The Third Guanzhou Triennial, which will run from September 6th to November 16 2008, has proposed to say ‘Farewell to Post-Colonialism’. This proposition denotes the theoretical basis from which the curatorial team and participating artists, intellectuals, critics and scholars intend to explore their critical vision in revising post-colonialism. Driving this undertaking is an observation that post-colonialism has become defunct as a critical tool in spite of its significance and incentive as an intellectual tradition that has been crucial in criticizing political conditions. Argued is that, “in the real world, the political conditions criticised by post-colonialism have not receded, but in many ways are even further entrenched under the machinery of globalisation.” As such, “as a leading discourse for art curatorial practice and criticism, post-colonialism is showing its limitations in being increasingly institutionalized as an ideological concept. Not only is it losing its edge as a critical tool, it has generated restrictions that hinder the emergence of artistic creativity and fresh theoretical interface.”
There is no doubt that the ever changing social circumstances of contemporary society, particularly of the post-colonial worlds, require updated critical tools. Required is a need for sharp and reflective critical consciousness necessary to dealing with oppressive regimes and the machinery of capitalist globalisation that affect lives of people in dehumanizing ways. Yet critical consciousness at the level of theoretical articulation is not enough without practical action, without pragmatic ends. In fact, artistic theory without practical ends is as useless as artistic productions that are self-referential, self-serving in their obsession with high theory, in their circulation within elitist institutions mainly accessible to and accessed by schooled classes.
I therefore ask, what is the role of visual arts in society? How can visual arts affect people’s lives in ways that create hope? What economies and agencies do visual arts have in dealing with the rapid pace of changing social, political and economical conditions in societies under the stress of inter-nationalisms and trans-nationalisms? Other poignant questions: what is the point of initiatives or events such as biennales and triennials to the meaning of people’s life in their everyday social practices? Is the role and impact of creative arts and intellectual thoughts effective enough to contribute practical changes for the betterment of peoples’ lives in society, and how so or in what ways? Are museums and galleries effective sites for such practical changes for the betterment of peoples’ lives, peoples who are not privileged to bourgeoisie or affluent lifestyle around which contemporary art revolves?
25 comments:
hi thembi!!!
i totally agree with what you wrote in blog, but my question is, is it enough for writing a dissertation? i mean without talking about theories or theoretical framework, i am not sure if people're going to take you seriously in academia-as you know, things outside the West become particulars or description. after thinking for a long time, i found it's almost difficult to use western theories into korean case and that's why i began to read what the undongkwon (activists in korean) read during the 1970s and 1980s. i am not sure if it is going to be another description or explanations on particular case but at least the fact that korean case doesnt fit in master narratives/theories might be a challenge to them...
hyejong
Its an interesting dialogue…
I have clear views on this subject being a child of post war of a Jamaican father ( colonial) and German (mother). Growing up in Jamaica under the British colonial rule and then when Jamaica became Independent. I have lived/seen clearly what has happened, and what is very interesting is that it was the 2nd world war that brought down the concept of colonialism, then it was a capitalist/ democratic vis a communist world. The capitalist/ democratic part of the world turned its back on the colonies as it developed its agenda, and the Communist world continued with it own concept of colonization... It is since the end of communism that the current template for globalization took hold. I feel very strongly about the evils of globalization/ plunder and observe the greed for upping the annual GDP of major consuming societies being the driving factor.
Art which humanizes man and brings out a sense of culture and and creative intellectual mind is in the way of this attitude. It is what makes a civilized people, its about thought, and taking the time to make the right decisions after some dissection. However under globalization this is dangerous. People will say no if they have time to think....The erosion of diverse culture is damaging to the essence of man, and his self respect and critical and abstract thinking, and that is what is happening. Like animals it is survival of the fittest, and one major culture is taking over. The culture of the USA. However when the fittest becomes so superior, and without enemies, the natural order of bio diversity which which rules the universe, will be out of balance, and this imbalance will create the end.
That is why it is important for George Osodi's work " Oil Rich Niger Delta" be seen. It is being acquired some powerful people, which I am happy about as powerful people move in powerful circles, and his work pricks their conscience. They cannot say this not happening. It also does not lecture one, you see and you can make up your own mind.
To this end I had some wonderful news last week. Martin Marguiles Collection in Miami who have just bought the installation will open his show at the Warehouse in November with George's installation being the central pice, that all can see when they enter the space. He is also using an image of George's to be the image of the collection program. This will be seen by the most powerful Americans who are invited to event staged there. Including the collectors breakfast on the opening of Miami Art Basle. It is important that these people see this work, and the more the conscience is pricked the more the world is likely slowly to change it attitude and preserve diversity in all things, and slowly heal what appears to be irreversible.
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Ziggi Golding
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However the blog by Thembi has roused my interest in this dialogue. Who were the colonised. Who were the colonisers. I see,on one hand, the colonised making statements on their life condition , sometimes with exaggeration to wring out the most sympathy for his poor self. On the other, the coloniser makes pathetic farce of apology, indeed,even trying hard to claim that it was not so bad after all. A case of self pity and denial. I am of the opinion it is also disturbing that a group of intellectuals to devise a framework from which artists are required to produce, in this case under the topic of post colonialism. Why not neo colonialism since it is the real threat to emerging nations.Colonialism will always occupy the minds of those who suffered it because they suffer the after effects but it is a thing to be forgotten and swept under the carpet by victimiser as there is no capital gains in dwelling over it . It reveals guilt which is not a natural bedfellow of Marmon therefore the coloniser actually misses the lost gains. It also follows that the practitioners of post colonial artistic discourse have of necessity , larger ranks among the formerly colonised. Africa Australia and America come to mind, Where does this put European praxis.
Perhaps here is a case of putting the cart before the donkey because it seems the outcome of art production is pre written by theoraticians when it should be the other way round. For this reason perhaps, its why there have not been solid art movements in the late 20th century compared to the upheavals of the late 19th and early 20th.Its hard to believe that Cezane Picasso Braque Malevich Rodin Brancusi etc were so engaged with the work of theoraticians of their time as to waive their exploration of the mediums of production, be it in sculpture or painting. Curatorial practice has moved from one of custodianship and analysis of works AFTER the act of creation to one of instigator i.e prime mover of creativity which surely stiffles adventure and deviant practice, the very core tenets of Art.It is possible to allow ideologues to direct thoughts and actions of creative people resulting in such wonders as Ancient Egypt the Soviet Union China and the Third Reich. From such practices , the world has inherited wonders like the Pyramids and the Terracotta Army, during such times any free thinkers are frowned upon and the ideologues-propagandists have to impose dogma if they are to keep the reigns of power and all creative minds are employed in the glorification of Power.
Thembinkosi suggests replacing post colonial discourse with removal of oppressive systems, an idea which will only reinforce the power of the ideologue enabling them to delegate tasks which will lead to desired outcomes that may not necessarily be tailored benefit the producer , in this case the artist. What texts will the activist artist refer to for inspiration. Perhaps Machiaveli, Marx, Mao or Kwame Nkurumah. For an artist to influence events in real time, they require some form of capital if only to distribute ideas or fund and this today is easier when artist receive patronage from Power. The situation of the Renaisence shows this bind clearly because Michaelangelo nor Da Vinci could not have possibly undertaken grand projects without papal favour but they paid heavily to satisfy the pope``s wishes. Therefore , the artist is like everyone else, they need sustainance to function and this comes about through aliance, for better or worse, with capital bringing with it the attendant conditions. Perhaps the only liberation attainable is ideological autonomy which will then allow artistic production ahead of theory, ideology and curation as opposed to Art History created, manipulated and orchestrated and Ismed before the Art Act.
Tapfuma (moses) Gutsa
Thembi
You've said it. My question is how do we reverse the mental state of those that are colonised? Walking in africa today you see that they have left but our childrens children will continue to be surrounded by elements that affect how they speak and how they dress. It is up to the arts to reinstil those lost energies back into soceity. What we make must show where we are from as Africans and where we are. The generations to come will have problems with things like 'Lobola' and respect for the elders. We are still very western. How will we ever recover,will we ever recover?
I had to read for several times the post of Thembinkosi in oder to get the sense of what he is trying to say. I am left with some difficulties and many questions for the fact that, Thembinkosi is taking contemporary art to be a subject rather than an object. And then he talks about changes in the society, and take this to be caused by contemporary art or post-colonialism.
As for me I don´t see how we kann talk about art without taking ourself into consideration. If the word consciousness should apply to art at all, then it must come first from the artist who is the creator. Not only during the time of creating, The artist has to accompany his work, stand behind and before his work every time. It is a big mistake trying to blame art. Art is always what human beings try to make out of it. If post-colonialism is today not able to respond criticaly to certain attitudes we rather want to erase from our environement, then the fault is to be swurch for by the artist. The artist steped long time ago together with his création into the trap of capitalism, and there he has to forget what we are calling CONSCIOUSNESS.
You mentioned Galleries and museums, who in fact are no longer doing their duty. The most so called good Galleries are today places where profit is much important than the art. Does this type of art fit into my programm? do I have a collector for this and that? You see the discoursing is around money. The word art and its QUALITY is irrelevant. The museums too are not better in this sense. They are rather apt for sensations than working to help art and the artist developped and satisfy the needs of society. This tendancy we observe all over the world. Good art exshibitions are those where the visitors have to spent the night in front of the musseum entrance in oder to be able to get into the show the next day. This has to alarm the world of the artist, then the same result could be realised with many other products or events than with the art.
Society and all its components are to be blamed, for the dilemna in which we are now. And much more our blame should be for the artists, who have already, or are prepared to sell their souls, instead of conserving their richness for humanbeing. CONSCIOUSNESS is a big word. But before the artist make use of it, he has to know also the price he has to pay for it. And then, only then we can say< FARWELL TO POST-COLONIALISM >.
EL LOKO
Does it matter or not whether we say “farewell to post colonialism”? In other words, who would really notice, or not? Perhaps it is that post colonial theory has not reached the day-to-day lives of individuals? But perhaps it has but we have failed to recognize it, name it, diarize it and “discourse it.” I would like to believe that post colonialism has not outlived its value, as it has barely even begun to be practiced in way that is tangible beyond the academy – except perhaps in discrete places and economies - which is in part Thembinkosi’s point. Is post-colonialism an action? Does it have agency? Did postmodernism? Or conceptualism? Or art labeled thusly? Where is the agency of activist art? If we ascribe agency to theories or objects then we release ourselves from the very actions we are asking the inanimate to take. Post colonialism need not be discarded but rather can provide platform and motivations for meaningful human exchanges and interchanges. The role of the visual arts in society is the one we allow it to have, endow it with, and believe it to have. We all play a role here, whether we are artists or not.
…I will quote your questions as a guide for my exchange:
"I therefore ask, what is the role of visual arts in society? How can visual arts affect people's lives in ways that create hope? What economies and agencies do visual arts have in dealing with the rapid pace of changing social, political and economical conditions in societies under the stress of inter-nationalisms and trans-nationalisms?"
I can only speak from my ontological position; and say that although it is understandable to critique the societal impact of art, it must be said that art can only (with exceptions of course i.e. Hans Haake) exists within its field. That is, for art or an artist to have 'real'/political effects – then that artist must participate in the political sphere in order to bring about the desired political effects. Put in another way, the effects of what we do outside a field will remain inconsequential so long as those actions are carried out outside the field. Art as object and institution have always been criticized as things that exist outside the individual, but as Andrea Fraser purports, the problem is that we do not realize that the institution is inside of us, and we cannot get outside of ourselves. And this of course is not a bad thing, instead of trying to escape or be against 'it' – 'it's a question of what kind of institution we are, what kind of values we institutionalize, what forms of practice we reward, and what kind of rewards we aspire to.' I do agree with you, yes there are a lot of theories, some more critical than others, and a lot of useful things being said and written by artists and their counter parts, but all this does not amount to much. And this is a dilemma that I have always faced – of being a painter, 'trained' in the western tradition (educated in western aesthetics and some philosophy (not much I must add) yet I have found it extremely difficult to communicate (through my work) with those I intended to communicate with in the first place (my fellow countrymen). Somewhere there appeared a disconnect between all these theories, visual representation (my work) and the people in Botswana. I must add that this has been a symptom throughout the arts (as you already are aware of); that there is an incredible amount being done by artists and theorists in Marxist theory, psychoanalysis, colonial, post-colonial etc. yet all of this never registers to Joe Bloggs. All this theory and intellect goes unnoticed by the people who all this is trying to reach/understand. And it is at this point that I must bring to the fore, by way of paraphrasing Chantal Mouffe, that it seems as though all these discourses have been placed in a 'permanent dualism between a 'logic of necessity', producing ever fewer effects in terms of political practice, and a 'logic of contingency' which, by not determining its specificity, was incapable of theorizing itself.' And even in the event of being able to theorize itself successfully, it will inevitably fall back into that 'logic of necessity.'
You also asked, to what extent could art affect people's lives in a way that creates hope? I am unsure about what exactly this refers to. Yet I am tempted to say that art has rarely inspired any kind of hope. Truly, perhaps due to my lack of knowledge, I cannot say I can recall any period where art created hope; yes there were movements – '68 to be sure, where art was somehow involved in a revolution, but even then, the negation of art (aesthetics/theory/history) and any kind of iconoclasticism was soaked up by the institution, in turn, became part not only of the aesthetic of that era but became attestment of the artist as avant-garde, artist as genius. Even now this keeps happening – i.e. the latest Hirst auction, a move that he called radical and 'punk', yet was anything but. Although I am an idealist and would love more than anything for art to become a beacon, a source of hope, unity, and awakening of consciousness of the 'masses', I am skeptical that at this stage in history, such things cannot be achieved in the field. One has to step outside the field.
It is people like Alfredo Jaar, and his practice that artists should aspire to. And what about the writers/historians? Yes s/he is of capital importance yet there are things that are of concern to me. The historian has to realize and maintain that all these (fact/event/meaning) are socially or more precisely – discursively constructed, since they can only exist in language (the capacity to symbolize). Hence what is central to the historians practice is interpretation vis-à-vis narrativization. And with interpretation comes the selective tradition, whence the historian selects what s/he deems the significant past/fact/artifact. Which are in turn interpreted according to the historian's project/subjectivity. For this reason, historical facts, as theorists purport, are no given, but are constituted by the historian - 'by abstraction and as though under the threat of an infinite regress.' The historian, according to Levi-Strauss, must always be conscious that history is never a history of; it is always a history for. Which is why s/he should try at all times to occupy a space between figuration and historicism; that is, a position which Barthes labeled 'intransitive writing': where the historian is conscious about dialectics, discursive tactics, and rhetoric vis-à-vis interpretation and the narrative. In short, s/he should acknowledge that 'perception is determined by language and that the truthfulness of a discourse is relative to the language in which it is written.'
But all this cant be done without consideration of what I once heard Spivak assert. Which is, one of the most important things, for intellectuals or westerners interested in assisting/helping the outsider/subaltern, is that he or she has to learn from the outsider/subaltern. This intellect/westerner must learn how to help the outsider on the terms, conditions and knowledge of and from the outsider/subaltern. And I absolutely agree with this; especially with regards to your question of how can something be done taking into account the rapid changes that are occurring presently. Which then brings me to consider notions of globalization, and with that comes universalism.
Before I connect all this to the art of the other – or more importantly – I wanted to clarify a few terms as I understand them. The first being universality. For something to be universal, in terms of ethics, all human beings are morally equal – a person morally ought to do something implies that anyone in relevantly similar circumstances ought to do it.' How then does the universal operate at the same time with autonomy, within a hegemonic structure/project? Hegemony as you know, has to do with the manufacture of consent; by universalizing and naturalizing its interests and logic, the moneyed-ruling-capitalist-elite secure hegemony. With hegemony then exists a denial of free will. Free will exists outside the denial of real (material) reason and logic of one's (material) context; this is a denial of material facts that directly correspond and shape one's
external material world. Hence, free will is the readily available faculty possessed to enable one to control one's volitions and compulsions; it is a learnt facility that must be voluntary, uncoerced and intentional. In sum it is totally dependent upon one's awareness and full depth of knowledge of one's desires, incentives, actions and consequences of those actions. Having considered psychoanalysis, and cultural theories and criticism, this awareness is nearly absent in contemporary society. However I have now digressed from the main issue; universality.
In considering the cultural implications of universality as a condition of the rejection of the concept/term; it should also be reiterated, as Butler asserts, that the inevitable and perhaps most important function of universality is that through its conventional and exclusionary norms, unconventional formulations are produced to expose the limited and exclusionary features of universalism. Butler goes on to posit that in Gilroy's rejection of universalism and concepts of modernity; he argues that 'slavery itself is a modernizing force in that it leads both master and servant first to self-consciousness and then to disillusion, forcing both to confront the unhappy realization that the true, the good, and the beautiful do not have a shared origin.' It is this recognition that the other can claim universalism and reappropriate its meaning and cultural value.
Yet in doing so, it must be asked: what are the consequences when 'a disenfranchised group proceeds to claim universality, to claim that they ought properly to be included within its purview?' Would this then not be an internalization of other as self; that is the internalization of the formulations of a universal self or other universal that is not in sync with the values/norms of the disenfranchised? Will this not just reveal that the logic and formulations of universality as understood by the self and other – has been naturalized so as to appear as the cultural norm and logic of how to consider it? In sum, the concept of universality is useful in that it makes obvious the notion that the universal is fundamentally discursively constructed – as much as it requires cultural translation, it cannot escape the cultural specificities of one who claims universality. That is, just as hegemony operates via manufactured consent, universality needs a consensus of logic and values.
Sorry I wrote too much…
AN OPEN LETTER Concerning Censorship at the 3RD Guangzhou Triennale
We are troubled that a unilateral decision has been taken to censor our work without any attempt at dialogue or even without informing us about how, by whom or why such a decision was made. This censorship is further egregious in that museum visitors and viewers of our (curtailed) work are not being informed that any such censorship is in operation. In true Kafkaesque fashion, censorship rears its cowardly head while hiding its traces and its train of command.
During the private opening and the first day of the public opening we––and a research curator––made repeated requests through an assistant for a meeting or dialog with the museum director (whom we indirectly learned was the one making this decision). These were not heeded. At no point did the Director indicate any interest in trying to discuss the matter with the research curator or with us. However, the video was allowed to be shown during the opening afternoon, and has been turned off again. In retrospect, this afternoon of projection appears to be a calculated act to temporarily appease us.
At no point in the process of vetting and finally commissioning the project did any of the organizers indicate that there might be any issues or potential issues with our project, even though we had clearly stated our intention of showing appropriated pornography. To quote our catalogue statement, “Inside, the Bed–Inn is haunted by projections of bodies engaged in sex acts, appropriated from a mix of footage––from ... 1960’s ‘underground’ films to contemporary internet porn. One manifestation of the ‘sexual revolution,’ pornography was seen by its advocates as a utopian civil right, alongside free love and free speech.... Here, in the Bed-Inn, ... this space of virtual activity awaits the insertion of the actual bodies of audience members.” That this ‘sexual revolution’ is associated predominantly with the West (though feminism and women’s rights are manifested globally) provides further impetus for examining its legacy from the vantage of a rapidly changing China.
Our installation, admittedly, is provocative, but we wanted to engage with the exhibition’s contested theme and title: Farewell to Postcolonialism. We have taken the subject seriously, especially given our histories that we are both from previously colonized countries that even now grapple with the throes of post- and neo-colonialism.
Our belief that histories and geographical locations literally mark the human body impelled us to create a work that examines the body as marked by history and as carrier of infectious ideas and contagious actions. The video component consists of the kind of footage that has been multiply received: celebrated as liberatory, as spiritual even, privately consumed and/or publicly condemned. Our point is precisely that such material is contextualized by its and the body’s relationship to power, and in this case is further inflected by its historical relationship to the 1960s’ liberation struggles of the individual and collective body.
Our installation title, 2008 Springtimes for John and Yoko: the Bed-Inn, references both the remarkable film, 79 Springtimes of Ho Chi Minh, by Cuban revolutionary filmmaker Santiago Alvarez, and John Lennon and Yoko Ono’s legendary “Bed-In” protests against the Vietnam War. As discourses against censorship, authoritarianism and abuses of power, they illustrate that iconic period of world-wide optimistic political foment, popular resistance and radical politics that has since come to represent a lost time of possibilities. Our awareness of how differently such discourses have played out ideologically and materially in China and in the USA are also what inform this installation.
We should not have been surprised, but it is nevertheless ironic that a work ruminating on historical memory has been switched off through an act of enforced amnesia. This act removes the viewers’ choice, not least by removing the viewers’ knowledge of a choice to be made. The video is projected behind curtains; it would have been simple to provide a warning sign in front of the curtains indicating the video’s subject matter, allowing the viewer their own choice on whether or not to proceed.
Also ironically, our work is situated within the exhibition and catalogue section, “Free Radicals.” Not so free, presumably. The curatorial statement draws attention to the “‘political correctness at large’ that is the result of the power play of multiculturalism, identity politics and post-colonial discourse.” Yet here is an example of an artwork engaging those same discourses that is shut down by a far more insidious form of “political correctness”––one enacted by an autocratic institution that professes its liberal leanings. What “tyranny of the Other” (again from the curatorial statement) do we need to contend with when the institution shuts down a space of difference, thereby barring the mere entrance of the Other?
We don’t want to form knee-jerk accusations against “authoritarian regimes,” since we are well aware that such acts of censorship occur in so-called “democracies,” where the tender sensibilities of citizens are paternalistically protected. In the case here, Wang Huangsheng, the museum director, states in the exhibition catalogue that, “It is our sincere hope that your visual perceptions can get sharpened and imported by thinking, and your thinking can be further powered in your enquiring eyes.” What sincere hope can there be when blinders prevent vision and the possibilities for thinking are shut down? While we understand the need for local considerations, especially given that regionally the Guangdong Museum is known to be culturally open, we are dismayed that such openness has not extended to any direct communication with us.
We call on the museum to reinstate the installation in its full, intended form. More than that, we wish to open a dialogue with the museum, the curators and other artists about how these questions might be, if not resolved, at least addressed. As artists, we expect to be part of decision-making processes that profoundly intervene with our works’ relationship to the audience, especially in exhibitions such as this that profess to develop new forms of cultural and social engagement.
Allan deSouza and Yong Soon Min, September 2008.
Allan deSouza
Assistant Professor, New Genres
San Francisco Art Institute
800 Chestnut St
SF CA 94133
adesouza@sfai.edu
I am always amused why some artists from a certain part of the globe- you can guess - would every time find it convenient to support their postulations with anatomical features of Man arranged in erotic layers-which to me is a de facto form of pornography and they would expect the public to swallow this every time.
While I agree there should be artistic freedom...the so-called FREE RADICALS at this event...as one may not be sermonizing morals, at times these artistic liberties are taken too far
(Yes, I have not seen the video work...but from the description by the artist....it might not be palatable for the consuming public...another cow in formaldehyde?? iconised as contemporary art? in the making?
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