Modernisms and modernities

Raros deverão ser os museus no mundo, que não incluam nas suas coleções alguma obra falsa. Por vezes as burlas são de muitos milhões de euros, sendo as obras retiradas discretamente para as reservas. Outras vezes, o público toma conhecimento, e certos falsários tornam-se famosos, pelos piores motivos, mas ainda assim, ficam sob as luzes da ribalta. Um destes falsificadores é Wolfgang Beltracchi, preso em 2011 com uma pena de 6 anos, depois de décadas a criar e vender "falsificações originais" de pintores como Max Ernst e Fernand Léger, no valor de milhões de euros; enganou historiadores de arte, museus e conceituadas leiloeiras como a Christie's 1. Em termos de impacto na economia mundial, os crimes de falsificação e tráfico de bens culturais encontram-se no segundo ou terceiro lugar em volume de negócio (em economia paralela); segundo a Interpol estão associados a crimes de branqueamento de capitais provenientes do comércio de armas e tráfico de drogas, simultaneamente financiando atividades terroristas 2. Em Portugal, Amadeo de Souza-Cardoso, é um dos artistas mais falsificados; e com ele veremos como pode a Ciência detetar falsos, separando assim o "trigo do joio". Nascido em Amarante em 1887, faleceu com apenas 30 anos, vítima da gripe pneumónica. Amadeo foi um virtuoso visionário que lançou a sua carreira entre os melhores dos melhores artistas a nível mundial, a partir de Paris. Algumas das suas mais importantes obras foram integradas na coleção do Museu Calouste Gulbenkian, estando ainda presente no Museu Nacional de Arte Contemporânea do Chiado, no Museu Nacional Soares dos Reis e no Museu Municipal Amadeo de Souza-Cardoso (Amarante). Existem ainda muitas obras em acervos particulares. O Catálogo Raisonné dedicado à Pintura 3 , coordenado por Helena de Freitas, teve a sua primeira edição em 2008 mas, entretanto, outras obras têm vindo a público. Nessas, algumas poderão ter sido pintadas pela mão de Amadeo, outras não. A bela história de vida que foi a de Amadeo foi recentemente narrada no documentário Amadeo de Souza-Cardoso: O último segredo da arte moderna, de Christophe Fonseca 4 .

Atendendo as tipologias breves da escrita confrontam-se textos de Almada Negreiros e de Ana Hatherly, na conivencia de imageticas suscitadas por ambos os autores. O entrecruzamento verbico-visual e materia explicitada a partir de casos literarios escolhidos na obra dos dois escritores portugueses. Privilegiando a materializacao visopercecional do corpo enquanto substância multimorfa em Frisos, Historia verde e A invencao do dia claro, contextualizado em cenarios e paisagens que o destacam. Sob auspicios iconograficos e verbais escritos e por afinidades eletivas apresenta-se um contributo para leitura das 463 Tisanas de Ana Hatherly, destacando ideias que se aproximam dos termos abordados em Almada Negreiros, assim iniciando uma via de intersecoes plausivel em processo.

Resumo: Neste artigo trato da crítica artística de Guillaume Apollinaire nas páginas da revista, por ele dirigida, Soirées de Paris. Para tanto, exponho o quadro geral em que se organiza a publicação apresentando seus principais colaboradores. Demonstro como a revista se organizou em sua primeira fase, dirigida por André Billy, para posteriormente evidenciar a mudança operada a partir da direção de Apollinaire. Apresento as discussões artísticas propostas pelo autor bem como a sua preocupação em divulgar a arte de seus companheiros pintores. Palavras-chave: Guillaume Apollinaire; crítica de artes; pintura francesa.

amadeo de souza cardoso historiografia modernismo representação colagem keywords amadeo de souza cardoso historiography modernism representation collage Resumo Este artigo pretende analisar e discutir o lugar da representação na pintura de Amadeo de Souza Cardoso (1887-1918). Propõe-se paralelamente observar e debater o modo como a inscrição da sua obra nos padrões internacionais do modernismo e das vanguardas foi considerada face à sua pertença regional, i.e. à sua portugalidade. Em estudo neste artigo estarão as pinturas-colagem realizadas por Amadeo de Souza Cardoso entre 1916 e 1917 e a hipótese de lhes ter estado reservado um horizonte de interpretação paradigmático do "regime" de visibilidade modernista na história da arte e, portanto das narrativas épicas consagradas do abstraccionismo como destino da pintura do século xx. Parte-se, assim, da discussão da tese de José-Augusto França de que Amadeo foi vítima da sua condição periférica e não conseguiu acompanhar as orientações internacionais do modernismo e das vanguardas, para a discussão da posterior consagração do pintor como tendo superado essas orientações e construido uma obra radicalmente original. Debate-se por último o facto de em qualquer dos casos a inscrição de Amadeo num regime representativo ter permanecido desvalorizada ou meramente ignorada.

Henrique de Oliveira Velez Mouta, director literário de Contemporânea até ao número 9, ocupou um papel crucial na idealização da revista e na gestão dos seus bastidores. Este inquérito explora tal processo, revelando uma infraestrutura pouco visível, tal como foi o uso de modelos de revistas francesas, que a publicação replicou, provavelmente logo no número specimen de 1915 e sem dúvida nas séries dos anos 20.

É reconhecido por vários autores o carácter visual da escrita do artista português Almada Negreiros (1893-1970), mas as múltiplas derivações e interpretações que daí podem surgir têm ainda muito por explorar. Neste artigo procuro fazer algumas dessas interpretações sobre o intercâmbio entre o pictórico e o literário que ocorre na obra de Almada Negreiros, com ênfase precisamente no intercâmbio, isto é, não notando meramente a criação de imagens visuais literárias — o que tem sido o foco dos estudos literários — mas entendendo que a escrita de Almada deriva de uma concepção de vanguarda e de arte assente no primado da visão e que a sua prática e teoria pictóricas determinam a sua escrita. Por outro lado, abordarei também a revisitação que faz em pintura da sua obra literária. Mais do que um diálogo entre duas artes, o pictórico e o literário em Almada estão profundamente interligados e a obra daqui resultante constitui-se um exemplo da inventividade que resultou da ruptura de frontei...

"Entrevista a José-Augusto França (2016)” in Cadernos Culturais Nabantinos – homenagem a José-Augusto França (coor. Raquel Henriques da Silva, Cristina Azevedo Tavares, Ana Tostões), Revista Cultural do Município de Tomar, 2022, pp. 139-156.

Kobena Mercer, editor,  Cosmopolitan Modernisms, London, Iniva and Cambridge, Mass., MIT Press, 2005, ISBN 1-899846-47-1, Price 15.95 pds stg [Iniva], 0-262-63321-3 [MIT Press], Paper, 208 pages, 28 illustrations mostly colour. Essays by Michael Asbury, David Craven, Ann Eden Gibson, Kobena Mercer, Partha Mitter, Paul Overy,Michael Richardson, Lowery Stokes Sims

Kobena Mercer, editor, Pop Art and Vernacular Cultures, London, Iniva and Cambridge, Mass., MIT Press, 2007, ISBN 978-1-899846-44-3, Price 15.95 pds stg [Iniva], 978-0-262-63350-5 [MIT Press], Paper, 232 pages, 34 illustrations mostly colour. Essays by Holly Barnet-Sanchez, Gavin Butt, Geeta Kapur, Martina Koppel-Yang, Kobena Mercer, Colin Richards, Sonia Salzstein, Tomas Ybarra-Frausto

Reviewed by John Clark, ARC Professorial Fellow, University of Sydney

Exhibitions are powerful tools for the staging of historical narratives. Since the 1960s, historiography through exhibition-making has undergone a re-conception through artistic and curatorial practice. Contemporary art biennials and other large-scale periodic exhibitions have provided important platforms for artists and curators to experiment with historical narration in ways distinctly different from historical museums, often placing an emphasis on context-specificity and the relationship between suppressed histories of the past and the political present. This article explores the potential of the biennial as a site of historical narration, using the curatorial process behind the 2021 edition of Göteborg International Biennial of Contemporary Art, The Ghost Ship and the Sea Change, as a case study. Proposing that the biennial form be used as a situated and poly-vocal countermodel to the master narrative of the historical museum, it argues for artistic and curatorial practices to b...

Many European museums hold unusual, «hybrid» objects from various periods and areas of the world that reflect images of the other. The collections of both European and non-Western art belonging to the Staatliche Kunstsammlungen Dresden, Germany, include very early evidence of perception of the other going back as far as the 16 th century. Using a number of examples from Dresden ranging in date from this early period down to the 20 th century, and by adopting a different vantage point and hence a change in perspective, this paper attempts to consider and re-evaluate social and cultural foreignness and otherness and to elucidate its ambivalent and ambiguous relationship with the own and the Self. The multiple layers of meaning inherent in the museum-held cultural objects which are influenced by or related to the «foreign», or have a hybrid appearance, can, when viewed from a different historical and locational perspective, contribute to our understanding of intracultural and also intercultural distance and connection, identities and intentions, realities and constructions, and thus provide a better understanding of transcultural processes.

of the Ottoman Empire, the installation of the nation's monarchy, the World Wars and their destructive impact, but also dictatorship and the subsequent transition to democracy, have all defined the site, which played a crucial role in the unfolding of the 20th century in Greece. Within this context, Velonis focuses on the intersection of four unique narratives. The figures of Eleni Zouzoula-Kanellopoulos, and her husband Apostolos Zouzoulas occupy a central role. Eleni Zouzoula-Kanellopoulos was the first female author of children's literature in Greece. Her work reflects the

Translations Miltos Frangopoulos (his own text) Bettina Mara (german-English: text of Florian Waldvogel) Eleanna Panagou (greek-English, English-greek) georgos Sagriotis (german-greek: text of Florian Waldvogel) Proofreading Aggelos Kalogeropoulos Artistic design Thymios Presvytis, Thodoris Anagnostopoulos (Peak Publishing) Printing-Production Baxas S.A.

This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region’s historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais’s desire to create an autochthonous historiography versus Ramírez and Olea’s wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art.

This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró (1893–1983). It considers the dialogues and relations maintained by these painters in their war‐ affected national artistic milieus and with the equally disrupted, international avant‐ garde circles, while discussing historiographical biased assumptions about production‐ places and their meanings, namely how localness was read as expressing isolation, distance, and lack of aesthetic significance. Joana Cunha Leal * Universidade NOVA de Lisboa * Joana Cunha Leal is assistant professor at the Art History Department, and associate researcher at the Art History Institute, of the School of Social Sciences and Humanities of the Universidade NOVA de Lisboa. Her recent work privileges the study of Iberian modernisms and the avant‐garde. Resumo Este artigo analisa o...

In the 1955 movie The trouble with Harry by Alfred Hitchcock there is a dead body that keeps being buried but is always dug up again and persists as an unsolved problem. The same seems to happen with certain concepts, "primitivism" being one of them. We can argue, following D. Haraway (2016), that we should stay with the trouble, that is, we should stir it up, let it cause turbulence. This is what this conference proposes to do in the context of Iberian and transatlantic modernisms. The term "primitivism" is bonded to modernity and modernisms, and it was an important tool in the production of the twentieth-century master narrative in art history. It was used by art critics and the artists themselves, and the art historians who wrote them into history books and museums. The term "primitivism" regarded a certain use of the past, implying different understandings of what that past had been or could be when reenacted in the present. The "past" could be interpreted as a vague concept, often embedded with allochronism (Fabian, 1984), that is, it depended on the presupposition that real time was European (and North American) time. Therefore, there was a chronological hierarchy between what was considered developed and civilised, and what was considered underdeveloped and savage (or folklorist, or naïve, or exotic). "Primitive" objects were understood as belonging to an undetermined past, while "primitivist" modern art belonged to the real present time. "Primitivism" was also used as a derogatory term to classify and reject modernity and avantgarde, from the early twentieth century until the Nazi "degenerate" art exhibitions, and turning it to a positive stance meant to contradict conservative and censorial views on art and artists. Many influential approaches upheld this positive turn to the subject (Goldwater, Gombrich, Rubin). However, dealing with "primitivisms" in art history-in fact, the mere use of the term, with or without quotes-seems to underline each time a Eurocentric viewpoint (still highly prevalent, for example, in the recent two-volume publication by Philippe Dagen, Primitivismes, 2021). Several scholars have acknowledged and discussed the trouble with primitivism as part and parcel of modernisms and their historiography. Edward Said's criticism on "orientalism" (1978)

Cardoso (1887-1918) establece entre las indagaciones internacionales del modernismo y su regional "portugalidad". Somos conducidos así a la idea de que el origen portugués introduce en la obra de Amadeo, por putativa insuficiencia cultural y estética, un ingenuo provincianismo desprovisto de instancia crítica. Ese provincianismo lo haría apropiarse decorativamente de los célebres discos simultáneos de Robert Delaunay. Este artículo pretende discutir esa tesis, procurando demostrar que, lejos de la distorsión que se le atribuye, la apropiación "decorativa" que Amadeo hace de ese elemento se inscribe en un plano de resistencia cercano a la idea de "regionalismo crítico". Sobreviene, por fin, la hipótesis, desarrollada a partir del análisis de una tele de 1917, de que la invisibilidad de tales síntomas de resistencia sea sobre todo deudora de una perspectiva que asocia el modernismo a la superación de la representación en las artes plásticas.

A partir da análise comparada entre o Orfismo francês e o Orfeu português, surge um estreito diálogo entre literatura e pintura com referências e assonâncias surpreendentes entre o círculo de Pessoa e o casal Delaunay, refugiados em Portugal na altura da Primeira Guerra Mundial.

Abstract
The present article intends to ponder on the presence of modern African arts in the city of São Paulo, putting them into context through the critical and historical assessment of their reception and exhibition. This study approaches art exhibits as discourse creating spaces about modern African art, examining them through artistic, historical and political contexts, considering the reverberations caused across the historiography of art in Brazil.

Keywords: African modernisms, Africa, São Paulo Art Biennial, Modern Art.

________________

Resumo
Este artigo tem por objetivo refletir sobre a presença das artes modernas Africanas na cidade de São Paulo, contextualizando-as a partir de um ponto de vista histórico e crítico de suas recepções e exibições. O estudo toma as exposições de arte como espaços criadores de discursos sobre as artes modernas Africanas, analisando-as a partir de contextos artísticos, histórico e políticos, considerando as reverberações geradas por essas dentro da historiografia das artes no Brasil.

Palavras chaves: Modernismos Africanos, África, Bienal de São Paulo, Arte Moderna.

6 – Missions as Contact Zones: Migrating Artists, Material Objects, and Aesthetic Practices in a Global World Chairs: Carmen Fernández-Salvador, Universidad San Francisco de Quito, Quito Cristina Cruz González, Oklahoma State University, Stillwater
Leticia Squeff, Universidade Federal de São Paulo, São Paulo
Missions and missionaries played a key role in the migration of art objects, materials and technologies, and were also central to the circulation of formal conventions and styles between (and within) the Americas, Asia, Africa, and Europe. Because of this, missions are key in understanding colonial, imperial and global art history.
Missions are not just recipients of foreign visual traditions. In colonial Spanish America, for example, many of them were also important production and distribution centers, permitting the development of exchange networks that complicated center-periphery relations. Among the Guaraní, converts were skilled in the arts of painting, sculpture, and retable making, while in Chiloé, indigenous workshops also produced wooden retablos and sculptures for local churches. Missions were also highly innovative spaces, allowing for interpretation of artistic traditions from Europe and Asia, and experimentation with both local and imported materials and techniques. In Mainas, builders sought to reproduce the appearance of European churches, using palm trees and bricks painted with local pigments to mimic the color and texture of marble and jasper. Objects manufactured by indigenous artisans were also highly valued by collectors in major urban centers. Thus, featherwork ornaments manufactured in the missions of the Brazilian Amazon decorated churches in Belem and Para.
Great attention has been given to Christian missionary art in different parts of the world. However, Islamic missions in Africa and in Asia were also responsible for the dissemination of architectural forms and of calligraphy across a vast geographic space. Likewise, in present times, art continues to play a significant role in missionary work, demonstrating its adaptability to local conditions. This is the case of the recent portraits of Christ employed by members of the Church of the Latter Day Saints, which have been transformed to suit the concerns of believers in Latin America and in Africa.
Thinking about the mission as a contact zone, this session is particularly interested in the mission as a spiritual, architectural, and geographical space that allowed for complex artistic relationships. We are interested in the spread of diverse artistic traditions in a missionary context, but also on interpretations and adaptations of imported aesthetic practices as well as on local artistic production.Proposals that offer compelling case studies or emphasize unexplored geographies and circuits of exchange are encouraged, as are papers that theorize the study of art-and-mission and engage with the historiography and recent scholarship on the subject.

Introduction to the special issue on "Cold War networks and circulations: Cross-cultural Dialogues and Practices throughout the Global South (1957-1991)". This issue of REGAC aims to investigate to what extent the circulations and exchanges that arose from the cultural sphere and crossed with other disciplinary axes and fields of action not only reflected, but also participated in the subversion of Cold War policies. The vision of proximity offered by the case studies allows us to capture a plurality of expressions and reactions, and relate them both to the local circumstances of their emergence and to the global factors that affect their trajectories. The articles collected around four thematic axes - journals and magazines as platforms of communication and circulation; images at the service of solidarity and propaganda; the conditions of mobility of artists, as travelling agents; and the articulation of transnational politics and poetics - allow us to address different aspects of these movements and crossings in a transatlantic/pacific southern space that forms a political, social and cultural geography in movement.

In New York of the 1920s and 1930s, the Harlem Renaissance envisaged an emancipation of the Afro-American music and art scene as well as a growing art historical discourse on the art of the “New Negro” from a subaltern perspective. Thus, central intellectuals and artists such as Aaron Douglas, Alain Locke, W.E.B. Du Bois and James A. Porter consciously separated artistic practices and art historical counter-narratives of the Afro-American population from a white American identity, being profoundly aware of belonging to a diasporic culture.
Using the example of the artist Loïs Mailou Jones (1905-1998) and exploring Jones’ archives at Howard University, this talk sheds light on the multiple and evolving identification processes linked to ideas of belonging within the realm of the Harlem Renaissance. Jones’ long spanning career as artist and pivotal figure of Afro-Americans’ cultural and emancipation network reflects a period between the 1920s and 1970s. During that period, artistic and art historical practices and discourses shifted from the paradigm of “Negro Art” – a concept that was deeply rooted in French discussions on “art nègre” and the primitivism of the avant-gardes – to a perspective that strongly tied artists’ identities to a Black Diaspora. This broadened the geographical scope of their sense of belonging that encompassed the Caribbean, North America, Africa and Europe.
Jones followed her career at various places in different countries, but her choice of dwelling and working places was constantly reflecting underlying identity questions at stake. Being trained at Boston and having become a teacher at Howard University, her career was rendered possible by an educational framework that sought for the uplift of the Afro-American population. Studying and working in Paris in the 1930s, she established strong ties with the art of the Parisian avant-gardes and developed an artistic double consciousness (Du Bois) as artist of both western and African descent, (re)appropriating both Cézannian and primitivist artistic traditions. Her Parisian contacts with the Achille-family from Martinique and the central intellectual to the négritude movement Léopold Sédar Senghor made her discover more and more an artistic identity that was less locally rooted, but encompassed the broader scope of a Black Diaspora. From the 40s onward she led a life traveling and working between the USA and Haiti, organizing regularly research trips to multiple African countries and worked on one of the earliest cartographies and documentations of contemporary African art scene. Jones collaborated constantly with historians such as James A. Porter and Arturo Alfonso Schomburg on the decolonization of an art historical canon. Her works refer to multiple origins of art of the Black Diaspora, thus decentralizing western constructions of art history.
The example of Jones illustrates the various artistic identification practices as integral part of diasporic experiences. They often referred to an ‘imagined community’ (Benedict Anderson) that transgressed national or even cultural borders and related more to imaginaries of a Black Diaspora or Black Atlantic (Paul Gilroy). Jones’ case shows that unlike many artistic movements and theories of the early 20th century, that drew on cultural or national ‘roots’, the art of the Harlem Renaissance took ‘routes’ (James Clifford) – practices of displacement and transfer – as a starting point.

Resumen. Este artículo presenta un estudio y análisis detallados de los vestidos-poema (robes-poèmes) de Sonia Delaunay (1922-1923), un claro ejemplo de creación vanguardista basada enla síntesis de pintura y poesía. Se proporciona una recopilación de estos vestidos poemáticos, así como la transcripción y autoría de los poemas incluidos en ellos. A lo largo del artículo se analizan los vestidos-poema desde una perspectiva de género. Se vinculan, así, a una noción del arte de vanguardia comprometida con la idea de la fusión de arte y praxis vital; y se calibra, en consecuencia,el papel desempeñado en este terreno por las artistas de las vanguardias históricas frente al de sus compañeros de filas masculinos.

[en] Text&Image in the Avant-garde Art: the Dress-poems by Sonia Delaunay
Abstract. This article presents a detailed study and analysis of the dress-poems (robes-poèmes) by Sonia Delaunay (1922-1923), a clear example of avant-garde creation based on the synthesis of painting and poetry. We procure a detailed compilation of these dress-poems, as well as the
transcription and authorship of the poems included in them. Throughout the article the dresspoems are analyzed from a gender perspective. They are linked, thus, to a notion of avant-garde art committed to the idea of the fusion of art and vital praxis; and, consequently, the role played in this field by the women artists of the avant-gardes is compared to that played by  their male colleagues.

This chapter focuses on Clement Greenberg, the New York art world's foremost Jewish critic during the postwar period, for the purposes of bringing to the surface the unacknowledged role of Jewish and their negotiations of their place in the history of American art, the "New York art world," and art criticism, In this book, Greenberg serves as a place holder for naming a set of problems around the whitening of Jewish immigrants and immigrant culture in the United States, a process that indeed established a monolithic and flattened idea of Jewishness in the 1940s. The mechanisms through which the American art establishment banished specificity with claims to the universal, most notably through the writings of Greenberg, promoted art world dogmas and norms (Abstract Expressionism, the myth of the individual genius, New York as the center of the art world) that silenced Jewish specificity and Jewish identity, just as Jews were becoming, for the first time, a strong visible presence in the arts.

Tulisan ini bertajuk 'Muslim yang Tersadarkan' (diterjemahkan ulang dari artikel berbahasa Inggris, Muslim Conscientization, dipresentasikan oleh penulis di CAIS-ANU). Tulisan ini memotret ekspresi para sarjana yang mengajukan gagasan mengenai Ummah yang kosmopolitan namun juga pluralis, progresif dan ijtihadis. Para sarjana dan gagasannya yang dibicarakan adalah James Piscatori, Amin Saikal, Bernard Lewis, Olivier Roy dan Asef Bayat.

Dos exposiciones, que tuvieron lugar en un corto intervalo de tiempo, sirven como punto de partida para examinar la red de intercambios artístico-culturales entre la modernidad india y la vanguardia alemana a comienzos de los años veinte. En 1922 una muestra con obras de la escuela de arte Bauhaus fue inaugurada en Calcuta. Al año siguiente, 1923, acuarelas modernas indias se exhibieron en Berlín. En torno a estas dos exposiciones se generó un debate teórico, tanto en la prensa india como alemana, que formuló la modernidad india y proclamó las afinidades entre la vanguardia alemana e india ya en los años veinte, planteando así la existencia de una modernidad mundial.


Two exhibitions, which took place within a short space of time, serve as a starting point to study the network of artistic and cultural exchanges between Indian modernism and German avant-garde in the early twenties. In 1922, a major Bauhaus art exhibition was held in Calcutta. In 1923, the following year, modern Indian watercolours were shown in Berlin. These two exhibitions generated a theoretical debate in both the Indian and the German press, in which Indian modernism was formulated and the affinities between Indian and German avant-garde were acclaimed as early as the 1920s, thus establishing the existence of a worldwide modernism.

DOI: https://doi.org/10.7301/Z02J6923
Date Issued: Spring 2017

In revisiting the historical circumstances and material culture of the generation of Orpheu, this special issue is largely driven by a historiographical aim of reconstructing the socio-cultural context of the earliest modernist manifestations in Portugal and to sketch a kind of ‘sociography’ of Orpheu, its milieu and its time, which includes the larger international context of the outbreak of WWI and contemporary phenomena in the cultural field [...] In considering that the modernism of the generation of Orpheu is not satisfactorily explained solely through an aesthetic critical lens, contributions to this issue draw on concepts which originate in the social sciences and are predominantly used in the field of cultural studies, such as internationalization, transnationalism, cosmopolitanism, materialization or synthesis.

El recuerdo de (José) Campeche siempre ha subsistido en nuestra Antilla»: la construcción de un ícono nacional puertorriqueño Elsaris Núñez Méndez [email protected] Ponencia presentada en III Congreso Nacional de Jóvenes Historiadores del Arte, Universidad de Murcia, España.

Decenterings and Regionalisms: An Intercrossed History of the Havana and Dakar Biennials

This research intends to investigate the role of two strategic projects in the visual arts field – the biennials of Havana (1984) and Dakar (1990/92) – in view of political, intellectual and cultural exchange between Africa and Latin America during the 1980s and 2000s. These exhibition platforms are discussed with regard to their programs, agents and discourses, and reviewed in light of the recent contributions from the history of exhibitions to the discipline of Art History, from a non-European perspective. In order to map and confront their historical and social insertion modalities, I make use of the notion of Histoire Croisée, put forth by Michael Werner and Bénédicte Zimmermann, as a methodological tool in the field of relational theories. This premise enables a broader contextualization of the exhibition platforms at hand, putting in perspective the emancipatory projects carried out by the non-aligned countries during the Cold War, the emergence of the notions of pan-Africanism and blackness in the Senegalese context, and Cuba’s anti-imperialistic ideology and cultural policies outlined between the 1950s and the 80s. In addition, it is worth noting that this research is underpinned by a set of perspectives that converse with the fields of anthropology of art, sociology of culture and political geography.

Glass, H.G.L and Franks, P.E (1989) : The implications of migrant labour for the development of a post-modern South Africa.  Paper presented to the XXIXth International Congress of the International Institute of Sociology, Rome, Italy, 12 - 16 June.

Franks, P.E. (1988) Perception and Misconception in the Workplace: Towards a management beyond Baasskap. enviroscan, Institute of Personnel Management (IPM) Information Services Unit: Briefing Document #2, April.
Based on an earlier version of this paper:
Franks, P.E (1987)  Perception and misconception in the work place.  Invited address, Perceptiology/Persepsiology: Seminar on Perceptions presented by the Public Relations Institute of South Africa (Southern Transvaal), Witwatersrand Technikon, Johannesburg, 29 September.

 Now the whole earth had one language and few words. And as men migrated from the east, they found a plain in the land of Shinar and settled there. And they said to one another, "Come, let us make bricks, and burn them thoroughly." And they had brick for stone, and bitumen for mortar. Then they said, "Come, let us build ourselves a city, and a tower with its top in the heavens, and let us make a name for ourselves, lest we be scattered abroad upon the face of the whole earth."  And the Lord came down to see the city and the tower, which the sons of men had built. And the Lord said, "Behold, they are one people, and they have all one language; and this is only the beginning of what they will do; and nothing that they propose to do will now be impossible for them. Come, let us go down, and there confuse their language, that they may not understand one another's speech."  So the Lord scattered them abroad from there over the face of the earth, and they left off building the city. Therefore its name was called Babel, because there the Lord confused the language of all the earth; and from there the Lord scattered them abroad over the face of the earth. -Genesis 11.