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Interstices: Negotiations at Contemporary Art's Boundaries.
・ISBN 978-0-226-83955-4 hard US$ 115.00
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★★★
| 著者・編者 | Alberro, Alexander, |
|---|---|
| 出版社 | (University of Chicago Press, US) |
| 出版年月 | 2025 |
| ページ数 | 224 pp. |
| 言語 | ENG |
| ニュース番号 | ＜A04-42946＞ |
解説
An exploration of innovative practices flourishing at the margins of Western art.
With this book, Alexander Alberro engages decolonial theory to explore the dynamic exchanges that occur where the ideals and values of different artistic frameworks meet. Resisting notions of a singular art world and global contemporary art, Alberro explores what lies outside of Western art's hegemonic presence, recognizing the rich multitude of art formations at its periphery, each with its own artistic narratives and conventions. Alberro brings into focus the complex negotiations that are cultivating innovation and transformation at the margins of Western art, showing how this seemingly monolithic framework is both crucial to and insufficient for a comprehensive understanding of contemporary art.
His examples include artists and collectives from around the world, including Iosu Aramburu, Subhankar Banerjee, Yto Barrada, Mabe Bethonico, El Colectivo, Maria Galindo and Mujeres Creando, Bouchra Khalili, Multiplicity, Lucy Orta, Raqs Media Collective, Tracey Rose, Doris Salcedo, Yinka Shonibare, World of Matter, and Yin Xiuzhen. As notions of transculturation and decoloniality continue to drive conversations about contemporary art, Interstices offers a critical explanation of what is at stake, showing how the tensions at the edges of the Western art framework are pushing it toward its discursive limits.
With this book, Alexander Alberro engages decolonial theory to explore the dynamic exchanges that occur where the ideals and values of different artistic frameworks meet. Resisting notions of a singular art world and global contemporary art, Alberro explores what lies outside of Western art's hegemonic presence, recognizing the rich multitude of art formations at its periphery, each with its own artistic narratives and conventions. Alberro brings into focus the complex negotiations that are cultivating innovation and transformation at the margins of Western art, showing how this seemingly monolithic framework is both crucial to and insufficient for a comprehensive understanding of contemporary art.
His examples include artists and collectives from around the world, including Iosu Aramburu, Subhankar Banerjee, Yto Barrada, Mabe Bethonico, El Colectivo, Maria Galindo and Mujeres Creando, Bouchra Khalili, Multiplicity, Lucy Orta, Raqs Media Collective, Tracey Rose, Doris Salcedo, Yinka Shonibare, World of Matter, and Yin Xiuzhen. As notions of transculturation and decoloniality continue to drive conversations about contemporary art, Interstices offers a critical explanation of what is at stake, showing how the tensions at the edges of the Western art framework are pushing it toward its discursive limits.