Indigenous or Global?: The Poverty of Art-Historical Terminology

Natasha Lushetich

Indigenous or Global? The Poverty of Art-Historical Terminology

Natasha Lushetich

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Abstract

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.

Original language	English
Pages (from-to)	153-165
Number of pages	16
Journal	La Revista de Estudios Globales y Arte Contemporáneo
Volume	7
Issue number	1
Publication status	Published - 2020

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https://revistes.ub.edu/index.php/REGAC/article/view/32955/32603Licence: CC BY

Cite this

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title = "Indigenous or Global?: The Poverty of Art-Historical Terminology",

abstract = "For decades, expressions like {\textquoteleft}indigenous{\textquoteright} and {\textquoteleft}global{\textquoteright} 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 {\textquoteleft}indigenous{\textquoteright} and {\textquoteleft}global{\textquoteright} through a close reading of Lawrence Paul Yuxweluptun and Ai Weiwei{\textquoteright}s work. Placing engineered homogeneity in dialogue with standardised heterogeneity, it argues for a {\textquoteleft}mondialising{\textquoteright} practice which subverts the {\textquoteleft}immond-ness{\textquoteright} (un-world-ness) of globalisation.",

author = "Natasha Lushetich",

year = "2020",

language = "English",

volume = "7",

pages = "153--165",

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}

TY - JOUR

T1 - Indigenous or Global?

T2 - The Poverty of Art-Historical Terminology

AU - Lushetich, Natasha

PY - 2020

Y1 - 2020

N2 - 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.

AB - 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.

M3 - Article

SN - 2013-8652

VL - 7

SP - 153

EP - 165

JO - La Revista de Estudios Globales y Arte Contemporáneo

JF - La Revista de Estudios Globales y Arte Contemporáneo

IS - 1

ER -

Indigenous or Global? The Poverty of Art-Historical Terminology

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