Claim OwnershipThe Global Contemporary. Art Worlds After 1989
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© ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe
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GAM – Global Art and the Museum was initiated by Peter Weibel and Hans Belting in 2006 at ZKM | Center for Art and Media Karlsruhe. The project represents a first attempt at documenting the contested boundaries of today’s art world; its aim is to spark a debate on how the globalization process changes the art scene and to undertake a critical review of the development 20 years after its onset.
Globalization is the most important phenomenon in the history of recent art. Biennials and landmark exhibitions initiated the global turn in the art scene when the so-called New World Order removed Cold War restrictions and not only introduced international free trade with all its implications, but also shifted the attention from a bi-polar political conflict to new ideas of cosmopolitanism or multiculturalism after 1989.
In many countries contemporary art has since become an economic project including huge cultural districts with museums and art fairs. But it has also become a sociopolitical endeavor powered by – often diverging – ideologies of identity, self-determination and overall social change. Especially spectacular has been the rise of a new type of art museum, the MoCA, which promotes contemporary art without borders and without history. Collectors’ and corporate museums are a result of the new clientele within the art market, which, today, extends to 58 countries. Whereas, with the new geography of auction houses, the art trade acts on a global scale, art museums, by contrast, operate within a national or urban framework in which they encounter the most diverse audiences. While art collecting has become en vogue on an unprecedented scale, it often lacks a common notion of art. Contemporary art also invades former ethnographic museums, which are forced to remap their areas of collecting. As yet, the novelty of the situation defies any safe categories. Under these circumstances, GAM is presently building up a network that will help to obtain otherwise rarely available information and to win partners who represent the art scene worldwide.
Globalization is the most important phenomenon in the history of recent art. Biennials and landmark exhibitions initiated the global turn in the art scene when the so-called New World Order removed Cold War restrictions and not only introduced international free trade with all its implications, but also shifted the attention from a bi-polar political conflict to new ideas of cosmopolitanism or multiculturalism after 1989.
In many countries contemporary art has since become an economic project including huge cultural districts with museums and art fairs. But it has also become a sociopolitical endeavor powered by – often diverging – ideologies of identity, self-determination and overall social change. Especially spectacular has been the rise of a new type of art museum, the MoCA, which promotes contemporary art without borders and without history. Collectors’ and corporate museums are a result of the new clientele within the art market, which, today, extends to 58 countries. Whereas, with the new geography of auction houses, the art trade acts on a global scale, art museums, by contrast, operate within a national or urban framework in which they encounter the most diverse audiences. While art collecting has become en vogue on an unprecedented scale, it often lacks a common notion of art. Contemporary art also invades former ethnographic museums, which are forced to remap their areas of collecting. As yet, the novelty of the situation defies any safe categories. Under these circumstances, GAM is presently building up a network that will help to obtain otherwise rarely available information and to win partners who represent the art scene worldwide.
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Comment by curational advisor Carol Lu
Comment by N´Goné Fall
ReleasedFeb 28, 2011
Kommentar der kuratorischen Beraterin der Ausstellung „The Global Contemporary. Kunstwelten nach 1989“ N’Goné Fall, Interview (April 2010)
Die Kunstwelt nicht nur durch die Brille des eigenen kulturellen Hintergrunds zu sehen – das ist das Anliegen von N´Goné Fall. Die kuratorische Beraterin der Ausstellung „The Global Contemporary. Kunstwelten nach 1989“ stand bei der Auswahl der künstlerischen Arbeiten zum umfassenden Thema der Kunst in Zeiten der Globalisierung zur Seite. „Es ist das erklärte Ziel der Ausstellung“, so N´Goné Fall, „eine Plattform für die unterschiedlichen Sichtweisen der Welt anzubieten.“ Die aus dem Senegal stammende Kuratorin für zeitgenössische Kunst arbeitet auch als Architektin.
Patrick D. Flores is Professor of Art History, Theory, and Criticism at the University of the Philippines at Diliman, and is the Curator of the University of the Philippines Vargas Museum and Adjunct Curator of the National Art Galleries of the Philippines and Singapore. A recognized scholar in the fields of Philippine and Asian art, Flores has organized several national and international platforms, including Luz: Traces of Depiction at the National Museum of the Philippines (2006), and Under Construction: New Dimensions of Asian Art at the Japan Foundation Asia Center (2000-2003). In 2008, he was a curator for the Position Papers series at the Gwangju Biennale. Flores is the author of numerous articles and several books concerning Philippine art.
Among his publications are: Painting History: Revisions in Philippine Colonial Art (Quezon City/Manila, 1998), Remarkable Collection: Art, History, and the National Museum, (Manila, 2008) and Past Peripheral: Curation in Southeast Asia, (Singapore, 2008).
Patrick D. Flores, Interview (April 2010) im Rahmen der Ausstellung The Global Contemporary. Art Worlds After 1989, ZKM | Museum für Neue Kunst [17.09.2011–19.02.2012]
Auf welche Weise prägen globale Prozesse die Kunst und wie reagieren Künstler/innen und Institutionen auf die zunehmende weltweite Verflechtung der Kunstwelt? Die Ausstellung The Global Contemporary. Art Worlds After 1989 möchte anhand von circa 100 Arbeiten internationaler Künstler/innen sowie dokumentarischem Material die Effekte der Globalisierung auf die zeitgenössische Kunstproduktion und -rezeption nachzeichnen. Schwerpunkte sind u.a. Ausstellungen und Darstellungen einer global verstandenen Kunst, ihre Orte (Metropolen, Institutionen) und der globale Kunstmarkt. Teil des Projekts ist außerdem ein Residency Programm für junge Künstler/innen, die sich mit der Globalisierung des Kunstsystems auseinandersetzen. Sie erhalten die Möglichkeit, ihre Projekte vor Ort weiterzuführen und Formate zu entwickeln, die dem Publikum die ökonomischen und politischen Zusammenhänge verdeutlichen.
Das Konzept der Ausstellung schließt an das Forschungsprojekt »Global Art and the Museum« an, das seit 2006 am ZKM Karlsruhe angesiedelt ist und ein weltweites Netzwerk von Akteuren und Institutionen der Kunstwelt umfasst. Nach der Präsentation im ZKM Karlsruhe soll die Ausstellung in weiteren internationalen Institutionen gezeigt werden und so den Dialog über das Thema Kunst und Globalisierung fortführen.
Patrick D. Flores, beratender Kurator der Ausstellung, ist Professor für Kunstgeschichte an der philippinischen Universität in Diliman und Kurator am Vargas Museum der philippinischen Universität, sowie außerordentlicher Kurator der philippinischen Nationalgalerie und der Nationalgalerie Singapurs.
2008 war er Kurator für die Grundsatzreferate bei der Gwangju Biennale.
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