An ‘Imperative to Interrupt’
Radical Aesthetics, Global Contexts and Site‐Specificity in the Recent Work of Doris Salcedo
Bibliographic Data
| ID | 12225341 |
|---|---|
| Authors | Elizabeth Adan (corresponding author) |
| Year | 2010 |
| Volume | 24 |
| Issue | 5 |
| Pages | 583-596 |
| Publication date | 2010-08-23 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Third Text (JOURNAL) |
| Journal identifiers | ISSN: 0952-8822 • E-ISSN: 1475-5297 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/09528822.2010.502776 |
| OpenAlex | W2006467132 |
| Language | EN |
| Citations received | 1 |
In the field of contemporary art, few exhibition sites have become more associated with globalisation than biennials, art fairs and related venues. However, as biennials have spread around the world their critical investments and political potential have come under increasing scrutiny. Working in biennials and related contexts in locations ranging from Bogotá and Istanbul to London, Doris Salcedo (b 1958) has produced a series of recent artworks (2001–2008) that use site‐specificity to interrogate the status and meanings of global contexts. In particular, Salcedo deploys site‐specificity in ways that challenge official histories of various locations, exhibition venues and art institutions, constituting a radical resistant artistic practice that targets the dichotomies of 'first' and 'third' world, or centre and periphery, that continue to inform discourses on globalisation
Aesthetics · Art · Art history · Contemporary art · Doris (gastropod · Exhibition · Globalization · Performance art · Political science · Politics · Scrutiny · Sociology · Visual arts · Art, Politics, and Modernism · Law
| Citations per year | 0.5 |
|---|---|
| Citation span | 2024 - 2024 (1) |
| Highly cited | No |