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Pratique Situees - Thesis Work

Some Titles I am working with, subject to change:

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Philippine Art Resources in the Global Art World

The Philippine Art Resource

Where to find it and How to understand it

This paper seeks to explore and investigate a first-person experience of writing art history and to challenge its provincialisms; global hegemonies and “inclusionism”(1) of art history and its adjacent spaces of art practice, curating and public remembrance with reference to time as well as space as well as tackle psychoanalytical questions on the difficulties of writing about the ‘provinces’. Why have diaspora, migration, exile and other postcolonial themes failed to deliver a fresh framework for thinking about art history in any specifically global, or inter- or transnational way? How might I approach the intersecting themes of provincialism and anachronism(2) as a way of problematising and refocusing the global imagination of art history. Could an understanding of the global contexts of art history ever emerge without a provincial baggage tag?(3)

Notes:

(1) Inclusionists call for retaining more content, for higher tolerance of "stub" articles, and for an acceptance of notable blogs and other Web-based sources. They also argue for fairness and good judgment in the deletion process. www.en.wikipedia.org/wiki/Inclusionism

(2) An anachronism (from the Greek "ana" "ανά", "against, anti-", and "chronos" "χρόνος", "time") is anything that is temporally incongruous in the time period it has been placed in—that is, it appears in a temporal context in which it seems sufficiently out of place as to be peculiar, incomprehensible or impossible. The item is often an object, but may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a custom, or anything else closely enough bound to a particular period as to seem odd outside it. www.en.wikipedia.org/wiki/Anachronism

(3) The above texts are some arguments I have cited from a conference call entitled Intersections – Art History and its Global Provinces. I am interested to use these questions to answer my problematics in Philippine Contemporary Art. More information is available at www.aah.org.uk.

ALTERNATIVELY –

The Rhizome Identity and Globalization

A paper in a first-person narration describing issues in globalization and finding cultural identity; what are the problemtics? How am I a product of this? Collaborate with Giulia to further talk about this considering our personal online projects with participative platforms, etc

Notes from our Project Mission

1) A brief introduction of who we are and our projecton “The Rhizome Identity” and define the linksbetween them South America > Italy > Switzerland (Cilla) + North America > Philippines > Switzerland (Manaoag) and our context of contributing to the theoretical event. Introduction to others – special guests (to be confirmed).



2) Key Points from The Rhizome Identity and Globalization Text
- Constructing the identity through globalization, in an active and fluid process
- Global and the local culture
- How do the Uruguayan or Philippine people perceive our projects?
- Hybridization : generating culture identity



3) Main References Giorgio Agamben, Emily Noelle, Stuart Hall