For decades, expressions like ‘indigenous’ and ‘global’ have been used to refer to very different artworks, practices and artists. Whether justified or not, there are many reasons for this: the bi-cultural versus transcultural conception of culture; the pantheistic/animistic versus atheistic conception of the universe; the cyclical/circumstantial notion of time versus the linear one; affective presence versus market value. Departing from the idea that art (re) frames reality, aids communion (with human and non-human entities), and renders the invisible visible, this article ponders the cultural-epistemic genealogy of ‘indigenous’ and ‘global’ through a close reading of Lawrence Paul Yuxweluptun and Ai Weiwei’s work. Placing engineered homogeneity in dialogue with standardised heterogeneity, it argues for a ‘mondialising’ practice which subverts the ‘immond-ness’ (un-world-ness) of globalisation.
|Number of pages||16|
|Journal||La Revista de Estudios Globales y Arte Contemporáneo|
|Publication status||Published - 2020|