Ahead of her show at London’s Royal Academy, Marina Abramović speaks with friend, curator and critic, Hans Ulrich Obrist about her teaching methods, the threat of technology, and her close brush with death
Indigenous art first received widespread attention in the contemporary art world in the 1980s, when major institutions expanded their collections of it, and Indigenous curators were appointed at state museums and galleries. Ever since, Australian Indigenous art has been gradually accepted as a cultural practice in the public and institutionalised sphere. This shift bridged contemporary Indigenous and Western cultural domains, nonetheless, Indigenous art was a type of art that the West has been largely resistant to admitting as contemporary art. This thesis explores the relationship between the contemporary art world and Indigenous art from remote Australia. It argues that the field of contemporary art is sufficiently malleable to allow room for critiques of colonisation and patriarchy, nonetheless, there are challenges facing how Indigenous art is exhibited within that context, including de-contextualisation and a persisting Western art historical narrative, as demonstrated in the case
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