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 language | English |
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Pages (from-to) | 305-319 |
Number of pages | 15 |
Journal | Third Text |
Volume | 26 |
Issue number | 3 |
Early online date | 8 Jun 2012 |
DOIs | |
Publication status | Published - 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