Brazilian Contemporary Art in the Global Biennial Context, 1998-2020

全球双年展背景下的巴西当代艺术，1998-2020

• 批准号: 2736910
• 金额: --
• 依托单位: University of Leicester
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2736910
• 关键词: Brazilian; Contemporary; Art; Global; Biennial; Brazilian; Contemporary; Art; Global; Biennial

The 1990s and 2000s saw rapid worldwide growth in the number of large-scale, biennial exhibitions of contemporary art. While the biennial model took root within formerly peripheral locations, longestablished Western biennials also pursued a more geographically expansive perspective. Focusing on the representation of Brazilian art within key biennials 1998- 2020, this project asks how the expansion and diversification of the biennial model have impacted knowledge and understanding of the contemporary art of formerly peripheral nations.Recent decades have seen increased scholarly interest in the biennial model (Filipovic 2010; Kompatsiaris 2017; Altshuler 2013) and its history (Gardner & Green 2016; Jones 2016; Vogel 2010). The impact of globalisation on art history has also been extensively addressed (Iskin 2017; Elkins 2007; Belting, 2013). The internationalisation of Brazilian art has been widely analysed within Euro-American museum exhibitions (Fialho 2005; Spricigo 2010). No existing studies, however, address the role played by biennials in shaping an understanding of contemporary art from nations, such as Brazil, previously excluded from dominant Western-US narratives.By selecting artists deemed worthy of international recognition (Zacarias and Spricigo, 2021) biennials play a role in establishing the formal, conceptual and geographical boundaries of contemporary art and its history. Since the 1990s, the biennial field has introduced new genealogies of contemporary art into mainstream knowledge, contributing to a wider post-global epistemological shift (Marchart 2014; Hoskote 2010; Kompatsiaris 2017). When formerly marginalised nations are repeatedly represented by a limited number of artists, however, biennials may also produce homogenised perspectives (Ott 2015; Lee 2012) and perpetuate exoticizing discourses (Asbury 2017).Within this debate, the 24th São Paulo Biennial (1998) is widely celebrated as a positive example: an internationally facing, Brazilian sited, biennial that 'remade art history from a Brazilian perspective' (Lagnado, 2015). Using the Brazilian modernist theory of anthropophagy (which views Brazilian art as an active appropriation of Western culture) as its framework, this biennial contrasted Brazilian works with historical Western pieces and adopted a postcolonial perspective toward contextualising Brazil within the canon. This isolated case has been assumed as impactful in itself and has not previously been treated as part of the wider phenomenon my project addresses, namely how successive international biennials jointly shape the dimensions of contemporary Brazilian art and its history.This project thus approaches the 24th São Paulo Biennial in relation to subsequent biennials which contributed contrasting understandings. Whereas the biennials of Liverpool (1999) and Venice (2001; 2003; 2009) limited their approach to conceptions of Brazilianness, those of Havana (2003; 2012) and Berlin (2020) diminished distinctions between national art practices by emphasising discourses of globalisation. Grounded by archival research and interviews, my analysis of how these biennials have shaped Brazilian contemporary art and its history will be framed by theories of cultural identity articulated by Bhabha (1994), Canclini (1995) and Hall (1996). By exploring the biennial as a site where knowledge about contemporary art and its history is produced, this project will provide a model applicable to other previously marginalised countries.

1990年代和2000年代，全球范围内的大规模，两年一次的当代艺术展览的数量迅速增长。尽管两年一次的模型扎根于以前的外围地点，但最长的西方双年展也追求了更加地理位置的观点。该项目着重于1998年至2020年在关键双年展中的代表，该项目询问了两年一次的模型的扩张和多样化如何影响对以前外围国家的当代艺术的知识和理解。 Vogel 2010）。全球化对艺术史的影响也得到了广泛的解决（Iskin 2017； Elkins 2007； Belting，2013）。巴西艺术的国际化已在欧美博物馆展览中得到广泛分析（Fialho 2005； Spricigo 2010）。但是，没有现有的研究解决双年展在塑造对当代艺术的理解，例如巴西，以前被排除在主要的西方叙事中。通过选择值得国际认可的艺术家（Zacarias and Spricigo，2021，2021）在建立正式，概念和地理学的界限中，并在建立正式和地理上的界限中发挥了作用，并在现代概念上发挥了作用。自1990年代以来，双年展的领域将当代艺术的新家谱引入了主流知识，这有助于更广泛的全球认识论转变（Marchart 2014; Hoskote 2010; Hoskote 2010; Kompatsiaris 2017）。 When formerly marginalised nations are repeatedly represented by a limited number of artists, however, biennials may also produce homogenised perspectives (Ott 2015; Lee 2012) and perpetuate exoticizing discourses (Asbury 2017).Within this debate, the 24th São Paulo Biennial (1998) is widely celebrated as a positive example: an internationally facing, Brazilian site, biennial that “从巴西人的角度重塑艺术史”（拉格纳多，2015年）。巴西现代主义的人类植物学理论（将巴西艺术视为西方文化的积极适当性）作为其框架，这一比例与西方作品相比，与历史上的作品相反，并采用了后的后观点，将其与上下文的态度合理地构成了Brazians and and and and the Brazians and the Brazy the Brazy the Brazy the Bane the Panson and the Brazy the Brazy the Bane the Bane and the Brazy the Brazy the Pancon。这个孤立的案例本身就被认为是影响力，并且以前尚未被视为我的项目所解决的更广泛现象的一部分，即国际两年期如何共同塑造当代巴西艺术及其历史的层面。因此，这项项目是在第24届圣保罗二年般的两年中使用与随后的Biennials相关理解的24th Paulo Biennial的方法。利物浦（1999年）和威尼斯（2001; 2003; 2009）的两年期限制了他们对巴西的概念的方法，而哈瓦那（2003; 2012）和柏林（2020年）通过强调全球化的论述，从而减少了民族艺术实践之间的毁灭。在档案研究和访谈的基础上，我对这些双年展如何塑造巴西当代艺术及其历史的分析将由Bhabha（1994），Canclini（1995）和Hall（1996）所阐明的文化认同理论构建。通过探索双年展作为有关当代艺术及其历史的知识的网站，该项目将提供适用于其他以前边缘化国家的模型。