Introduction
A continent is a name for immensity without reserve: a mass of
land so large you can never imagine the end of it, the ground
of everything. Yet the questions we want to raise are intimate
ones, which over the course of recent decades have crept their
way into the thoughts and feelings of individuals, associations,
cultural groups, professional or political formations and even
nations, when they are faced with the emergence of a society beyond
all borders, a non-place where the continents themselves begin
to loose their moorings.
How to conceive of a world society? When and why do people begin
to speak of it? Where to locate it, how to perceive it? For whom
does it appear, whose interests does it serve or threaten? What
are its origins, its laws and regularities, its chances of lasting
till next year? Does it have a taste or a color, a wavelength
or a rhythm? Above all, should I be part of it? Should we be part
of it? How to take that decision – or assert that refusal?
In 1997, Ulrich Beck published a book in the form of a question:
What is globalization? His answer: it is a world society without
a world government, where outdated national institutions tend
to dissolve between the twin extremes of transnational capital
and hyperindividualism. Yet Beck is not a fatalist. Rejecting
the belief in globalism as a fait accompli whose only agents are
giant corporations, he suggested an examination of the transformational
processes affecting communications, culture, economics, labor
organization, civil associations and the ecology. He conceived
world society as a “multiplicity without unity,” and
believed its emergence could be measured by the degree to which
distinct social groups become aware of and debate these transformations:
their origins, causes, spatial distributions, effects and susceptibility
to change and redirection. The political question would be this:
“how, and to what extent, people and cultures around the
world relate to one another in their differences, and to what
extent this self-perception of world society is relevant to how
they behave.”
So far, so good. Become aware of social change, and find the languages
that can express it! But Beck still refers to self-perception
“as staged by the national media.” We’re looking
for something different: the consciousness of the present as expressed
by artistic inventions, on “stages” ranging from museums,
universities and theaters to social centers, hacklabs and cabarets,
the Internet and the streets. Rather than relying on studies and
scientific procedures, let’s see how these expressions of
the present are debated in the forums, circuits, institutions,
self-organized meetings and counter-public spheres that have proliferated
across the planet in recent years. What’s elusive are ways
to sound out multiplicity, solidarity and resistance, all of which
don’t only arise in words. Form, image, concept, rhythm,
experiment, intervention, rupture: these are aesthetic devices
for touching the world, and taking part in a world conversation.
Throughout the twentieth century the visual languages of modernism
offered a means of communication, culminating more recently in
a massive overflow of biennials, traveling shows, exchange programs
and markets – contested from below by an explosion of autonomous
interventions, self-organized circuits and alternative modes of
production. Since the end of hegemonic modernism in the 1960s
the definition and value of art has been a subject of intense
dispute, resulting in a focus on process rather than object, a
shift towards activism and group experimentation. This questioning
of frames and contexts has led to the inclusion of sociological,
philosophical, economic, political and psychological concepts
within the very contours of the works. But this whole development
is deeply ambiguous. Even as artistic circles have extended their
geographic and discursive reach and tended to morph into sites
of generalized experimentation, public consciousness has retained
the twentieth-century definition of art as the signifier of individualism,
legitimating an endless range of formal innovations, of cultural
and individual eccentricities. This proliferation of choices is
exactly what allows for the increasingly deep integration of art
to the market, not only as a luxury object or attribute of personal
distinction, but also as the prime example of innovative, value-adding
production processes in the risky environment of the information
economy. The upshot being that art seems to mirror and internalize
the global transformations, in their mix of multifarious complexity
and one-dimensional standardization.
What
to do? This project began in the USA in 2005, with a still-ongoing
series of self-organized seminars held at 16 Beaver Streen in
New York. The idea was to look at artworks and activist projects
through a geopolitical and geocultural lens, in order to find
some clues for future practices. We had to start with the sweeping
transformations since 1989: the triumph of Anglo-American capitalism
and the extension across the planet of a single technological,
financial and organizational toolkit, permitting the unrestricted
flow of goods, money and labor. Existing ideas could not help
us much here. Postmodern theorists had been analyzing the globalization
of capital since the early 1980s. They focused on the universalization
of the commodity-form as an alienation from any traditional identity,
yet also on the market’s capacity to mediate individual
and cultural differences through the play of reception. For them,
commodity and cultural aspiration are one and the same. But for
people working in the wake of the financial crisis of 1997-98,
the counter-globalization movement of 1999-2003, the second Intifada
in Palestine and the unfinished wars in Afghanistan and Iraq,
the postmodern analytic is arrogant and unbelievably shallow.
Beyond the surface agitation of the commodity-form and its endless
variations, there are necessary revolts and radical contestations
of the world order, underwritten by more ambiguous, long-term
reactions to the unbearable pressures of hypercapitalism.
Already since the 1980s, but more intensely right now, we see
large-scale political attempts to supplement or replace the violently
deterritorializing dynamic of globalization by the installation
of new territorial and cultural norms, which are often conservative
or regressive, but which also point to the forgotten and unavoidable
questions of solidarity, redistribution of the wealth, care for
the natural and human ecology and respect for the others who share
the common space of existence. Because of the ruptures of scale
brought by the world-girding processes of globalization, the new
territorial norms are conceived and manifested not only at a national
but also at a regional or continental level, in the search for
a new unit of social and economic organization that can stand
up to the tremendous forces unleashed by contemporary capitalism.
These regional blocs can be seen at varying stages of emergence
in Europe, East Asia, Latin America, the Russian Federation and
North America itself, or in more incomplete and tragic forms,
in Africa and the Middle East. Their ambivalent relations to the
Anglo-American imperial structures is the first aspect of the
“continental drift” that we are investigating.
But what can the geopolitical lens reveal, when it’s a matter
of artistic invention? As cultural producers caught up in transnational
exchanges, we’re not going to deny the cultural realities
of globalization; but we can’t find much interest in the
claims of a total break with the past or a seamless integration
to the market. What needs to be understood are the linguistic
communities and complex regimes of translation within which the
formation of cultural value is asserted and contested. At every
scale (intimate, urban, national, continental) specific debates
unfold, in relation to a field or continuum of gesture, but also
to the ruptures that traverse it, renew it or render it obsolete.
Although no one could keep up with developments all around the
world, or even desire to do so, it has become obvious that much
more attention needs to be paid to the circuits and scales in
which an invention or a debate gains consistency. To believe that
New York is still the hegemonic center of an “art world”
in the singular, or that all the values that matter can be hammered
on the block at a Sothebys auction, is both stupid and dangerous,
as cultural clashes everywhere are proving. But the same holds
for people who believe that critical formulas can simply be “applied,”
without having to be put to the test each time: that is, dissolved
and transformed through contact with speaking subjects. Across
the planet, the renegotiation of the scales at which our societies
are organized brings with it an intense debate about what art
is, how it can be interpreted, what its places and uses should
be and even who are its practitioners. And the same debates usually
spill over into larger ones, about the forms, functions and possible
uses of social institutions. To be part of a multiple but not
integrated world society is to engage in these debates –
or at least to have an inkling of their existence.
On one hand, we want to identify some of the places and channels
in which significant discussions are unfolding, and to become
more familiar with their vocabularies and protocols, their controversies,
heresies and temporary resolutions, so as to help restore part
of the complexity and depth that has been lost to the mesmerizing
force of the commodity regime and its insistent visuality. The
hypothesis is that by seeking articulations on a regional or continental
scale, we might find circuits of translation and interchange that
are able to address the global dynamics without falling back on
preconceived national reflexes. On the other hand, we do not exactly
dream of a world-in-blocs, whose last expression was the Cold
War and whose historical forerunners in the twentieth century
are the rival monetary and military blocs that formed in the crisis-years
of the 1930s. The new discussions of solidarity and redistribution
will never get anywhere except into unbearably suffocating fantasies
of the national, ethnic or religious past, if they don’t
find room for the most diverse forms of dissent, free play and
hybridity, or cultural and continental bridging. What interests
us above all are particular groups, who come to grips with their
societies’ attempts at responding to the overall processes
of transformation. Those who propose parallel paths, new openings,
deeper and slower or, on the contrary, swifter and more incisive
resolutions to the impasses where conflicts form and violence
erupts without reason.
It’s clear that this kind of work cannot only be carried
out theoretically. Nor can it be done on isolated stages. What
we’re looking for, in New York and Zagreb for the moment,
are places of encounter and exchange, of multiple expression and
collective analysis, where specialized discourses can expose themselves
to the disruptive or enigmatic complexities of art – but
also of society and its intractable realities. The forms, rhythms,
concepts and images that confront us on the international circuits
and in the global markets do not seem adequate to world society.
The definitions, values and uses of art still have to be created,
at whatever scales you can touch with your senses.
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