conceptualismo global: puntos de origen 1950-1980

7/21/2019 Conceptualismo Global: Puntos de origen 1950-1980

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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


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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


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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


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.

conceptualismo global: puntos de origen 1950-1980

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