The two curators agree that the subject of geo cultural perspectives cannot be mirrored by one voice, but should instead be mapped heterogeneously to give a ‘sample’ view on the politics of space, identity and belonging along with the rights that go with them. They suggest that such issues may not be critically reflected effectively by aesthetic visual practices. The structures that these perspectives function within , whether state or cultural, can sometimes limit or shut down a clear view to understanding ‘place’ whether that view comes from the inside looking out or vice versa.
I think curators can also be a filtering structure that can both hinder or escort an artwork. In response to the curators comment that aesthetic visual practices may not reflect accurately critical issues, I don’t think art has to fulfil the mammoth task of answering or reflecting ideological, political and culturally driven issues. Asking or finding the right questions may be more useful. Which is a view supported by Judy Millar in her statement
“Painting is a way of finding things out; for me it’s not a way of showing anything and that is why a painting is never complete.” (Were 92)
There will be pluralistic views as to what it means to be an artist in relation to a local and regional specifity. However some things will be a constant for artists in Aotearoa, such as the logistical and financial issues of participating physically in off shore events. Transporting work from New Zealand to the Venice Biennale and finding the funding to do so cannot be done without government assistance or private sponsorship. The State being one of the structures the curators claim may shut down or obstruct a clear view on place.
“New Zealand’s participation in Venice’s 53rd Biennale, curated by Daniel Birnbaum, requires a huge injection of capital by Creative New Zealand, which is kicking in $650,000, and a further $400,000 is expected to come from private patronage and sponsorship.” (Were 91)
Bibliography
David, Catherine & Rogoff, Irit. "In Conversation" Studio to Situation, 2009, London: Black Dog Publishing, pp. 82-89.
Were, Virginia. "Bringing painting to the church." Art News New Zealand Autumn 2009: 90-94.
Hi Diane,
ReplyDeleteI agree that art or painting can be a way of finding things out. Even if that means discovering for yourself a concept that has already been developed. I feel this is perhaps the way you like to work with your paintings.
Also, in the context of "place," I am never really sure about how art as a New Zealander is presented to the rest of the world. Perhaps this is the problem Catherine David had to deal with for "Contemporary Arab Representations." It would be interesting to find out if there are similarities in expected outcomes from international art exposure. As you have mentioned, New Zealand art tends to have importance to the local economy. What do the countries represented in David's exhibition publish as beneficial to sharing their art practices with "the world?"