STEVAN VUKOVIĆ
Student Cultural Center, Belgrade
stevanvukovic@yahoo.com

ŠIRENJE ARHIPELAGA DEKOLONIJALNIH IZLOŽBI
EXPANSION OF THE ARCHIPELAGO OF DECOLONIAL EXHIBITIONS

Journal 18/2022 (Museum of Applied Art), pages 107-114

Article category: review article

UDC:
7.037/.038

Abstract (original language):
Dekolonijalni obrt u društvenim naukama prevazišao je ograničenja disciplina afrokaripskih, latinoameričkih i subalternih studija. Izvela ga je grupa Modernitet / kolonijalitet, primenjujući arhipelaški način mišljenja Eduarda Glisana (Édouard Glissant). U matricu mišljenja koju su razvijali uključili su fragmente teorija emancipacije Pokreta crnaštva (négritude), od latinoameričkih teologija oslobođenja do čikano feminizma osamdesetih godina dvadesetog veka. Inicirao je i nova tumačenja načina uključivanja nezapadnih umetnika u autorske kustoske izložbe savremene umetnosti. Izložbe poput Trećeg bijenala u Havani i Čarobnjaka zemlje iz 1989. protumačene su na tim osnovama, a fokus kritike usmerio se na umetničke prakse koje uključuju dekolonijalni pristup. Zlatni lavovi na ovogodišnjem bijenalu u Veneciji za najbolji paviljon i najbolju umetnicu u centralnoj postavci dodeljeni su za takve radove: slavljenje glasova crnih pevačica u radu Sonje Bojs (Sonia Boyce) i kreolizaciju forme u radu Simon Li (Simone Leigh). Istorizacija dekolonijalnog obrta u umetnosti tek nastaje u fragmentima, a prvi, topološki pokušaj, u skladu sa metodologijom arhipelaškog mišljenja, sproveo je istoričar umetnosti i kustos Ivan Munjiz- Rid (Ivan Muñiz-Reed). Polazeći od pretpostavki koje je izneo i od kustoskih izložbi koje je apostrofirao kao paradigmatične za dekolonijalni obrt, ovaj tekst mapira obrise arhipelaga dekolonijalnih izložbi, kao i njegovog širenja.

Key words: (original language)
bijenalizacija, dekolonizacija, istorija izložbi, kolonijalizam, kreolizacija

Summary:
The decolonial turn in social sciences induced in the first decade of this century by a group of Latin American sociologists, semiologists, anthropologists and literary critics and historized under the name Modernity / Coloniality had a significant influence on the interpretation of the ways in which non-Western artists were becoming included into curated exhibitions of contemporary art. Some exhibitions, such as The Third Havana Biennial and Les magiciens de la Terre, both from 1989, were reinterpreted on those grounds, and through monographic publicans inaugurated as groundbreaking for the understanding of today’s curatorial practices. On the other hand, artistic practices increasingly include decolonial approaches, and both Golden Lions at this year’s Venice Biennale (for the best national pavilion and the best artist in the central exhibition) were awarded for works of such kind, i. e. for celebrating black female voices in the work of Sonia Boyce, and for the creolization of form in the work of Simone Leigh. Nevertheless, the historization of the decolonial turn in art is still being generated from fragments, and the first topological attempt, quite in line with the methodology of nonsystematic trends in decolonial writing, was conducted by art historian and curator Ivan Muñiz-Reed. Starting from the premises that he came forward with and from the curated exhibitions he has stressed as paradigmatic for the decolonial turn, this text maps the outlines of the archipelago of decolonial exhibitions, as well as its expansion.

Translated by the author

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