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With Global Studies: Mapping Contemporary Art and Culture, the project “GAM—Global Art and the Museum” seeks to provide an overview of the institutional and ideological landscape of contemporary art and culture in a global context. In the last decades, the increasing complexity of political, economic, and social relationships worldwide has been shaping the worlds of art and culture, whose institutions often have yet to adapt to new local and global conditions. Museums, biennials, and diverging art markets take on different roles in different places, while they themselves become the subject matter of a steadily diversifying range of academic disciplines. In this book, case studies on individual artists, regional scenes, and their relations to the global show the diversity and conflicts within the art worlds and provide an opportunity for interdisciplinary discussion of these issues by historical, cultural, and social sciences.

Content

7 The editors: Preface

10 Hans Belting, Peter Weibel, and Andrea Buddensieg: Global Studies: Mapping Contemporary Art and Culture

26 Jacob Birken: Editorial

Between Local and Global Markets

44 Nicola Müllerschön: Versatile Collaborations: Narratives of Alighiero Boetti’s Afghan Embroideries

56 Jesmael Mataga and Farai M. Chabata: Heritage in Stone: A Decade of Zimbabwean Stone Sculpture (2000–2010)

74 Chrischona Schmidt: The Development of the Utopia Art Movement through the Lens of Relationships between Artists and the Art World

88 Irina Vogelsang: The Art Market Bubble of Contemporary Indonesian Art: Part of a Global Development?

Contemporaneity and Commitment

108 Carol Yinghua Lu: Back to Contemporary: One Contemporary Ambition, Many Worlds

120 Adele Tan: Festivalizing Performance: Snapshots of an Alternative Circuit

142 Anthony Gardner: Whither the Postcolonial?

148 Julia T.S. Binter: Globalization, Representation, and Postcolonial Critique: Austrian Documentary Film auteurs’ Take on Globalism

Contemporary Art as Historical Discourse

174 Isabel Seliger: The Distance of Transcultural Desire: Borderline Interventions in Miao Xiaochun’s The Last Judgment in Cyberspace Series

194 Birgit Hopfener: A Transcultural Perspective on Performativity in Chinese Moving-image Installations

208 Ding Ning: Suddenly Modern: Traditional Chinese Aesthetics in Transformation at the Opening Ceremony of the Beijing 2008 Summer Olympic Games

224 Patrick D. Flores: First Person Plural: Manifestos of the 1970s in Southeast Asia

Representation between Otherness and the Global

274 Monica Juneja: Global Art History and the “Burden of Representation”

298 Cathrine Bublatzky: The Display of Indian Contemporary Art in Western Museums and the Question of “Othering”

314 Elizabeth Harney: Contemporary Musings

332 Agung Hujatnika: Art and Social Indonesian Contemporary Art in the International Arena: Representation and Its Changes

348 Anne Linden: Photographs from the Intersections Series by David Goldblatt and the Question of Representation after Apartheid

360 Rania Gaafar: Planarity/Planetarity: Visual Art Practice as Cultural Technique and the Aesthetics of Xenography in the Work of Isaac Julien

Art under Production Conditions

382 Thomas Fillitz: Worldmaking: The Cosmopolitanization of Dak’Art, the Art Biennial of Dakar

402 Nadine Siegert: (Re)mapping Luanda: Post-war Utopias of the Angolan Contemporary Art Scene

418 Noemie Jäger: Becoming Transnational: Insights into the Transformations of the Contemporary Art Scene in Nairobi, Kenya

432 Daniela Wolf / Laboratorio 060: Frontera – or Talking about Some Limitations of the Translation (Process) of Contemporary Art

Appendix

442 Contributors

452 Bibliography