art and the post-documentary artwork, with video essay as an example, as two radical tendencies associated with experiential, co-operative knowledge generated in the social field; and the rhetoric of specific exhibitions - `Documenta XI' (2002) and `Altermodern' (2009) - addressing globalisation. The continual reproduction of the exhibition form performs an important role in post-Fordism and ensures a transcription of art as immaterial, affective labour, marginalising the more complex forms of labour that produce the artwork when globalisation becomes the latter's production site.
Original languageEnglish
Pages (from-to)305-319
Number of pages15
JournalThird Text
Volume26
Issue number3
Early online date8 Jun 2012
DOIs
Publication statusPublished - 2012

Keywords / Materials (for Non-textual outputs)

  • globalisation
  • politics of knowledge
  • participatory art
  • video essay
  • Thierry de Duve
  • Kantian aesthetics
  • Tanja Ostojić
  • Oda Projesi
  • Documenta
  • Altermodern

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