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C O N C E P T U A L I S M O
G L O B A L :
P U N T O S D E O R IG E N 1 95 0 1 98 0
G L O B A L
C O N C E P T U A L I S M :
POINTS OF ORIGIN, 1950-1980
Q U E E N S M U S E U M O F A R T . Q U E E N S , N U E V A Y O R K , 2 8 D E AB R I L - 2 9 DE A G O S T O , 1 9 9 9
R S H E E D R E E N
Me dirijo a usted para llamar su atencin sobre la exposi
cin arriba indicada, cuyo propsito afirma ser el si
guiente:
El conceptualismo global estudia esos momentos
clave en los que artistas de diversos lugares del mu nd o co
mienzan a crear arte conceptual como medio para cues
tionar la hegemona de los objetos sobre las ideas en el
mundo del arte, criticar la institucionalizacin de ste
tanto en los museos como en las economas modernas, y
encon trar una nueva funcin para el arte y los artistas en
el seno de la sociedad, mediante su compromiso en la
protesta social y poltica.
En una carta que la Directora de Exposiciones Jane
Farver me escribi en 1994, deca lo siguiente:
Buscamos artistas que hayan sido ignorados o ex
cluidos de la corriente m ayoritaria en el conceptualismo,
as como obras q ue integren los discursos artstico y po l
tico y surjan de profundas convicciones ticas. Nuestro
propsito es acercarnos al arte basado en las ideas en el
contexto de las culturas que generan esas ideas... Una cui
dada seleccin de obras producidas entre mediados de la
dcada de 1950 y finales de la dcada d e 1970...
Ala vista de lo ocurrid o en esta exposicin, en la que
unos han sido incluidosyotros excluidos, es evidente q ue
su pretendido carcter global ha resultado ser falsoytam
poco ha cumplido los fines anunciados. Lo cierto es que
supon e un engao al pblico, pues se transm ite la impre-
Tm wr i t i ng to dr aw your a t t en t ion to t he above exhib i t i on
which makes the fol lowing claim:
G l o b a l C o n c e p t u a l is m e x a m i n e s k e y m o m e n t s w h e n
ar t ists in var ious locales around the world began to crate
conceptua l a r t as means to ques t ion the hegemony of
objects over ideas in art, criticize the way art is
i ns t i t u t i onal i zed both i n museums and in modern economies ,
and f ind new role for art and the artist in society by
involving ar t in social and pol i t ical protest .
In a letter to me in 1994, the Director of Exhibitions
Jane Farver wrote to me:
'We ar e seeking ar t i s t s who have been ignored or
excluded by mains t r eam account s of conceptua l i sm, and
looking for works which integrated ar t ist ic and pol i t ical
discourse and which stemmed f rom intense ethical
convict ions. Ou r intent ion is to look at idea-ba sed a r t in the
context of cul tures that generated the ideas. . . A revised
appraisal of works produced f rom the mid-1950s to the late
1970s. . . '
In the l ight of the actual exhibi t ion, regarding who is
include d a nd exclud ed f rom i t, it is clear tha t the claim of the
global has t urned out t o be noth ing but bogus one . Nei ther
has it fulfilled its declared intention. It 's in fact now deceiving
the publ ic by giving an impression that i t 's ' revising' the
history of Conceptual Art by including in i t ar t i sts f rom Lat in
7/21/2019 Conceptualismo Global: Puntos de origen 1950-1980
2/8
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Rasheed Araeen. Fire/, 1975..Cortesa/Courtesy KalaPress,Londres.Foto/Photo;Elena Bonzanigo
sin
de
que
se
est revisando
la
historia del arte con
ceptual para incluir en esta categora a artistas proceden
tes de Iberoamrica, Europa del Este, frica y Asia (con
independencia desimereceno noser tratado s com oar
tistas conceptuales,a excepcin de los artistas japoneses
de la dcada de 1950 y de algunos a rtistas corean os que s
son dignos de tal reconocim iento), y dejar tras de s este
America , Eastern Europe,
and
som e artists from frica
and
Asia (irrespective
of
whether they deserve
to be
treated
as
conceptual ar t is ts
or
not, with
the
except ion
of
lapanese
ar t is ts
of
the 50 's
a nd
som e Korean ar t is ts who r ight ly deserve
to
be
recognised
in
this respect),
an d it's
going
to get
a wa y
with th is decept ion because
of
the gene ra l igno rance
in the
7/21/2019 Conceptualismo Global: Puntos de origen 1950-1980
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engao habida cuenta de la ignorancia generalizada que
existe en Occidente con respecto a los hechos que las ins
tituciones deciden silenciar.
El fracaso d e la antecitada exposicin tiene su origen
en la suposicin de que los artistas ignorad os o excluidos
de la corriente mayoritaria lo han sido por el hecho de
pertenecer a pases de Iberoamrica, y que en el caso de
Europa del EsteyAmrica del Norte n o hab ra tal proble
ma. Esta percepcin se corresponde con la tendencia que
en el momento presente predomina en las instituciones
artsticas occidentales, en virtud de la cual se invita a ar
tistas extranjeros particularm ente cuand o su obra alude
a sus propias culturas a participar en estas supuestas ex
posiciones globales, mientras que se ignora sistemtica
mente a artistas de raza no blanca que han desempeado
un papel capital en las vanguardias po sblicas y en el arte
conceptual de Occidente.
Ofrezco a continuacin una cronologa de la histo
ria silenciada del arte de vanguardia y conceptual en el
Reino Unido, para que pu edan ustedes juzgar por s mis
mos.
L HISTORIA SILENCIADADELARTE DE VANGUARDIA
YCONCEPTUALEN ELREINO UNIDO TRASL SEGUN
D GUERRA MUNDIAL
1955- Iqbal Geoffrey afirma haber realizado un cuadro
con cebollas y manzanas autnticas. Labore, Pa-
quistn.
1956-
Iqbal Geoffrey declara que un rbol vivo es una es
cultura suya. Labore, Paquistn.
1958-
John Latham (nacido en Rodesia del Sur, hoy Zim-
babwe) comienza una serie de trabajos en Londres
con libros quem ados y pegados sobre el lienzo.
1959-
Rasheed Araeen recoge en la calle un aro de metal
retorcido, se lo lleva a casa y lo coloca sobre un
lienzo, declarando que se trata de una escultura.
Poco despus, quema dos ruedas de bicicleta en un
mo ntn de basura (anticipndose a la quema ma
siva de neum ticos qu e realiz el pueblo de Paqu is
tn en 1968 como acto de protesta co ntra la dicta
dura militar de Ayub Jan), que al quemarse se con-
West about the actual facts that have been institutionally
suppressed.
The failure of the above exh ibition is based on an
assumption that it's the conceptual artists from frica and
Asia, and to some extent from Latn Amerca, who have been
ignored or excluded from mainstream accounts; and that as
far as Western Europe/North America Is concemed there
couldn't be such problem. This perception fits into an d
conforms to o general tendency among the Western ort
instltutions today, by whlch artists from abroa d are invited
- particularly when their works allude to their own cultures
to take pa rt in their so-called global exhibitions, while non-
white artists who have been a historically impo rtant part of
the postwar avantgardism and conceptual art in the West ar
continually ignored.
I endose here
chronology of suppressed history of
avantgardism and conceptualism in Britain, so that you can
make your own judgement.
A SUPPRESSED HISTORY OF AVANTGARDISM AND
CONCEPTUAL ART IN POSTWAR BRITAIN
1955-
Iqbal Geoffrey claims to have made painting by the
use of actual onions an d app les, Labore, Pakistn.
1956- Iqbal Geoffrey declares a live tree as his sculp ture.
Labore, Pakistn.
1958-
John Latham (bom in South Rhodesia, now Zimbabw
begins a series of works in London by bu min g books
and sticking them on canvas.
1959- Rasheed Araeen picks up a twisted metal hoop from
the Street, takes it to his home and by putting it on
table declares it sculpture. A week later, he bum s
two bicycle tyres on buming rubbish heop
(anticipating mass buming of tyres by people in the
cities of Pakistn in 1968, as part of the protest
demonstrations against the military dictatorship of
Ayub Khan), which when b um t become four twisted
metal hoops. The work is repeated and documented i
1975 in London.
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1960
1961
1962
1963
1964
1964
1964
1965
virtieron en aros de metal retorcidos. La obra fue
repetida y documentada en Londres, en 1975.
- Gustav Metzger (nacido en Alemania, en el seno
de una familia juda ortodoxa obligada a huir del
pas durante la persecucin nazi) publica su Pri
mer Manifiesto de Arte Autodestructivo en Lon
dres.
Iqbal Geoffrey llega a Londres y produce una serie
de pinturas casi negras: en una de ellas (Letter to
my Girlfriend), garabatea con p eque os caracteres
urdu
la palabraNeelo(una actriz entonces famosa
en Paquistn), incomprensible para el pblico eu
ropeo.
- David Medalla (nacido en Filipinas) llega a Lon
dres.
Gustav Metzger (miembro fundador del
Comit de
los ien-escisin de CN D - que organiza manifes
taciones callejeras y sentadas contra la Bom ba N u
clear) proclama ante una audiencia congregada en
South Bank, Londres, su concepto del Arte Auto-
destructivo, rociando cido sobre grandes lienzos
tensados que posteriormente se queman y desinte
gran.
Rasheed Araeen, an en Karachi, crea una serie de
dibujos m inimalistas, a base de lneas trazadas con
rotulador mediante un movimiento curvilneo y
vertical de la mano; esta obra seminal se transfor
mara ms tarde en sus estructuras minimalistas.
David Medalla crea su prime ra escultura con espu
ma en P ars.
David Medalla regresa a Londres y construye una
serie de esculturas de espuma llamadas mquinas
de burbujas, seguidas por mqu inas de arena y m
quinas de barro.
John Latham comienza sus ceremonias en la Skoob
Tower, donde se queman ritualmente esculturas
creadas con libros.
Rashid Araeen llega a Londres.
David Medalla publica su
MMMMMMM Mani-
fiesto donde propon e una serie de esculturas con
ceptuales y vivas (en su mayora irrealizables) que
respiran, transpiran, tosen, ren, bostezan, sonren,
- Gustav Metzger (born in Germany, son of an
Orthodox Jewish family, torced to leave Germany due
to Nazi persecution) issues his First Manifest of Auto-
Destructive Art in London.
1960- Iqbal Geoffrey arrives in London, a nd producesa series
of almost blank paintings: in one p ainting (Letter to
my Girlfriend) he scribbles in sm all Urdu letters the
word Neelo (then a famous actress in Pakistn),
which is incomprehensible to European audience.
- David Medalla (born in the Philippines) arrives in
London.
1961- Gustav Metzger (a founding m embe r of the Comm ittee
of Hund red - a n offshoot of CND - which o rganise
Street demostrations and sit-ups against the Nuclear
Bomb) demonstrares, in front of a gathered audience
at the South Bank, London, his concept of Auto-
Destructive Art by spraying acid on a large stretched
canvas which consequently bums and
disintegrates.
1962-
Rasheed Araeen, while in Karachi, makes a series of
minimalist drawings comprising felt-pen lines
produced by the vertical curvilinear movement of the
hand;
a
seminal work which is loter transformed into
his minimalist structures.
1963-David Medalla makes his first foam sculpture in Paris.
1964- David Medalla returns to London, and constructs a
series of foam sculptures called bubble machines,
followed by sand machines and mud machines.
1964-
John Latham begins his Skoob Tower ceremonies, in
which sculptures ma de of books are ritually bum t.
1964- Rasheed Araeen arrives in London.
1965-
David M edalla issues his MMMMMMM... Manifest, in
which he proposes a series of conceptual and uve (but
mostly unrealisa ble) sculptures tha t brea the, perspire,
cough, laugh, yaw n, smirk, wink, pant, dance, walk,
crawl...
- Rasheed Araeen conceives a series of minimalist
sculptures, comprising symmetrically arranged steel
girders, before the Minimalist movement takes shape
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l
hacen guios , jadean, bai lan, caminan, reptan. . .
- Rasheed Araeen concibe una serie de escul turas
minimalistas, entre las que figuran vigas de acero
dispues tas s imtricamente , antes de que e l movi
m ien to m in im a l i s t a tom e fo rm a y s ea reconoc ido
en Estados Unidos . En 1966 real iza una serie de
trabajos basados en celos as (gras) empleadas en
la cons truccin.
- Li Yuan Chia (Ch ina) se ins ta la en Inglate rra t r as
un breve perodo en I ta l ia .
1966- David Medalla propone la idea de Pueblo Despega-
ble ,
presenta do en form a de col lage fotogrfico.
- Gustav Metzger organiza
Destruction In Art Sym-
posium (DAS),
con la part ic ip acin d e Wolf Vos-
tell,
Ivor Davies , Herm ann Ni t s ch , Yoko Ono y
John La tham . Com o re su l t ado de l a pe r fo rm ance
de Nitsch, Metzger es arres tado y declarado culpa
b le ( jun to con John S ha rkey) , adem s de conden a
do a paga r una m ul ta .
1967 - L ia Yuan Chia com ienza a p rodu c i r obras m a nipu -
lables con objetos imantados ( ta les como crculos ,
t r i ngu los , e t c . , p in tados o acom paados de fo to
grafas) , que pueden moverse para crear diferentes
formas .
- John Latham, como reaccin a l rechazo ofic ia l
ante su ins is tencia en la importancia del factor
t iempo en e l arte , mast ica y reut i l iza un e jemplar
de la obra Art and Culture , de Greenburg, lo que
motiva su expuls in de la S t . Mart in ' s School of
Art , donde daba c lases desde 1965.
- David Medalla , junto con Paul Keeler y muchos
de sus amigos m sicos y poetas , inic ia la
Exploding
Galaxy,
un a confluencia c int ica de explo radores
mult imedia , ac tuando en lugares pblicos de Lon
dres , Gra n Bretaa y e l con t inen te . (David Medalla
y a lgunos m iem br os de l aExploding Galaxy son de
ten idos por pasea r im prop iam ente ves t idos por
Kings Road, Londres) .
1968-
Rasheed Araeen enva una propues ta a l Ins t i tute of
Co ntem pora ry Ar t ( ICA) que subv ie r te l a idea de l
m in im a l i sm o com o es t ruc tu ras f i j a s co locadas en
la galera por el artista como declaracin final. La
and is recognised in the US;foUowed in 1966 by
a
series of works bosed on the lattice structures (cranes
used in constructions.
- Li Yuan Chia (bom in China) comes to live an d
work in Eng land, after
a
brief period in Italy.
1966-David Medalla proposes the idea of a Peelable Villag
presented in the form of
a
photo collage.
- Gustav Metzger organises 'Destruction In Art
Sympo sium (DAS)' in w hich Wolf Vostell, Ivor Davie
Hermann Nitsch, Yoko Ono and John Latham take
part. As a result of Nitsch's performance, Metzger is
arrested and charged (with John Sharkey) and is fine
100.
1967-
Li Yuan Chia begins to make manipulatable works, i
which magnetized objects - such as circles, triangles,
etc., either painted or with photos - can be moved
around to make different conflgurations.
- John Latham, as
a
reaction to official disapproval
his stressing the importance of time in art, chews an
distils the library copy of Greenburg's A rt and Cultur
which led to his being dismissedfi omSt. Martin's
School of Art where he began teaching in 1965.
- David Med alla, together with Paul Keeler an d ma n
of his poet and musician fnends, initiates the
Exploding Galaxy -
a
kinetic confluence of
transmedia explorers' - and they all together perform
in public places in London, Britain and the Continen
(David Medalla and some members of the Exploding
Galaxy are arrested for wearing unusual clothes in
King's Road, London).
1968- Rasheed Araeen sends a proposal to th e Institute of
Contem porary Art (ICA) for a work wh ich would
subvert the idea of minimalism as fixed structures
placed in the gallery space by the artist as
a
final
stateme nt. The work initially comprises a minim alis
sculpture, comprising 100 structural cubes (18 x 18
each) arranged by the artist in 10 x 10 conguration
and placed on the floor, and then this work is
continually dismantled and formed into different
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obra consta inicialmente de una escultura minim a
lista integrada p or 100 cubos estructurales (45 x 45
cm) d ispuestos po r el artista en hileras de1 x1 y
colocados en el suelo, para que el pblico de sman
tele la obra a su a ntojo y cree diferentes estructuras
mientras dure la exposicin.
1969- David Medalla propone el lanzamiento de la Gran
Muralla China alrededor de la luna, en forma de
coUage fotogrfico.
1969-Li Yan
Chia realiza su segunda exposicin en la Lis-
son Gallery, que incluye objetos mvilesymanipu
labas entre los que figura una instalacin formada
por un columpioyhojas de oto o esparcidas por el
suelo.
1969-
Rasheed Araeen concibe u na serie de discos acuti
cos flotantes, que comprende discos del mismo ta
mao en medidas simtricas (4 x 4), con la inten
cin de lanzarlos a los ros para que finalmente lle
guen a los mares y se dispersen po r tod o el planeta.
1970- 23 de febrero: Rasheed Araeen lanza en compaa
de algunos amigos los primeros discos flotantes
(Chakras) en los muelles de Santa Catalina (Lon
dres) y sigue atentamente su avance diario du rante
dos semainas; en junio de ese mismo ao cuelga
cuatro estructuras cbicas de un rbol frente a la
estacin de Euston; en septiembre lanza 16 discos
de poliestireno del mismo tamao al ro Sena, en
Pars.
1971 - Rasheed Araeen concibe una obra que integra
grandes discos acuticos con seres humanos de pie
sobre ellos que flotan por los ocanos del mundo.
1972- David Medalla y John Dugger exponen en la Sigi
Krauss Gallery una serpiente p itn viva; ms tarde
participan en la Docum enta 5 de Kassel. De regre
so a Londres crean el rtistLiberationFront que
trabaja activamente en defensa de los trabajadores
britnicos y del mundo entero; asimismo, realizan
una exp osicin conjunta en el ICA en protesta co n
tra la declaracin de laLeyMarcial en Filipinas po r
parte del presidente Marcos.
1973-Rasheed A raeen ejecuta or Oluwale(concebida en
1971) durante una exposicin organizada en la
structures by the audience every day oftheperiod of
the exhibition.
1969-
David Medalla proposes sending ofTheGreat Wall of
China around the Moon, presented in the form ofa
photo-coUage.
1969-LiYuan Chia holds his second exhibition at the Lisson
Gallery, comprising moveable and manipulatable
objects, including an installation comprising
a
swing
and autumn leaves on the floor.
1969- Rasheed A raeen conceives a series of floating
waterdiscs, comprising same-size circular discs of
symmetrical num bers (4 x 4), to be released in rive rs
with the idea that they will eventually end up in the
sea and will disperse all around the world.
1970- February
23:
Rasheed Araeen performs, with some
friends, the
irst
loating of waterdiscs (Chakras) at St.
Katherine s Docks, London, a nd documents their
movement every day for two weeks; in June, he also
hangs 4 cube structures from a tree in front of Euston
Station; and in September, he releases 16 polystyrene
equal-size waterdiscs in to the River Seine, Paris.
1971-
Rasheed Araeen conceivesawork comprising large
waterdiscs, with human beings standing on them and
floating on water in the occeans oftheworld.
1972- David Medalla and John Dugger show at Sigi Krauss
Gallery, in whichalive python is used; and they
particpate together in Documenta 5, Kassel. On
retum to London they form the Artist Liberation Front,
which campaigns in support of
workers
in Britain and
abroad; and they also jointly put on an exhibition at
theICAin protest against Marcos declaration of
Marshal Law in the Philippines.
1973-
Rasheed Araeen executes For Oluwale (conceived,
1971) during an exhibition at the Swiss Cottage
Library, comprising a 4 x 4 ft display board which is
changed every week for four weeks. The material
displayed comprises a newspaper clipping about th e
death of Oluwale,aNigerian, who died as a result of
plice brutality, a newsletter oftheBlack Panther
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Swiss Cottage Library. Esta obra consta d e un panel
de 120X120 cm qu e cambia todas las semanas d u
rante cuatro semanas. El material exhibido en el
panel incluye: un recorte de peridico sobre la
mu erte de Oluwale, un nigeriano que m uri a con
secuencia de la brutalidad policial; un boletn in
formativo de los Panteras Negras londinenses,
don de se muestra la represin policial contra la co
munidad negra en general; propaganda sobre la
manifestacin contra la visita a Inglaterra del dic
tado r fascista p ortug us, etc., etc.
1974- David Medalla es cofundado r de
Artistsfor Demo-
cracy un a extensa organizacin d edicada a ofrecer
apoyo material y cultural a los movimientos de li
beracin del mu ndo entero.
- Rasheed Araeen concibe una obra que consta de
16 juegos de 16 discos acuticos, pintados por un
lado de rojo y con la inscripcin Abajo el imp eria
lismo cultura l por el otro lado; los discos se lanza
rn a los mares y ocanos simultneamente desde
16 pases diferentes (en su mayora de frica, Asia
e Iberoamrica) el mism o da y a la misma hora de
tal modo que slo se vean los lados rojos flotando
sobre el agua.
1975-
Artists for Democracy
se traslada a un squat de
Whitfield Street, en Lon dres.
- Rasheed Araeen se une a rtistsforDemocracyy
crea una obra especial para su festival Victory in
Vietnatn:un coUage fotogrfico con una especie de
pintura que alude a la bandera estadounidense (y a
los cuadros de banderas de Johns) sobre otra ban
dera vietnam ita cuya estrella incluye una fotografa
del Vietcong victorioso m archa ndo sobre Saign; a
continuacin se prende fuego a la bandera supe
rior, que al quemarse revela lentamente la bandera
vietnam ita, que est debajo. El proceso de creacin
de la bandera estadounidense, su quem a y cmo
va revelando poco a poco lo que intentaba supri
mir, se doc um enta en una secuencia de 16 fotogra
fas en blanco y negro.
- Rasheed Araeen lanza (con ayuda del poeta Mah -
Movement' in London, showing plice violence
against black people in general, publicity material
about the public demo ag ainst the official visit to
Englond of Portugal s fascist dictator, etc. etc.
1974- David Medalla co-founds 'Artist for Democracy',
a
broad organisation dedicated to 'giving material and
cultural support to liberation movements woridwide
- Rasheed Araeen conceives a work comprising 16 s
of 6waterdiscs, painted on one side red and the ot
with the w ords 'Down with Cultural Im perialism', to
be released into the seas or oceans simultaneously
from 16 different countries (mostly from frica, Asia
and Latin America) at the same time and on the sam
doy in such a way that only the red sides are seen
floating on the water.
1975-'Artist for Democracy' moves into a squat in Whitfiel
Sfreet, London.
- Rasheed Araeen joins 'Artists for Democracy' and
make a special work for its 'Victory in Vietnam'
festival: a photocollage produced by placing a sort o
painting alluding to the Am erican 'flag' (referencing
Johnsflagpaintings) over a painted Vietnamese fla
whose star includes a photo of victorious Vietcong
entering Siagon; the top 'flag' is then set
fire
slowly
bum ing to reveal the emerging Vietnamese 'flag'
und eme ath. The whole process of moking American
'flag' painting, the buming and revealing what it tri
to suppress, is documented in a sequence of 6bficw
photos.
- Rasheed Araeen begins writing 'Preliminary Notes
for a
BLACK
MANIFEST',aconceptual art work in
which the readers are invited to participte. The fin
versin is completed a t the end of 1976.
1977-
The premises of 'Artist for Democracy' are closed dow
Itsfinalactivities include Rasheed Araeen's 'Paki
Bastard' performance an d D avid M edalla's
participation work 'Eskimo Carver.'
1978-Rasheed Araeen launches (with the help of poet
Mahmood Jamal) the art magazine
Black
Phoenix
7/21/2019 Conceptualismo Global: Puntos de origen 1950-1980
8/8
mo od Jamal) la revista de arte
lackPhoenix,
don
de publica su
M anifiesto Negro,
texto que formula
y propone una nueva concepcin del arte interna
cional ms all de la dom inacin de Europa y Esta
dos Unidos y del monopolio de su discurso y su
historiografa, que excluye a todos los artistas que
no sean blancos y europeos, aun cuando vivan y
trabajen en las metrp olis occidentales;
{Manifies
to Negro se publica tambin en Studio Internatio
nal ;
Black Phoenix
cierra despus de sacar 3 n
meros.
1982- Rasheed Araeen lanza
Third Text
como resurrec
cin y continuacin de
B lack Phoenix,
un trabajo
de arte conceptual enelque invita a participa r a to
dos aquellos interesados en el debate sobre el dis
curso artstico que va ms all del mo dern ism o eu-
rocntrico, a la vista del proceso histrico de des
colonizacin del mun do y como parte de ste.
1989-
Rasheed Araeen desafa la visin establecida de la
historia del arte en Gran Bretaa tras la Segunda
Guerra Mundial en su muestra
The Other Story,
que se expone en la Hayv^ard Gallery de Londres
entre noviembre de
1989
y febrero de
199
y mues
tra la con tribucin de los artistas afroasiticos a la
corriente mayoritaria. La exposicin es denostada
por la mayora de los crticos de arte (blancos), y
sus revelaciones siguen siendo ignoradas por los
comisarios y los historiadores del arte.
1999- Rasheed Araeen compila u na crono loga de la his
toria silenciada del arte de vanguardia y co nceptual
en Gran Bretaa tras la Segunda Guerra Mundial.
NOTA: Incluimos en esta cronologa a John Latham, aunque hoy es
un miembro reconocido de la vanguardia britnica, porque an no
goza del debido reconocimiento. Gustav Metzger ha sido ignorado
hasta muy recientem ente, y todava espera el mom ento de entrar en la
historia oficial. Ambos artistas han sido excluidos, junto con todos los
dems men cionados en esta cronologa, de la muestraConceptualismo
lobal Puntos de origen. 1950-1980, Queens Museum of Art, Nueva
York.
which he publishes . . . Black Manifest which
formulotes and proposes a new concept of
intemational ar t beyond the (s t i l l ) prevail ing
European-Nor th Amer ican domina t ion and monopoly
of i ts disecarse and his toriography from wrhich those
who are not white-European art is ts are excluded even
whe n they Uve an d work within the W estern
metrpolis ; ( . . .Black Manifest is a lso published in
Studio Internat ional) , Black Phoenix is shelved after 3
issues.
1982- Rasheed Araeen begins researching the his tory of the
work of Afncan and Asian ar t is ts in Bri ta in in order to
challenge the off lcial his tory of ar t in postwar Bri tain
from which these ar t is ts were, and continu to be,
excluded.
1987-
Rasheed Araeen launches Third Text , as the second
resurrect ion and continuity of Black Phoenix, a
conceptual ar t work in which he invites al l those who
are interested in a debate or ar t discourse which gees
beyond the Eurocentr ici ty of modemism to part ic pate
in it, in view of and part of the historical process of
the decolonisat ion of the world.
1989- Rasheed Araeen challenges the established view of
history of ar t in postwar Bri ta in by the The Other
Story exhibi t ion at the Hayward Gallery, London,
Nov. 1989-Feb. 1990, which shows the contr ibution of
Afro-Asian ar t is t to the mainstream developments .
The exhibi t ion is denounced and dismissed by most
(white) ar t cr i t ics , and i ts revelat ions continu to be
ignored by art curators and his torians.
1999-
Rasheed Araeen compiles a chronology of the
suppressed h i s to ry o f avan tga rd i sm and concep tua l
art in postwar Bri ta in.
NOTE: We include here John Lath am, a ltho ugh he is now
recognised as part of the British avantgarde, because he has not
receved the wide recogniton he deserves. Gustav Metzger has
been ignored until only recently, but he still have to enter the
offlcial history. Both of these artists have been excluded, along
with the rest in the chronology, from Global C onceptualism:
Points of orign, 1950-198 0 at the Q ueens Mu seum of Art, N.Y.
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