Contemporary Interpretation of Globalisation - Essay Example

Understanding the clear definition of globalisation needs to be traced back to the 1960s, the year the term globalisation appeared in the dictionary (Scholte 43). The meaning of the word globalisation has transformed over the years since it was first used to the present time. Globalisation was commonly associated with words, phrases such as international, economic trade, westernization, orientalised, free trade, liberalization, and other terms considered to be in relation with the concept of globalisation (Scholte 42). Although these words seem to have the same meaning as globalisation, these terms are far from the present definition of globalisation and far from appropriately expressing the status of contemporary art. Globalisation at present is defined as the growth of the relationship of nations beyond territories (Scholte 42) which in if examined further, means a relationship that is not limited by territorial boundaries of countries. The global relationship that is free from the restrictions of territory gives way to the further exploration of cultures, customs and economic practices of other nations while also providing the chance of explorative collaboration of nations with a common goal of improving bonds and creating innovations among nations. Moreover, globalisation in this sense means crossing even the boundaries set by society on matters that are socially acceptable and those considered taboo by the public. After clearly defining the term globalisation in relation to Hou Hanru’s statement, it is now easy to analyze the effects of the contemporary definition globalisation to the art world relative to Hou Hanru’s statement on promoting different cultures and fusing these cultures through art. Analyzing the effects of globalisation to the art world would mean looking into every perspective of the connection between the concept of globalisation and art. Some angles that would help in better understanding of the interrelation between globalisation and art are the readiness of nations to accept differences in cultures and art ideas; the willingness to fuse art concepts; and the openness to incorporate new ideas and elements into concepts of art. The preparedness of nations in accepting cultures and concepts of other nations taking into consideration that some cultures and ideas may have some conflict points with each other would be an area of concern because this may cause misunderstanding among nations. For instance, an incident in the Interpol art exhibition in Sweden wherein the art event was to bridge the Eastern and Western cultures had yielded disastrous results contrary to its original intentions of uniting the differences among nations (Gu 102). During the exhibit, Russian performance artist Alexander Brener tore down American-Chinese artist Wenda Gu’s installation artwork which consisted of hair and was meant to be a mediator of the different cultures (Gu 102). On the other hand, Brener explained his act as his form of protest on Wenda Gu’s artwork which obstructed other artworks due to its enormous size thus defeating the purpose of the exhibit to give equal exposure to all participating artists (Gu 102). In this incident, the different art concepts of the two artists had caused friction because both artists did not understand each other’s concept and both were uncertain on the acceptance of their cultural and conceptual differences. Applying the contemporary concept of globalisation on art at this point is not evident because the artists were not ready to accept and set aside their cultural and conceptual differences. The two remaining points of view that should be taken into consideration are the willingness to fuse art concepts; and the openness to incorporate new ideas and elements into concepts of art. The Interpol episode would also be the best example of these two perspectives since the artists were obviously not very much prepared to fuse art concepts and not ready to integrate new ideas thus resulting to further indifferences among the artists. Hou Hanru’s statement saying, “To promote cultural difference and hybridity in contemporary art, one must first and foremost consider the need to create alternative contexts.” (37) addresses these concerns among different cultures and art in relation to the contemporary concept globalisation because promoting cultural differences and hybridity or fusion in contemporary art would definitely need readiness of artists and people in the art world in accepting and respecting cultural differences, diversity of art concepts and accommodating new elements that deviate from traditional creative standards. Furthermore, Hou Hanru’s statement coincides with the contemporary interpretations of globalisation since creating alternative contexts is the same with going beyond the cultural, conceptual and territorial boundaries of art allowing artists to explore and create outside the confines of conventional art forms. Museums, art galleries and art festivals or biennials play an important role in the globalisation of art. Museums provide the historical and cultural background of other nations by displaying early artworks, which in turn show the artistry of these nations. Meanwhile, art galleries exhibit works by present artists and are open to artists from other nations serve as an entryway for cross-cultural interaction because inhabitants close to these galleries are being aware of the cultural elements contained in the artworks of artists from different nations. Art festivals or biennials, on the other hand, offer interaction among artists and among different cultures. Hou Hanru’s statement aims at upholding globalisation of art in the contemporary sense because it encourages not only artists but also art observers to understand and value the culture of other nations that would raise a sense of giving importance to one’s own culture. In addition, globalisation pertains to knowing one’s culture and awareness of the culture of other nations would make way for better appreciation of differences while discovering approaches on achieving harmonious existence despite these differences (Benyon 45). This also corresponds to Hou Hanru’s “finding alternative contexts” (37) in art because finding ways to harmonize cultural differences would mean looking for methods that would be surpassing the limits of the conventional ways but retaining the respect for each culture and each individual. Applying the contemporary interpretation of globalisation to Hou Hanru’s statement not only addresses the cross-cultural side but also on the conceptual aspect of art. Globalisation of art or globalisation in general sums up to the recognition of differences among nations and finding other ways or alternative ways for these differences to complement each culture thus bringing about excellence from the diverse cultures while maintaining a level of mutual respect not only for the nations but among individuals as well. Works Cited Benyon, John and David Dunkerley. Globalization: the reader. New York: Routledge, 2000. Print. Gu, Wenda. “The cultural war, a specter in Europe: Part II.” Flash Art 1996: 102. Print. Hanru, Hou. “Initiatives, Alternatives: Notes in a Temporary and Raw State.” Exhibition Catalogue, How Latitudes Become Forms. Art in a Global Age. Minneapolis: Walker Art Center, 2003. Scholte, Jan A. Globalization: a critical introduction. New York: Palgrave Macmillan, 2000. Print. Read More