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EXPANSION OF THE ARCHIPELAGO OF DECOLONIAL EXHIBITIONS
Зборник 18/2022 (Музеј примењене уметности), страна 107-114
Категорија чланка: ????????? ???
УДК:
7.037/.038
Апстракт:
????????????? ???? ? ?????????? ??????? ?????????? ?? ?????????? ?????????? ?????????????, ??????????????? ? ??????????? ???????. ?????? ?? ?? ????? ?????????? / ?????????????, ??????????? ??????????? ????? ??????? ??????a ??????a (douard Glissant). ? ??????? ??????? ???? ?? ????????? ???????? ?? ????????? ??????? ???????????? ??????? ???????? (ngritude), ?? ??????????????? ????????? ?????????? ?? ?????? ????????? ??????????? ?????? ?????????? ????. ???????? ?? ? ???? ???????? ?????? ?????????? ?????????? ???????? ? ???????? ???????? ??????? ????????? ?????????. ??????? ????? ?????? ???????? ? ?????? ? ????????? ????? ?? 1989. ??????????? ?? ?? ??? ????????, ? ????? ??????? ??????? ?? ?? ????????? ?????? ???? ???????? ????????????? ???????. ?????? ?????? ?? ??????????? ???????? ? ???????? ?? ??????? ??????? ? ??????? ???????? ? ?????????? ???????? ???????? ?? ?? ????? ??????: ???????? ??????? ????? ???????? ? ???? ???? ???? (Sonia Boyce) ? ???????????? ????? ? ???? ????? ?? (Simone Leigh). ???????????? ?????????????? ????? ? ????????? ??? ??????? ? ???????????, ? ????, ????????? ???????, ? ?????? ?? ????????????? ???????????? ???????, ??????? ?? ????????? ????????? ? ?????? ???? ?????- ??? (Ivan Muiz-Reed). ???????? ?? ???????????? ???? ?? ????? ? ?? ????????? ??????? ???? ?? ???????????? ??? ?????????????? ?? ????????????? ????, ???? ????? ?????? ?????? ?????????? ?????????????? ???????, ??? ? ??????? ??????.
Кључне речи:
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Summary:
The decolonial turn in social sciences induced in the first decade of this century by a group of Latin American sociologists, semiologists, anthropologists and literary critics and historized under the name Modernity / Coloniality had a significant influence on the interpretation of the ways in which non-Western artists were becoming included into curated exhibitions of contemporary art. Some exhibitions, such as The Third Havana Biennial and Les magiciens de la Terre, both from 1989, were reinterpreted on those grounds, and through monographic publicans inaugurated as groundbreaking for the understanding of todays curatorial practices. On the other hand, artistic practices increasingly include decolonial approaches, and both Golden Lions at this years Venice Biennale (for the best national pavilion and the best artist in the central exhibition) were awarded for works of such kind, i. e. for celebrating black female voices in the work of Sonia Boyce, and for the creolization of form in the work of Simone Leigh. Nevertheless, the historization of the decolonial turn in art is still being generated from fragments, and the first topological attempt, quite in line with the methodology of nonsystematic trends in decolonial writing, was conducted by art historian and curator Ivan Muiz-Reed. Starting from the premises that he came forward with and from the curated exhibitions he has stressed as paradigmatic for the decolonial turn, this text maps the outlines of the archipelago of decolonial exhibitions, as well as its expansion.
Translated by the author
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