Dialogicity in Post- and Decolonial Art.
Debates Around International Major Exhibitions since 1989
Prof. Dr. Michael F. Zimmermann
The project aims to investigate artistic strategies since the end of the Cold War that seek to address global challenges, particularly so that they are presented as problems that can only be tackled through international, multilateral cooperation and dialogue. Dialogicity appears here on two levels that are best described through the terms participatory and cooperative art. While the first works with forms of audience address, the second is characterized by the artist or a team of curators working with additional (e.g. international) actors and partners, so as to form an image of challenging situations, such as the challenges of global inequalities, that ultimately relies on cooperation.
In investigating dialogicity in the arts, the project seeks to consider different contexts in which the focus lies on the controversially discussed demands for post- and decolonial approaches to art as well as questions of art historiography. A specific focus is put on artworks that have received considerable attention within major exhibitions in Europe, for instance the Biennale in Venice or the Documenta in Kassel. In this respect, the project is not mainly interested in arts exhibitions outside of mainland Europe and North America, but instead in the activities of the arts scene that has recently been rightfully relativized as “Atlantic” or even “Old European.” This orientation is however coupled with a focus on the global art as it is displayed and debated in the “Atlantic” sphere.
Crucial for this approach is the firm belief that post- and decolonial dialogues should not simply be located elsewhere, such as in regions overseas. Likewise, seeking to engage in an exchange that is foremost situated in the formerly colonizing nations or empires does not address the entire scope of the issue either. Instead, it is necessary to direct the postcolonial gaze on the culture of the formerly colonial nations itself (for some, including this author, this means “us”). To this purpose one must also develop new methodological approaches: methods of “appropriation” within publics that are already defined by experiences of multiculturality and migration need to be developed opposite traditional models of reinventing identity through adapting traditions. The arts industry should not only be considered apologetically from within, but it should also be assessed from a historical perspective concerning its social impact in European countries. The project also takes up the criticism of the arts industry being elitist or highly capitalist and sheds light on the main tendencies in these debates.
The project is connected to a work group, which the author leads as part of an ad-hoc work group at the Bavarian Academy of Sciences and Humanites “Zukunftswerte” (Future values). Within this group, three group leaders each investigate one field of tension between competing value orientations. These include “Self interest and communal interest” (Andreas Abele-Brehm, Psychology, FAU), “Freedom and Security” (Nicole Saam, Sociology, FAU) and “Multiculturality and Identity” (author). In the context of this work group there is already a systematic focus on artistic debates surrounding major exhibitions. In addition, interdisciplinary methodological debates are recapitulated and discussed. This project continues this work.
The project aims to develop databases on the history of post- and decolonialism in the fine arts since 1989, but also on the concept of dialogicity in the arts, distributing them online and updating them regularly. Much of this can be done in the form of thoroughly commented lists and weblinks that have been newly contextualized in light of the central project questions. In addition, texts on the art-critical debate about exceptional complexes of art works are to be composed and published individually.
Furtherhmore, 2-3 doctoral candidates are to attend to a topic from the field of contemporary arts in relation to the issues and questions outlined above.
For preliminary work, see this essay:
„Allan Sekulas frühe fotografische Dokumentation Aerospace Folktales (1973) und seine Inszenierung dialogischer Subjektivität“, in: Magdalena Nieslony and Samantha Schramm, eds.: Mediale Subjektivitäten. Fotografie, Film und Videokunst. Special issue of : Augenblick. Konstanzer Hefte für Medienwissenschaften, edited by Ursula von Keitz, Beate Ochsner, Isabell Otto, Bernd Stiegler and Alexander Zons in cooperation with Heinz B. Heller, 74, Februar 2019, p. 53-71.