Period 2017-2019: Critical Cartography of Art and Visuality in The Global Age: New Methodologies, Concepts, and Analytic Scopes – CCAV / Art, Part III
Director: Anna Maria Guasch
Ministerio de Economía y Competitividad (MINECO)
Project I+D MICINN: HAR2013-43122P
- Martí Peran, Universitat de Barcelona, Spain
- Juan Vicente Aliaga, Universitat Politècnica de València, Spain
- Néstor García Canclini, Distinguished professor at the Universidad Autónoma Metropolitana de México and Researcher Emeritus of the National System of Researchers in Mexico
- Giuliana Bruno, Harvard University, Visual and Environmental Studies, Cambridge, MA, USA
- Martin Grossmann, Universidad de Sao Paulo, Brasil. Director, Institute of Advanced Studies USP. Director of the Cultural Centre Sao Paulo, from August 2006 to May, 2010
- Joaquín Barriendos, Columbia University, Department of Latin American and Iberian Cultures, New York, USA
- Marquard Smith, Westminster University of London, UK and Editor in Chief of the Journal of Visual Culture
- Angela Dimitrakaki, University of Edinburgh, Gender and Contemporary Art, Edinburgh, UK
Starting from the basis that globalization is presented as the new kind of contemporary art that requires new narratives when writing a history of art under the rotation of the global, the project Critical Cartography of Art and Visuality in the global age CCAV / ART III aims to address the complexity of the new status art and visually over recent decades from a three fold approach: 1) the deployment of a set of innovative working methods :the passage of the World art Studies at the Global art Studies designed to analyze the current state of new art history; 2) the critical study of artistic practices or, rather, of the twists (geographical rotation, ecological twist, ethnographic turn, turn of translation, dialogic turn, turn of memory and history, documentary twist, cosmopolitan turn) emerging from the new maps of the global; 3) the approach of new theoretical concepts derived from such practices (postcolonial, intercultural and global discourse).
In turn, the overall objectives of the project will be organized through the development of the following strategies:
1. Conduct a field study to collect a sampling of creative projects made by the artists of the new global mapping -artists Latin American, African, Asian, American, European and Spanish- based on the following sections: a) nationalism; b) multiculturalism c) new internationalism d) postcolonial discourse e) the notion of living on the edges f) status of the diasporic artist in metropolises g) periphery and central h) globalism i) new ethnicities in the post-national world j) intercultural or shared universality; k) cosmopolitanism. New relationships between the global and the local from the conversation and translation; l) deterritorialisation in the context of the global economy; ll) postcolonial / colonial theory; m) institutional critique of third generation.
2. Frame the proposal in a cultural history and identity as a way to expand the territory of art to the field of culture. This cultural history constantly will transit between Art History and Visual Studies and Cultural Rights.
3. Analyze a new prototype of the artist as a “inhabitant of the global world”, interested in social discourse-not class but territories. An artist not so much image creator but researcher them that collects, creates, presents information primarily to expose and analyze aspects censured, humiliated, violated the current world: democracy, justice, otherness, migration, uprooting diaspora.
4. Work on the design of a new model of interdisciplinary discourse, from a methodological point of view, art historians, film theorists, cultural geographers, anthropologists, sociologists, philosophers and other academic groups that focus their interest in the global art.
Theses strategies will take account of the monographic work lines develop by the IP and by members of the research team: Line 1: The Turns of the Global System of Art; Line 2: The other beyond Muliculturalism. Art, Visuality, Interculturalism, Cosmpolitanismo; Line 3: Spaces of experience. Artistic practices and machinery for policy and relations between theory and curating in the field of global imagination; Line 4: Contemporary Art, Multiculturalism and gender positions.
Globalization, Multiculturality, Interculturality, Transculturality, Geopolitics, Cosmopolitanism, Locality, Public Space, Feminism.
Banner Image Courtesy of: Josep María Martin
KATUL Association, demonstration with family and friends of the inhabitants of the ‘patera’ flat in Lavapies, Kayar, Senegal