Escolar Documentos
Profissional Documentos
Cultura Documentos
boundary 2
Gerardo Mosquera
1
There is a general concern that globalization will impose homogenized, cosmopolitan cultural patterns built on Eurocentric foundations,
which inevitably atten, reify, and manipulate cultural differences. This fear
has serious grounds. There is no doubt that the transnational expansion of
our age requires languages, institutions, and international functions in order
to make possible communication on a global scale.
Globalization is possible only in a world that has been previously
reorganized by colonialism. What is feared most is a planetary radicalization toward a homogenized international culture, launched from the United
States. Standing out is the powerful diffusion of North American pop culture,
whose inventiveness, dynamism, and networks of circulation and marketing
have spread its inuence throughout the world. Already at the end of the
thirties, Clement Greenberg was saying that kitsch was the rst universal
culture.1 The consolidation of English as the language of international com1. Clement Greenberg, Avant-Garde and Kitsch (1939), in his Art and Culture: Critical
Essays (Boston: Beacon Press, 1961), 12.
Tseng 2002.9.12 07:31
boundary 2
164
munication on a global scale is causing great concern. Today, even dogs are
trained in English, and it is said that they understand this language better
than any other.
It isnt simply a matter of language, communication, and mass culture. These processes are also woven into high culture. When the ne arts
are discussed in very general terms, people tend to use the terms international artistic language or contemporary artistic language as abstract
constructions that derive from the type of art-crit English in which todays
international discourses are spoken.2 Both terms are highly problematic.
Frequently, being international or contemporary in art is nothing but the
echo of being exhibited in elite spaces on the small island of Manhattan.
By the thirties, a sort of language of modernism had been forged, the
result of a paradoxical assemblage of the various ruptures produced by the
historical vanguards. A stock of resources had been established, drawing
from various tendencies that artists were using, combining, or transforming
at will. The explosion of pop, performance, minimalism, conceptualism, and
other orientations that were later called postmodern produced another
rupture. But by the nineties, a sort of postmodern international language
was instituted, prevailing over the so-called international scene even while
its coinage as a dominant code denied de facto the pluralist perspective of
postmodernity.
The extreme case is the gure of the international installation artist,
a global nomad who roams from one international exhibit to another, his or
her suitcase packed with the elements for a future work of art or the tools
to produce it in situ. This gure, an allegory of the processes of globalization, represents a key rupture with the gure of the artist-craftsman linked to
a studio in which the work of art is produced. Now the artists export themselves. Their work is closer to that of the manager or engineer who travels
constantly to attend to specic projects and businesses. The studio, that
ancestral, Vulcanian site linked with the artist, has become more a laboratory for projects and design than for production. Thus the physical link of
demiurgestudiowork of art, which associated each of the three elements
within a specic space and, furthermore, with a place and its genius, is broken. This type of artwork and methodology has a genetic relationship to the
international postminimalist-postconceptualist language. With them, a kind
of circulation based on biennials, thematic shows, and other forms of collective global exhibits is facilitated.
2. See Gerardo Mosquera, Lenguaje internacional? Lpiz (Madrid) 121 (April 1986):
1215.
boundary 2
165
166
boundary 2
boundary 2
167
3. Candice Breitz, Why African Avant-Garde Artists Have Never Existed, Atlntica (Las
Palmas de Gran Canaria) 11 (fall 1995): 60.
boundary 2
168
the other side, cultural globalization has allowed the dissemination of multiple perspectives and has itself undergone adjustments in line with these
perspectives.
Furthermore, every process of homogenization on a large scale
even when it succeeds in smoothing out differencesgenerates other, new
differences within itself, like Latin shattering into the Romance languages.
This is evident in the heterogeneity that immigrants are producing in the
megalopolises.
A truly global diffusion and evaluation of culture is possible only
through a multidirectional web of interactions. We need to organize SouthSouth and South-North circuits able to pluralize what we understand by
international art, international art language, and the international art
scene, or even what is contemporary. Equally important is the construction of international and contemporary art and culture in a true international
way: in differences and from differences. That is, enacting difference rather
than representing it, thus actively fashioning international art language in
multiple ways.
The fact that artists from every corner of the world, including Cuba,
now exhibit internationally reects only a quantitative internationalization,
but numbers are not the issue. The question again is whether we are contributing or not to the transformation of a hegemonic and restrictive situation
into active plurality, instead of being digested by that situation.
It is necessary to cut the global pie not only with a variety of knives but
also with a variety of hands, and then to share it accordingly. This is neither
revolution nor political correctness: It is a need for all if we dont want an
endogamic culture. The key point is who makes the cultural decision, and
in whose benet is it taken.4
2
In Musique Ngre (1931), the Haitian poet Lon Laleau laments his
sense of alienation in trying to express in Frenchthe language and culture
in which he had been educatedhis African roots:
4. Guillermo Bonl Batalla, Lo propio y lo ajeno: Una aproximacin al problema del control
cultural, in La cultura popular, ed. Adolfo Colombres (Mexico City: Premia, 1987), 7986;
and La teora del control cultural en el estudio de procesos tnicos, Anuario Antropolgico (University of Brasilia), no. 86 (1988): 1353. See also Ticio Escobar, Issues in
Popular Art, in Beyond the Fantastic: Contemporary Art Criticism from Latin America, ed.
Gerardo Mosquera (London: Institute of International Visual Arts; Cambridge: MIT Press,
1995), 91113.
boundary 2
169
5. See Jean Bernab, Patrick Charnoiseau, and Raphael Conant, loge de la Creolit
(Paris: Gallimard, 1989), 20.
6. Aim Csaire, interviewed by Ren Depestre, in his introduction to Csaire, Poemas
(Havana: Casa de las Amricas, 1969), xx.
7. Alfred Melon-Degras, Guilln: poeta de la sntesis, in his Realidad, poesa e ideologa
(Havana: Ediciones Unin, 1973), 2561; Desiderio Navarro, Sonido y sentido en Nicols
boundary 2
170
Guilln, in his Ejercicios del criterio (Havana: Unin de Escritores y Artistas de Cuba,
1988), 1132.
8. Fernando Ortiz, Los factores humanos de la cubanidad, in Orbita de Fernando Ortiz
(Havana: Unin de Escritores y Artistas de Cuba, 1973), 15457.
9. See Gerardo Mosquera, Africa in the Art of Latin America, Art Journal 51, no. 4 (winter
1992): 3038.
boundary 2
171
boundary 2
172
11. Ticio Escobar, El mito del arte y el mito del pueblo: cuestiones sobre arte popular
(Asuncin, Paraguay: R. Peroni Ediciones, 1987), 76.
12. Sandra Mara Estves, Yerba Buena: dibujos y poemas (Greeneld Center, N.Y.:
Greeneld Review Press, 1980).
boundary 2
173
13. Andrs Bernaldes, Historia de los Reyes Catlicos, in Memorias de la Real Sociedad Patritica de La Habana, vol. 3 (Havana: n.p., 1837), 128. Quoted by Cintio Vitier and
Fina Garca Marruz, Flor oculta de poesa cubana (siglos XVIII y XIX) (Havana: Editorial
Arte y Literatura, 1978), 63.