Is it possible to reestablish the lost link between contemporary art and a consistent art historical narrative?
Second, can the art of the past quarter century be seen in structural terms--that is, is it organized around a structure?
And third, are there theoretical and practical tools that could help us to comprehend both the governing principle of regional traditions, and the alleged globalization of the art world in recent years?
To date, the answers given to such crucial questions have established only a limited connection between a regional or national art space on the one hand and a transnational art space on the other. In order to move beyond this division, Alexander Alberro will propose that the art of the past several decades exists in a mediating space between these two poles: a parallel territory, relatively autonomous from the political domain, and dedicated as a result to questions, debates, inventions of a specifically artistic nature. Here struggles of all sorts are refracted, diluted, deformed or transformed according to an artistic logic, and in artistic forms. Aberto hopes that working from this hypothesis, while trying to envisage all its theoretical and practical consequences, an understanding of art that is at once regional and transnational can be developed: in other words, a concept that could give a unified account of, say, the development of recent art forms, or the aesthetics of the artworks, and their connection to the political, economic and social world.
This event will be offered by Columbia Global Centers | Rio de Janeiro, Programa de Pós-graduação em Artes Viauais (EBA/UFRJ), Programa de Pós-Graduação em Comunicação (ECO-UFRJ) and Programa de Pós-Graduação em Artes da Universidade Estadual do Rio de Janeiro (Instituto de Artes/UERJ), with institutional support of Escola de Artes Visuais do Parque Lage.
Alexander Alberro is a scholar of contemporary photography. His courses and graduate advising are in the area of modern and contemporary European, U.S., and Latin American art, as well as in the history of photography. He is also the author of Conceptual Art and the Politics of Publicity (MIT, 2003), and has edited a number of books on contemporary art, including What is Contemporary Art Today? (University of Navarra, 2012).