Chère Mr.Roquentin

https://www.moma.org/explore/inside_out/2015/08/05/a-milestone-for-postcolonial-thought-examining-art-and-race-in-florence-and-venice/

https://framerframed.nl/en/blog/symposium-what-is-a-post-colonial-exhibition/

Conference: What is a Post-colonial Exhibition?

The current cultural and political situation in the Netherlands is one that encourages the belief that its postcolonial history is a closed chapter before it has even been written. The reality is that the Netherlands is only now beginning to reflect critically on its colonial past. Art institutions and their strategies of classification, valorization, and display have, only half-heartedly been informed by postcolonial studies, if at all. Many institutions still do not seriously engage with what has often been categorized as ethnographic. Due to recent cuts in arts funding and populist cultural policies, these institutions lack the support to foster dialogues with art produced outside the traditionally defined artistic centers. At the same time, the paradigm of a globalized art impels them to offer serious responses to the legacy of colonialism.

This symposium seeks answers to this challenging situation, presenting a range of institutional practices and scholarly insights to examine a specific aspect of these practices: the exhibition itself and the exhibition strategies that go alongside it. The program starts with a brief history of exhibitions at the Stedelijk Museum in which the issue of (post)coloniality has played a role – some of which were made during colonial times – as well as more recent examples of the museum’s ventures into art outside the “centers.”

Renowned anthropologist Johannes Fabian will talk about his book Time and the Other (1983) and the historic moment in which the timeframe of the modernist West became divided from the timeframe of the “Other.” A subsequent interview will address its topicality for contemporary art exhibitions.

Dutch artist Wendelien Van Oldenborgh will discuss her work, which addresses colonial histories and their legacies in everyday life today. The symposium will also give voice to several institutions that try to incorporate the critical instruments of postcolonialism. Their strategies take into account the recent shifts in history-writing and geopolitical theories, and reflect upon the uneven development of modernity around the globe in order to reconstruct its discordant histories.

In her concluding statement, Irit Rogoff, professor of Visual Cultures at Goldsmiths, University of London, will question the possibilities of periodization of colonialism and address the mobility of the concept itself. Is the postcolonial a model that can be utilized across different cultures? Should the task of the “postcolonial museum” be to think beyond issues of compensation and redress?

The symposium’s main ambition is to tackle key issues facing art institutions now that a new art world cartography has emerged. How do they translate their awareness of new geographies into exhibition policies? What histories are curated and what new narratives constructed? And ultimately, what is a “postcolonial exhibition?”

Speakers and Program

10:00 am Word of Welcome
–Ann Goldstein, Director, Stedelijk Museum

10:10 am Mapping the Field
–Elena Sorokina, art historian and freelance curator: Introduction to exhibiting the postcolonial
–Jelle Bouwhuis, Curator, SMBA: Brief note on the Stedelijk’s global art history
–Johannes Fabian, anthropologist: Introduction to Time and the Other, followed by a public interview

11:30 am Positions 1
–Wendelien van Oldenborgh, artist, Amsterdam
–Chris Dercon, Director, Tate Modern, London
–Kofi Setordji, the Nubuke Foundation, Accra

1:30 pm Lunch Break

2:30 pm Positions 2
–What, How and for Whom (WHW), curatorial collective
–Abdellah Karroum, L’Appartement 22, Rabat, co-curator of Intense Proximity
–Jesús María Carrillo Castillo, head of Cultural Programs, Museo Reina Sofia, Madrid

4:15 pm Tea Break

4:30 pm Wrap Up
–Irit Rogoff, Professor of Visual Culture, Goldsmiths College, London

5:30 pm Closing Remarks and Drinks

Note: Each session will be followed by a Q&A with the audience

미학대계 3 p.360 

미니멀 아트가 추상표현주의와의 결별을 시도한 사실이나 개념미술이 팝 아트 그리고 미니멀 아트와 대립적 입장을 취한 사실이 갖는 미술사적 의미를 실증주의적 설명 방식은 배제하고 있다. 이와 같은 취약점은 비판적 공공미술을 지향하는 미술사적 이해와 비교해 보면 더욱 선명히 부각된다.

 비판적 공공미술이라는 개념은 보디츠코가 제안. 역사적 압아가르드와 그 이후의 구도 속에서 파악. 공공장소속 미술이라 불리는 공공미술에 비판적 태도. 참여적 태도는 실증과 다르게 동시대에 요청되는 바람직한 공공미술의 모델을 압아가르드 미술 전통 속에서 찾음.

그가 재구성하는 비판적 공공미술의 계보는 

역사적 아방가르드(미래주의, 다다, 초현실주의, 구성주의, 수프레마티즘), 

사회적 참여 아방가르드(브레히트, 타틀린, 리시츠키, 베르토프 등), 

비판적 네오 아방가르드(다니엘 뷔렌, 한스 하케, 쉬포르 쉬르파스의 작가들 등),

혁명 세력으로서의 상황주의자들이 보여 준 문화적 아방가르드(앙리 르페브르, 국제 상황주의, 기 드보르 등), 그리고 마지막으로

현재의 비판적 공공미술의 전범을 이루는 새로운 아방가르드(바바라 클거, 다라 번바움, 알프레도 자르, 드니스 애담스, 댄 그러험 등)으로 구성된다.

그러나 보디즈코 제안하는 비판적 공공미술은 그 아방가르드 전통에 근거한 미술사적 정당화의 시도에도 불구 해결어려운 과제 지님. 이는 당대 미술과 문화적 제도 사이 설정된 모호한 관계들로서 아방가르드 전통의 제도 비판을 통해서는 미술이 처한 동시대적 상황에서 기인하는 문제들. 다시 말해 행정기관과 같은 제도로부터 전시 공간과 제작비 받으면서 그 제도 비판해야 하는 비판적 공공미술의 실천 전략들이 아방가르드 전통 속에서 수용될 수 없는 한계~

화해적 양상이라 할만한 새로운 관계 설정은 양립 불가능한 두 절대적 요청 사이의 애매모호한 연합에 기인.

• Tom Ardill, ‘Between God, Art, and Mammon: Religious Painting as Public Spectacle in Britain, c. 1800-1850’ (This thesis jointly supervised with Dr Martin Myrone of Tate Britain, under the aegis of the Collaborative Doctoral Awards scheme sponsored by the Arts and Humanities Research Council)
• John Chu, ‘The Fortunes of Fancy Painting in Eighteenth-Century England’ (with Prof. Katie Scott) (2014)
• Clare Backhouse, ‘Seventeenth-Century Print and Dress: The Ballads of the Samuel Pepys Collection’ (2013)
• Andrey Shabanov, ‘The Peredvizhniki, or Wanderers: The Social History of the Artists’ Movement in Late Nineteenth-Century Russia’ (2013)
• Kate Grandjouan, ‘Close Encounters: French Identities in English Graphic Satire c.1730-1790’ (2010)
• Philippa Simpson, ‘Exposing the British School: The Rise of Old Master Exhibition Culture in London c.1793-1825’ (2009)