COLLOQUIUM REPORT: ‘Reframing the (Art) World: Commitment, Challenges and Crises of International Art Criticism since 1945’

Université Rennes 2, 11-12 October 2018

by JJ Charlesworth

Université Rennes 2 is host to the Archives de la critique de l’art, which holds, among other records and archives, the historical archives of AICA. For the last three years, the archive and the university have partnered on a programme of research, monikered ‘PRISME’ – taking as its starting point the AICA archives, to research the as-yet little examined histories of art criticism in the post-war, as these played out through the activity facilitated by AICA’s international network, and the contacts this fostered and the debates it initiated.

In October, a resulting two-day colloquium, ‘Reframing the (Art) World’, brought together 15 papers examining the role of prominent critics and historians and key moments in the history of AICA, in its response to the culture and geopolitics of the Cold War. Organised and led by the university’s Dr Antje Kramer-Mallordy, the four sessions dealt with four themes delving into the place of art criticism through the optics of AICA, covering a period from the 1950s to the early 1980s. The first day looked to European art criticism in the first decade of the Iron Curtain, then turning to the question of how the internationalism of AICA, and of Modernist art criticism figured in Latin America, Asia and Africa. The second day’s papers delved into the transatlantic connections and dialogues between Europe, the UK and the US, followed by a final afternoon which turned, increasingly self-consciously, towards the heterodox developments in theory and criticism that emerged in Europe and the US during the 1970s. It was an illuminating two days, which included a drinks reception at the premises of the archives, hosted by ACA’s president Professor Jean-Marc Poinsot and director Dr Nathalie Boulouch.

That the 1970s figured as a sort of endpoint is no coincidence, since what the colloquium revealed was how the politics of the Cold War so clearly defined – and often constrained – the professional forms and institutional contacts of art criticism in the years to the end of the 1960s; and how both the geopolitical balance and the dominance of a (putatively) internationalist, modernist art criticism both unravelled in the decade following.

The extent to which modernist art criticism was tied up in the ambivalences of internationalist ideals played out in the shadow of US power was a frequent motif. Morgane Walter’s examination of the debates initiated by critic Wilhelm Wissel in Leverküsen in 1955 focussed on how the assembled critics wrangled over how abstraction could embody liberation and an internationalist spirit, while the issue of figurative art was haunted – by its address of the artistic and cultural particularity and locality – by the spectre of nationalism; a spectre which post-war West Germany was keen to distance itself from. Walter’s account revealed the confused tension in disavowing the Nazi pre-war past in the same breath as the pre-war history of figuration – whether, for example, the psychological experience of war (and therefore of ‘national particularity’) could be detected in abstraction made in different national contexts.

Nancy Jachec’s paper looked at the crisscrossing of the Iron Curtain by Czechoslovak intellectual Adolf Hoffmeister; returning to Czechoslovakia in 1946 to work for the new government, he was soon a delegate to UNESCO and the UN. With the repressive turn of 1951 he was recalled, jailed and then given a teaching post. Hoffmeister’s disillusion at Communist repression became the background to his part in bringing Jean-Paul Sartre to Eastern Europe. Jachec’s paper traced Sartre’s important contributions to congresses in Moscow and Leningrad, and Hoffmeister’s support for new cultural journals such as Plamenand Tvarjin the early 60s, later suppressed after the crushing of the Prague Spring.

Following Jachec, Agnezka Bartlová examined how the liberalisation of the 1960s and the aftermath of the Prague Spring figured in the development of Czechophone art criticism during the 60s; charting the fortunes of the monthly Výtvarné uměníand the bimonthly Výtvarná Práce, Bartlová put these in the context of the 1966 AICA congress in Prague and Bratislava, and the activity of the Union of Czeckoslovak Visual artists, by then headed by Hoffmeister, which funded both magazines. Noting the cosmopolitan atmosphere of the 1966 congress through which Czechoslovak critics developed their contacts with the West, Bartlová showed Výtvarné umění’sattention to international tendencies, for example published articles on Marcel Duchamp and cybernetics, as well as reports by Czechoslovak critics of visits to Venice and Documenta. The bimonthly Výtvarná Práce was a faster, more artist-centred publication moreoriented to the local scene. Both however, would cease publication by 1970s as the ministry of culture pulled funding from the Union of Visual Artists. Bartlová concluded by criticising the political queitism of the Czechoslovak section of AICA, lamenting the failure to maintain any collective memory or institutional continuity with the criticism of the 60s, inaugurating, in her view, a long period of silence in Czech art criticism during the last years of the Cold War.

The morning concluded with my discussion of the transatlantic contexts that appear in the content of the British magazine Studio International between 1968 and 1972, as the magazine both represented and intervened in the progressive reorientation of the British contemporary art scene from US-Anglophone relationships to the growing influence of European avant-garde activity after 1968.

Turning away from the Iron Curtain geography of the morning session, the afternoon papers looked towards what would now be called the Global South. The tensions between internationalism and the entrenched influence of Eurocentric critical habits were playfully highlighted by Caroline A. Jones’s delve into the shifting reception of the Pakistani painter Sadequain (Syed Sadequain Ahmed Naqvi), lauded by European critics in the early 1960s as the ‘Pakistani Picasso’. Jones essayed the circuitous routes of Sadequain’s interaction, from the ‘periphery’, with the European ‘centre’ of Modernism – the artist arrived Paris in 1960, winning one of the prizes at the second Biennale de Paris in 1961. Jones traced the complicated to-and-fro between Sadequain’s modernism (as he circulated in Europe and North America) and the calligraphic and iconographic forms he turned to increasingly later in the 60s, as he aligned himself more closely with the Islamic and nationalist cultural and political currents of Pakistan and the Middle East of the period.

Following Jones, Maureen Murphy analysed the context of AICA’s third extraordinary congress of 1973, which took place in Kinshasa, during the rule of Mobutu, as AICA’s preoccupation with developing its network beyond its core of European, US and Latin American sections turned its attention to the new African states. According to Murphy’s account, Mobutu has supported the congress in Congo (it could, she suggested have happened as easily in Dakar), as she unpacked the complicated post-colonial reciprocities that condemned art made in Africa to remain ‘traditional’ however contemporary. Murphy argued that the ‘73 congress became an inadvertent platform for Mobutu’s cultural policy of ‘Authenticity’, in which art could be both ‘local’ and ‘Modernist’.

Unable to attend, Berenice Gustavino’s paper was read by a colleague, charting the contrasting positions and professional rivalries of Argentinian critics Jorge Romero Brest and Jorge Glusberg. Critic, historian and founder in 1948 of the review Ver y Estimar,Romero Brest was closely involved in AICA during the 1950s, founding in 1948 the review Ver y Estimar. Critic, historian, then director of the National Museum of Fine Arts after the overthrow of the Peron government in 1955; Brest was an actively critical presence in the early days of ACIA, quick to see the obstacles and problems that faced AICA’s network. Gustavino’s account unpicked Brest’s dissatisfaction with AICA, looking at his proposal for the 1954 Istanbul congress, in which he sought to develop a more definite and objective terminology of art criticism – a project which the congress turned down as ‘too big’. Gustavino tranced the rivalry between Brest and the younger Glusberg (who founded the Centro de Arte y Comunicación (CAyC) in Buenos Aires in 1968) and the institutional tussles between the two, noting Glusberg’s attempts to fuse the Argentinian section of AICA with CAyC, while finally becoming AICA’s president in 1978.

Christina Tejo closed the session with her comparison of critic Mario Pedrosa and museum director Walter Zanini. Tejo’s paper questioned whether figures like Pedrosa and Zanini were active agents in the expansion of the international art system or instead no more that ‘docile subjects framed by a colonialist gaze’. Tejo’s account of Pedrosa’s activity contrasted the critic’s more reciprocal contacts between Europe and Latin America in the dissemination of modernist developments with the greater challenges encountered by Zanini in professionalising Brazil’s museum culture. Pedrosa, well-connected in militant left-wing and avant-garde circles in Europe before the war, became a prominent newspaper critic and vice-president of AICA in 1957, when he also headed the fourth Biennial of São Paolo, and was instrumental in organising the extraordinary AICA Congress of 1959 – the first time AICA has assembled outside Europe. Zanini, trained in art history in Paris and London, was in a strong position to work in Brazil’s growing museum sector, becoming director of Sao Paolo’s Museum of Contemporary art in 1963. Tejo detailed Zanini’s ultimately frustrated struggle to get Latin American institutions taken seriously by their European and North American counterparts during the 60s and 70s, by reviewing his correspondence with the International Committee for Museums and Collections of Modern Art (CIMAM), which continually ignored his input. CIMAM’s first conference in Latin America, in Mexico, was only held in 1980.

Tejo’s contrasting of critics and as art historians (often recruited as museum professionals) was echoed in the next day’s paper by Thierry Dufrêne, who presented the diverging trajectories of André Chastel and Pierre Francastel, both involved in the early years of AICA. Chastel, art historian at the Sorbonne was also art critic for Le Monde, took a traditional, autonomous view of art history, rarely taking contemporary art as his subject. By contrast, Francastel, influenced by Durkheim, took a more sociological approach to art. In 1955, a professorship opened at the Sorbonne, which both applied for and which Chastel secured. Dufrêne outlined Chastel’s increasing involvement in art-historical institutions, while Francastel focused on contemporary art, and for a form of criticism implicated in the contemporary and in other parallel fields such as science and architecture, and a criticism committed to reproducing and retaining the encounter with the contemporary work, in opposition to the more didactic and pedagogical drive of André Malraux’s concept of the ‘Musée Imaginaire’, and its cosequences for how art could be experienced in the age of mass communication technologies.

In her paper, Jennifer Cooke looked closely at the largely transatlantic gathering of the 1961 congress of the International Committee CIHA, brought to New York by art historian Millard Miess; student and then later successor of Irwin Panofsky, then established at Princeton. Cooke scrutinised the change in CIHA’s statutes ratified in 1963, which shifted CIHA’s remit to focus less on its earlier attention to national art histories, to the ‘post-classical West’. Examining the congress as a showcase of the iconological tradition spearheaded by Panofsky, Cooke went on to consider how CIHA’s shift (with greater power accrued to American committee members) reflected the obstacles of growing Cold War entrenchment, even as CIHA attempted, throughout the 1960s, to make overtures to Soviet art historians. It took until 1977 (under sustained pressure from UNESCO) for CIHA’s to revert its statutes to acknowledge a wider remit of world art.

The privileged relationship between Western Europe and the United States was also the subject – in more optimistic vein – of Beatriz Cordero’s paper on curator James Johnson Sweeney, curator at MoMA in New York 1935-47, becoming a vice president of AICA in 1948 and then president in 1957, during which Sweeney was director of the Guggenheim. Cordero charted Sweeney’s hyperactive role in bring post-war European modernism to the US – staging the first major museum shows in the US of Dalí and Miro, for example. For Cordero, Sweeney’s cultural roots (born of Irish immigrants), and his education at Oxford (through which he met Roger Fry) and in Paris (meeting met Leger, Miró and Calder) underpinned Sweeney’s reputation as a ‘European’ in America, as an advocate for the European roots of American modernism.

Taking its leave from the high point of the Cold War context, the last session turned to developments in art criticism since the 1970s, under the banner of ‘Art worlds/worlds of ideas: intellectual acquaintances of art criticism’. Larisa Dryansky opened with a paper unearthing an intriguing contribution to the 1977 AICA congress in Kassel and Bonn, by American video artist and critic Douglas Davis. Dryansky noted how twentieth century criticism and art history had often grounded its authority in parallels with scientific method, in ‘scientificity’. In his paper presented at the ’77 congress, ‘Sweet Anarchy’, Davis argued for a criticism which could accept the apparently chaotic manifestations of contemporary art, and relinquish its normative and legislating function. Against the ‘old guard’ of AICA, Davis argued for an art criticism which might shift constantly from one perceptual and theoretical system to the next. There was a Cold War subtext to Davis’s relativism – in championing a simultaneity of modes and theories, Davis pointed to the failure of East and West in sustaining their respective legitimising discourses. The intellectual drive for Davis’s approach was his reading of Paul Feyerabend’s controversial 1975 book Against Method: Outline of an Anarchist Theory of Knowledgewhich broke with rationalist scepticism of Karl Popper and Thomas Kuhn to argue that all methodology was suspect, and crisscrossed by irrational, rhetorical and even aesthetic aspects.

If Dryansky’s paper outlined a moment in which art criticism began to be reconfigured in response to the radical scepticism and relativism affecting the social sciences, Nicolas Heimendinger’s examination of the reception of Peter Bürger’s Theory of the Avant-garde in America, through the lens of the journal October. Heimendinger examined how the 1984 English translation of Theory(published in German in 1974) came at a moment of crisis for the journal, which by the early 80s was attempting to move on from its initial, anti-Greenbergian opposition to Modernism. Unravelling the problems of differentiating a regressive post-modernism from a progressive post-modernist critical project, Heimendinger argued that that the reception of Bürger’s Theory should be seen as a key part of the October critics ambivalence towards their role in disseminating a by-then contested post-Structuralism. Theory of the Avant-Garde, Heimendinger proposed, became a major influence in developing the idea of ‘art as institution’, reinvigorating the critical projects by October critics such as Hal Foster, Douglas Crimp and Benjamin Buchloh.

If Heimendinger sought to highlight the circuitous historical trajectory of ideas between decades and continents, and their shifting significance according to context, it highlighted how the early moment of post-modernist art criticism has itself become the object of art-historical study, a ‘period’ now cut off from our own present. As if sensing the problem, Katie Deepwell offered a lively and abrasive counter to the dangers of such distancing, as she criticised the current tendency to see feminist art and art criticism as something done ‘back then’; not only a historical period but now its own niche to be accommodated as an object of art-historical memorialisation, while the field of feminist agitation in the museum appears to be limited to a constant repeating of the limited issue of the representation of women artists in the museum canon. In opposition to these simplifications and amnesias, Deepwell presented a mass of archival references to feminist art critics and criticism in publication over the last fifty years, to illustrate the danger of losing the sense of the complexity and diversity of feminist practice which has led to, and continues in the present.

Deepwell’s recalling of the continuous flow of critical activity through decades, and the problem of staging an (art-)historical origin for a tradition of criticism which is inadvertently cut off from the present by the act of historicising itself, was a problem that could be posed as that of the colloquium as a whole. Collectively, these papers looked back not to a history of art works or artists, but to the history of the institutions and networks of a practice of art criticism that can’t be separated from the institutional ruptures and breaks of those institutions and networks. There is a restorative aspect to un-forgetting the historical debates and conflicts of an organisation like AICA, with its now seventy-year history and its origins in a world order now long gone. Yet that process of historical recollection, here, seemed continually to gesture towards that harder-to-represent moment in which the institutional (and intellectual) continuity of the organisation (and of the mode of art criticism more broadly) was affected by the unravelling of that bygone world order.

This is perhaps why many of these fascinating explorations into AICA’s history alighted so vividly on the long and active process of assimilation and institution-making of international modernism in the post-war period, while signalling, more tentatively, what would be the coming crisis in the theoretical foundations of art criticism; a crisis which would coincide with the period in which the institutional hegemony of Cold War politics would begin its long decline – from the West’s oil crises of the early 1970s to the end of the USSR in 1989.

It may be that our current artworld can be dated from that year onward. Consequenlty, in concluding somewhere in the 1970s, as that crises of the old artworld began, ‘Reframing the (Art) World’ poses the exciting task for further research: how to beginning to write a history of the period in which our present critical and historical methods and paradigms came to be.

Regrettably, travel arrangements meant that I had to leave before the final paper by Clélia Barbut, and the closing discussion between Henry Meyric-Hughes and Jean-Marc Poinsot. However PRISME plans to publish the proceedings of the symposium next year. Thanks are due to Jean-Marc Poinsot, Natalie Boulouch and Antje Kramer, and AICA UK, whose support made my attendance to the conference possible.

Source: http://www.aicauk.org/2018/12/09/colloquiu...

AICA Congress 2018: new Secretary-General

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AICA International is pleased to announce that Marc Partouche (AICA France) has been elected Secretary-General of AICA International, succeeding Marjorie Allthorpe-Guyton who completes her four year term. Marc Partouche assumes his role on 1 January 2019. 

AICA extends warm congratulations to Marc on his appointment. 


download Marc Partouche’s bio 

AICA Congress 2018: Elections

Secretary-General
AICA International is pleased to announce that Marc Partouche (AICA France) has been elected Secretary-General of AICA International, succeeding Marjorie Allthorpe-Guyton who completes her four year term. Marc Partouche assumes his role on 1 January 2019. 
AICA extends warm congratulations to Marc on his appointment. 
download Marc Partouche’s bio 

Honorary President
Marek Bartelik, former President, AICA International, is elected an Honorary President. 

Also elected are three Vice-Presidents for a three year term:
Lisbeth Bonde (Denmark)
Alfredo Cramerotti (UK)
Chi-Ming Lin (Taiwan) 

Chairs of Committees
Sophie Allgardh is appointed Chair of the Awards Committee.
Liam Kelly is elected Chair of the Congress Committee 2019.
J.P. Lorente is elected Chair of the Finance Committee for a three year term.
Chairs of the other Committees are all re-appointed. 

International Board Members 2019
Jean Bundy (USA)
Icleai Cattani (Brazil)
Joke de Wolf (Netherlands)
Bachar Rahmani (France)
Ulrika Stahre (Sweden) 
Lin-Yen Tsai (Taiwan)
Anselmo Villata (Open Section)
Karen von Veh (Open Section)
Carole Sun Wei Shiwan (Taiwan)
Yi-Hua Wu (Taiwan)
Congratulations to all ! 

AICA Secretariat

AICA Censorship Committee: Shahidul Alam Detained - Call for his release

article from https://princeclausfund.org

Dear friends,

Our long-time partner, advisor and friend Shahidul Alam was arrested in Bangladesh earlier this week and is still in custody.

Shahidul has never shied away from what is right. His dedication to his community, to the youth of Bangladesh, to the art of photography, and to journalistic principles has not wavered, in spite of great risk to himself.

This is not the first time he has been in danger, but the severity of the current situation compels us to request your help. Please consider sharing on social media, signing a petition or contacting the Bangladesh High Commission and the Ministry of Foreign Affairs.

We are proud to have partnered with Shahidul since 2002. His knowledge, insights, and warmth have guided our work and remain an inspiration to us. Shahidul embodies what we as an organisation stand for. Please find our statement below, signed together with his fellow Network Partners.

Thank you for taking the time to learn about his work and support him.

Kindly yours,

Joumana El Zein Khoury, Director Prince Claus Fund

DR. SHAHIDUL ALAM DETAINED - APPEAL FOR HIS RELEASE.png

DR. SHAHIDUL ALAM DETAINED - APPEAL FOR HIS RELEASE

#FreeShahidulAlam

Dr. Shahidul Alam, internationally renowned photographer, activist, founder and Managing Director of the Bangladesh multimedia company, Drik, founder of Chobi Mela International Photography Festival and Pathshala South Asian Media Institute, was forcibly abducted from his home on the night of 5 August.

The next day he appeared in court, apparently so badly beaten that he was unable to walk on his own. Sources say Shahidul is being charged under Bangladesh’s ICT law for his reports on Facebook of ongoing student protests and for an interview he gave to Al Jazeera about the protests.

Shahidul has been a close friend and inspiring partner of the Prince Claus Fund for many years. He is a tireless advocate of values that we share:  that all people should have the right to freedom of cultural expression. Through his reporting and photography he has discovered and shared hidden human stories not only in Bangladesh but of the many other cultures encountered on his travels. 

The Prince Claus Fund and its Network Partners deplore the extreme violence and intimidation exercised in Shahidul’s arrest

We call for his immediate and unconditional release. 
On behalf of the Prince Claus Fund, Joumana El Zein Khoury, Director
 

Network Partners of the Prince Claus Fund:
Alliance des Editeurs Independants – IAIP, international
Alta Tecnologia Andina, Peru
Arab Image Foundation, Lebanon
Archi Africa, Ghana + Africa
Arthub Asia
Associación Pro Arte y Cultura (APAC), Bolivia
BizArt Art Center, China
Caribbean Contemporary Art (CCA)
Cinematheque de Tanger, Marocco
Compagnie Falinga, Burkina Faso
Creating Independent and Artistic Networks, Argentina (CRIA)
Despina Non-Profit Cultural Association, Brazil
Dokufest – International Documentary and Short Film Festival, Kosovo
Dox Box, Syria
Drik Picture Library Ltd., Bangladesh
Hri Institute, Nepal
Jant-Bi, Senegal
Kibii Foundation, Surinam
Land Art Mongolia
Mathare Youth Sports Association (MYSA), Kenya
Museo d Antioquia, Colombia
Tirana Institute of Contemporary Art (T.I.C.A.), Albania
Redsea Cultural Foundation, Somaliland
Reyum Institute of Arts and Culture, Cambodia
San Art, Vietnam
Studios Kabako, Democratic Republic of Congo
Supersudaca, Latin America
Triangle Arts Trust (TAT), UK
University Centre for Arts and Drama, Ingoma Nshya, Rwanda
Utan Kayu Network, Indonesia
VideoBrazil, Brazil
Visual Culture Research Centre – VCRC, Ukraine
Zanzibar International Film Festival (ZIF), Tanzania
Zoe Butt, Vietnam

Prince Claus Fund
Herengracht 603
1017 CE Amsterdam
+31.0.20.3449.160
info@princeclausfund.nl 
princeclausfund.org

AICA Newsletter: Summer 2018

*|MC:SUBJECT|*
Dear Member,
We are pleased to send you our 2018 Summer Newsletter.

LETTER FROM THE PRESIDENT

AICA’s summer Newsletter gives information about significant AICA events over the last few months, as well as conveying a warm invitation to AICA’s 51st International Congress, to be held from 14-21 November in Taiwan. The topical theme is “Art Criticism in the Age of Virtuality and Democracy”.
Congress gives AICA members and others opportunity to reflect on these issues with colleagues from different countries across the globe, besides getting to know the important cultural venues of this beautiful land. We hope to see you in Taipei.
 Enjoy reading!
 
Lisbeth Rebollo Gonçalves 
President, AICA International

NEXT CONGRESS IN TAIWAN

We would like to cordially invite you to take part in the 51st AICA International Congress. The Congress is organized by AICA Taiwan and will be held 14-21 November 2018 in Taipei.

invitation and registration 
read more on AICA Taiwan website

INCENTIVE PRIZE FOR YOUNG CRITICS 2018

AICA Incentive Award for Young Art Critics recognizes emerging voices in art criticism around the world. In 2018, the International Association of Art Critics (AICA) and its Awards Committee, with the support of AICA Taiwan, launches the sixth edition of the AICA Incentive Award for Young Art Critics. The previous winners have been Franck Hermann Ekra (Ivory Coast), Alessandra Simões Paiva (Brazil), Sebastian Baden (Germany), Lee Sun Young (South Korea) and Victor Wang (Canada/UK).

This year, AICA invites young art critics from any country in the world to submit an article or a review on a subject (an exhibition, a biennale, a profile of an artist etc.),which deals with the subject of contemporary art produced in the Asia Pacific region or with the Asian Pacific art scene. The winner will be awarded a round trip to attend the forthcoming AICA Congress in Taipei, Taiwan and the Post Congress Trip to Taichung, Tainan and Kaohsiung scheduled to take place from 14 to 21 November 2018. The critics coming second and third in the competition will receive an honorary mention. AICA reserves the right to publish the text of the winner and the two runners-up on the AICA website. […]


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PUBLICATION: LEE YIL

Lee Yil, Dynamics of Expansion and Reduction – Selected Writings on Korean Contemporary Art
Published by AICA press and Les presses du réel

After a particularly exacting work of translation into English, the compilation of texts by the Korean critic Lee Yil was published in March 2018 by les presses du réel, under the title Dynamics of Expansion and Reduction. On the initiative of Marjorie Allthorpe-Guyton and Paul O´Kane,  a seminar was organized by AICA and SOAS in London, on March 23, with the participation of Bada Song (translator together with Paul O´Kane), Henry Meyric Hughes who edited the text in English, Jean-Marc Poinsot who coordinated the publication and Professor Youngsook Pak who contextualized Lee Yil’s texts in Korean modern art and criticism in the second part of the 20th Century. […]

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on sale online

Preface by Marek Bartelik.
Introduction by Jean-Marc Poinsot.
Text by Chung Yeon-shim.

INTERNATIONAL SEMINAR IN BRAZIL

Organised by the Brazilian Association of Art Critics, ABCA, the Brazilian chapter of AICA, the international seminar: Concrete Art and Constructive Dimensions: Theory, Criticism and History of Art and Technique, was held 26-30  June 2018 in partnership with the Conservation Science Laboratory of the Fine Arts School of the University of Minas Gerais – LACICOR. 
The seminar aimed to discuss and to give international recognition to the many approaches and  possibilities of  artistic production in Latin America.
[...]

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© Fernanda Granato | From left to right: Lisbeth Rebollo Gonçalves (President of Aica International); Yaci-Ara Froner (coordinator of the event); Luiz A.C.Souza (coordinator of LACICOR/UFMG); Maria Amélia Bulhões (President of ABCA/AICA Brazil); (representative of the UFMG post-graduation Provost ); Jeanne-Marie Teutonico (Associate Director of Programs- The Getty Conservation Institute)

A CONGRESS ON ART CRITICISM IN MADRID

The Spanish Association of Art Critics – AICA Spain, in collaboration with the Museu Nacional Centro de Arte Reina Sofia, held from 21-23 June 2018 the International Congress Art Criticism: crises and renewal, under the direction of Tomás Paredes, President of AECA. [...]

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Closing ceremony | From left to right: Blanca Garcia Vega, Julia Sáez-Angulo, Tomás Paredes and Brane Kovic.

DONATION FROM THE CANADIAN CULTURAL CENTRE, PARIS, TO THE ARCHIVES OF ART CRITICISM, RENNES

On May 18  at the inauguration of its new Exhibition Space on the 130, Rue du Faubourg Saint-Honoré, the Canadian Cultural Centre in Paris, under the direction of  the Canadian Embassy for Global Affairs, donated 25 years of its visual arts archives to the National Institute of Art History (INHA) to be part of the collections of the Archives of Art Criticism in Rennes. [...]

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©INHA

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CRITIQUE D'ART — FREE SUBSCRIPTION FOR NEW MEMBERS

to the attention of new AICA members

Associated with AICA since their creation in 1989, the Archives de la critique d’art (www.archivesdelacritiquedart.org) aim to promote worldwide the writings and practice of art critics through publishing the magazine CRITIQUE D’ART.

As a welcome gift, the Archives de la critique d’art are pleased to offer you a free subscription to the digital magazine CRITIQUE D’ART: ACTUALITE INTERNATIONALE DE LA LITTERATURE CRITIQUE SUR L’ART CONTEMPORAIN / THE INTERNATIONAL REVIEW OF CONTEMPORARY ART CRITICISM, for a period of one year.

For the latest issue please contact us at sylvie.mokhtari@univ-rennes2.fr and confirm your interest in receiving a free annual subscription to CRITIQUE D’ART. Sylvie Mokhtari, editorial manager, will send you a username and a password which will give you access to the entire website http://critiquedart.revues.org until 31 December 2018.

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AICA Congress 2018: Invitation & Registration

51st AICA Congress in Taipei, Taiwan:
Art Criticism in the Age of  Virtuality and Democracy

We would like to cordially invite you to take part in this year’s 51st AICA International Congress. The Congress is organized by the Taiwan section of AICA (International Association of Art Critics) and will be held on 14-21 November, 2018 in Taiwan.

The Congress Theme Art Criticism in the age of Virtuality and Democracy addresses some key issues concerning the role of art criticism from the perspectives of:

1. Art criticism in the age of virtuality
2. Art discourse facing challenged democracy

PROGRAMME

Nov. 14-15 | AICA Committees, Board Meeting and General Assembly (in Taipei)
Nov. 16-18 | Symposium (in Taipei)
Nov. 19-21 | Post-Congress Trip (in Tainan, Kaohsiung and Taichung)

REGISTRATION FEE

• Registration Fee for the Symposium on Nov. 16-18
2200 NTD (≒ 60 EURO, 72 USD)
1800 NTD (≒ 50 EURO, 59 USD) for the Early Bird Price (before Aug. 26, 2018)
All the Speakers/Presenters, The Secretariat, AICA International (ie President, Secretary-General, Treasurer, Administrative Assistant) and Chairs of AICA Committees are exempt from the fee for symposium.
• Travel Fee* for the Post-Congress Trip on Nov. 19-21
9000 NTD (≒ 250 EURO, 294 USD)
*It is a package tour. Transportation, accommodation, dining and tours are all inclusive)
• Early Bird Price (before Aug .26, 2018) for the Symposium + the Post-Congress Trip
9000 NTD (≒ 250 EURO, 294 USD)

REGISTRATION GUIDELINES

1. Please fill out the Registration Form: https://goo.gl/forms/dXvvEh686fgSChv12 (Registration deadline: Oct 21, 2018)
2. Once we have received your form, we will send you an Online Payment Link in 2 days.
3. Secure the payment online by credit card (via the encrypted third-party payment).
4. After the checking process, you will receive the Confirmation Letter.

HOTELS

If you are attending the Symposium days from Nov.16 to 18, we suggest to book through us for discounted price, please check the registration form (No deposit, pay at the hotel desk.)
HOWARD CIVIL SERVICE INTERNATIONAL HOUSE, Taipei (http://www.howard-hotels.com.tw/en/civil-service/home/)
TEL: +886-2-77122323 | Address: No.30, Sec. 3, Sinsheng S. Rd., Da’an Dist., Taipei City
Discounted price for AICA Congress participants | Single Room 1950 NTD (≒ 55 EURO) per night *
Other options:
• SONNIEN HOTEL, Taipei (http://www.sonnien-hotel.com/en/)
TEL: +886-2-2707-0101#1701、1702 | Address: No.8, Sec. 3, Ren’ai Rd., Da’an Dist., Taipei City 106, Taiwan (R.O.C.)
Price per single room: around 3800 NTD (*contact us for a discount)
• OR via http://www.booking.com, searching for “Daan” district in Taipei, metros and buses connect with hotels and our venues.
• Accommodation in Tainan (Nov.19-21):
The PLACE Tainan (https://rsv.ec-hotel.net/webhotel/0315?locale=en)
TEL: +886-6-2361680 | Address: No.368, Sec. 1, Zhonghua E. Rd., East Dist., Tainan City 701
*The price is included in the post-congress trip fee.

For more details, please check: https://aicatw-eng.blogspot.com/
For any inquiries please feel free to contact
aicacongress2018@gmail.com, thank you and we expect for your participation.

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AICA Spain: International Congress "Art Criticism: crises and renewal"

A Congress on Art Criticism in Madrid

The Spanish Association of Art Critics – AICA Spain, in collaboration with the Museu Nacional Centro de Arte Reina Sofia, held from 21-23 June , an International Congress “Art Criticism: crises and renewal”, under the direction of Tomás Paredes, President of AECA.

Delegates were art critics, cultural managers, collectors and professors from several universities and included  Juan Manuel Bonet, Director of the Instituto Cervantes; Pablo Jiménez, cultural Director of La Fundación Mpfre; Javier Martin, José María Juarranz , who presented a new interpretation of “El Guernica”; Maria João Fernandes, Pilar Aumente, Maite Méndez Baiges, Blanca Garcia Vega, Brane Kovic, Carlos Pérez Reyes, Manuel Parralo, Antonio Domínguez Rey, Miguel Ángel Chávez Martín, Julia Sáez-Angulo.  30 papers were presented by professors and critics from Spain, Colombia, Brazil, Italy Portugal, Japan and UAE and United Kingdom.
Congress sessions took place at the Sabatini Auditorium in the Reina Sofia Museum which was represented by the Deputy Director Joao Fernandes. There were also three round tables focused on the influence of criticism on the formation of  public and private collections and on the perpetual necessity of the renewal of art criticism.

 Closing ceremony | From left to right: Blanca Garcia Vega, Julia Sáez-Angulo, Tomás Paredes and Brane Kovic.

Closing ceremony | From left to right: Blanca Garcia Vega, Julia Sáez-Angulo, Tomás Paredes and Brane Kovic.

Among the conclusions were the place of criticism in the context of crisis and  social and globalized turmoil, the necessity of permanent renewal and of the defence of the art critic as a mediator between the public and the artist’s work of art. The critic must demand continuous validation in order to compete in new processes of creative reflection and to participate in the new cultural ecology.  And a maxim: the only way for art criticism to have a future is to strengthen its present thinking.

The programme also had visits to the exhibitions of the Reina Sofia and to adjacent art galleries. The Congress closed with a performance “The word, the music and the voice”, in which Tomás Paredes, Romeral, the concretist flamenco guitar player Paulo Garcia Palomo  and the singer Eloy Cortés took the floor, highlighting that art is ennobled by the interaction of different modes of expression.

(original text in Spanish by Tomas Paredes)

AICA Brazil/ ABCA: ARTE CONCRETA E VERTENTES CONSTRUTIVAS

An International Seminar in Brazil

From 26-30 June 2018, the Brazilian Association of Art Critics, ABCA, the Brazilian chapter of AICA, held an international seminar: Concrete Art and Constructive Dimensions: Theory, Criticism and History of Art and Technique, in partnership with the Conservation Science Laboratory of the Fine Arts School of the University of Minas Gerais – LACICOR.
This  event aimed to discuss and to bring international recognition to the many singular approaches and possibilities in artistic production in Latin America in the context of modern art in the 20th Century.

We began from the belief that by articulating these histories in one single event we can form a transdisciplinary view that enriches and problematizes  our approach.

The Seminar had the support of the Federal  University Of Minas Gerais, CAPES and the Getty Foundation and gathered researchers from different  regions of Brazil, Argentina, Chile and United States. The coordinators of the event were Luiz A. C. Souza, Yacy-Ara Froner e Alessandra Rosado from LACICOR and Maria Amelia Bulhões, Marilia Andrés Ribeiro and Claudia Fazzolari from ABCA.

Those present included the International President of AICA, Lisbeth Rebollo Gonçalves, Jeanne-Marie Teutonico, Associate Director of the Getty Conservation Institute –GCI, Andrew Perchuk, Deputy Director of the Getty Research Institute – GRI, Cory Rogge from the Houston Museum of Fine Arts, Aleca Le Blanc, from the University of California Riverside, Ana Morales and Fernando Marte, both from the National University of San Martin, Argentina, as well as such  important Brazilian researchers as Aracy Amaral, Anna Maria Belluzzo, Luiz Camilo Osório, Maria Lucia Kern, Marilia Andrés Ribeiro, Tadeu Chiarelli, Yacy-Ara Froner, Luiz Souza, among others.

 ©Fernanda Granato | From left to right:  Lisbeth Rebollo Gonçalves (President of Aica International); Yaci-Ara Froner (coordinator of the event); Luiz A.C.Souza (coordinator of LACICOR/UFMG); Maria Amélia Bulhões (President of ABCA/AICA Brazil);  (representative of the UFMG post-graduation Provost); Jeanne-Marie Teutonico (Associate Director of Programs- The Getty Conservation Institute)

©Fernanda Granato | From left to right:  Lisbeth Rebollo Gonçalves (President of Aica International); Yaci-Ara Froner (coordinator of the event); Luiz A.C.Souza (coordinator of LACICOR/UFMG); Maria Amélia Bulhões (President of ABCA/AICA Brazil);  (representative of the UFMG post-graduation Provost); Jeanne-Marie Teutonico (Associate Director of Programs- The Getty Conservation Institute)

The conference was opened by Mari Carmen Ramirez, curator of Latin American Art and Director of the International Center for the Arts of Americas, at the Houston Museum of Fine Arts. The texts of the conferences and papers are available on ABCA website (abca.art.br/httpdoc/ebooks-abca), as an e-book published by ABCA, registered with the National System of Libraries.

Throughout five intense and productive days, it was possible to confirm our initial conviction about the importance of these interlocutions, with all the participants expressing how enriching and high level the debate was, because of this more complex approach, in line with contemporary thinking.

The Brazilian chapter of AICA has assumed an important role in national academic debate, holding events which address relevant themes that attract the participation of highly regarded scholars in the visual arts in the country. The international coverage and plurality of approaches of this seminar has raised the bar of these activities.

(Original text in Portuguese by Maria Amélia Bulhões)

aica press: Lee Yil's writing

Lee Yil's writing published in the AICA Series Art Critics of the World

After a particularly exacting work of translation into English, the compilation of texts by the Korean critic Lee Yil was published in March 2018 by les presses du réel, under the title Dynamics of Expansion and Reduction – Selected Writings on Korean Contemporary Art. On the initiative of Marjorie Allthorpe-Guyton and Paul O´Kane, a seminar was organized by AICA and SOAS in London, on March, 23rd, with the participation of Bada Song (translator together with Paul 0'Kane), Henry Meyric Hughes who edited the text in English, Jean-Marc Poinsot who coordinated the publication and Professor Youngsook Pak who contextualized Lee Yil’s texts in Korean modern art and criticism in the second part of the 20th Century.

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This Seminar was followed by a reception kindly hosted by the Korean Cultural Centre in London which introduced the book to a wider audience.
On April 20, on the occasion of the festivities of AICA-France’s 2018 Art Criticism Award, whose jury included many members of the International AICA Board, there was a brief presentation of Lee Yil’s book by the Series Editor Jean- Marc Poinsot and by Franck Gautherot who contextualized the critic and the artists whom he defended in the turbulent post-war period.
Soo-Young Leam, a PhD student at the Courtauld Institute of Art, London and present at the seminar in March, is reviewing Lee Yil’s publication for the Critique d’Art magazine.

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The Archives of Art Criticism: donation

Donation from the Canadian Cultural Centre of Paris to the Archives of Art Criticism

On May 18, to mark the inauguration of its new Exhibition Space on the 130, Rue du Faubourg Saint-Honoré, the Canadian Cultural Centre in Paris, under the direction of the Canadian Embassy for Global Affairs, donated 25 years of its visual arts archive to the National Institute of Art History (INHA) to be part of the collections of the Archives of Art Criticism in Rennes. This was a unique donation, combining cultural diplomacy with a view of Canadian Contemporary Art.

The programme of exhibitions and artistic practice reflected by the archive, was pursued in partnership with French cultural institutions and with the history of art criticism in France.  The archive is a register of the period from 1993 to 2017. The archive also gathers documents regarding the history of the Centre since its foundation in 1970. Its methodological consistency, the diversity of its contents and its cultural sphere constitute an inestimable resource for national and international research. The exchange with artists, curators, critics, authors at the core of this collection preserves, not only a profile of institutional relationships, but of human connections which led to countless projects of great significance in France, under the direction of Catherine Bédard, Associate Director of the Canadian Cultural Centre and member of AICA France.

 © INHA

The first part of the archives was donated last March and is already available for research in Rennes. The second will be at the Archives’ disposal in autumn 2018. The partnership anticipates that transfers will continue, preserving and enhancing the history and the activities of the Canadian Cultural Centre at its new venue in Paris.

The Archives of Art Criticism were greatly enriched by this donation, which will enhance and give new meaning to the individual art critics, galleries and institutional archives already present in the collections.

(original text in French by Nathalie Boulough)

AICA Congress 2018: CALL FOR PAPERS FOR THE 51ST AICA INTERNATIONAL CONGRESS IN TAIWAN

14-21 November 2018

We would like to cordially invite you to take part in the 51st AICA International Congress. The Congress is organized by the Taiwan section of AICA (International Association of Art Critics) and will be held on 14-21 November, 2018 in Taiwan, the draft program as follows:

Nov. 14  Committees (in Taipei)
Nov. 15  General Assembly & Board Meeting (in Taipei)
Nov. 16-18  Symposium (in Taipei)
Nov. 19-21 Post-Congress Trip (in Taichung, Tainan, Kaohsiung)

The Congress Theme Art Criticism in the age of  Virtuality and Democracy addresses some key issues concerning the role of art criticism related to the new tendencies. The congress theme has two sub-themes:

  1. Art criticism in the age of virtuality
  2. Art discourse facing challenged democracy

(A detailed description of the congress theme is given below. *)

The symposium will be held mainly in English, and the papers should be presented in English only. Keynote speakers, covering broad aspects of the main theme will be followed by short papers and working sessions with the participants.

The AICA Congress Committee invites members, as well as non members, of AICA to submit a short text of 15-20 lines (maximum one page) in English, outlining their proposed approach to the themes of the Congress.
Deadline
Please submit your application online at aicacongress2018@gmail.com together with a short biography (max. 200 words) by 31 May 2018. Proposals will be selected by the AICA committee.

Deadline for final papers will be 15 August 2018.

Visuals
There will be video/audio equipment available for lectures, we invite all speakers to support their presentation by visuals.

Translation
Speakers’ final papers must be submitted by the deadline in English. These papers will be translated by the organizers into Traditional Chinese, if the budget allows, and distributed at the time of the Congress.

Publication
The Collection of Papers is estimated to be published by AICA Taiwan in 2019.

Website
You will find all necessary information at https://aicataiwan.blogspot.tw

Contact Person
Tien-Han Chang
aicacongress2018@gmail.com

Crucial Reminder

Main Theme: Art Criticism in the age of  Virtuality and Democracy
Sub-Themes: a. Art criticism in the age of virtuality
                        b. Art discourse facing challenged democracy

Deadline for call for papers (Abstract): 31 May 2018
Deadline for final papers of selected speakers: 15 August 2018

For any inquiries please feel free to contact us, thank you and we expect for your participation.

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51st AICA International Congress in Taiwan,
14-21 November 2018
AICA Taiwan

AICA Congress Taiwan November 2018
Congress theme for Call for Papers:
Art Criticism in the age of  Virtuality and Democracy
Based on observations of important tendencies in the actual world, we would like to address some key issues concerning the role of art criticism related to these new developments.

Firstly, the virtual is not the opposite of reality but rather an increasing part of our reality. Presently, communities, social relations, everyday life, the body, and even biological life are in the processes of mass virtualization. Life itself has been supposed as an algorithm, AI as a brain without body, while space-time’s relationship is virtualized in VR technology. A virtual enterprise need no longer convene its employees onsite, but rather can delegate work to be done remotely, thus re-articulating the time-space relationship of its workers.

Secondly, if we make an observation of a longer duration, there seems to be an unquestionable expansion of democracy which can be confirmed by the democratic transitions beginning in the mid-1970s, which span from Latin America to Taiwan and South Korea, through the end of the cold war, and to following transitions in Eastern Europe, the Color Revolution and the Umbrella Movement in Hong-Kong in the fall of 2014. Nevertheless in more recent years, the phenomenon of the retreat of democracy can also be observed in the uprising of the populism worldwide.

Moreover, these two tendencies may be related. The Congress Theme “Art Criticism in the age of Virtuality and Democracy” has two sub-themes:

  1. Art criticism in the age of virtuality
  2. Art discourse facing challenged democracy

1.“Art criticism in the age of virtuality” will address the situation in which the rapid pace of development in computer and media technologies is creating new working environments and new possibilities for art, each with their own particular problematics. How does this process affect the description, interpretation and evaluation of contemporary art? More precisely, does art criticism develop new methodology and new languages concerning its analysis and new problematics in its debates? What does it mean for art and art criticism that new media reaches crowds of new readers around the world, often “for free”?

2. “Art discourse facing challenged democracy” will discuss the following questions: how is art discourse constitutive of the collective representations and imaginary of democracy? In the situation of democracy under challenge, how are these social-political phenomena reflected in new developments of censorship and self-censorship, or post-truth? For new problems brought out by transitional justice, what kind of function can art discourse play?

Proposals of papers which could articulate the problems within these two sub-themes will also be welcome.

Download Call for paper
Download the programme

AICA USA: Trip to Washington DC May 8 & 9

Special addition to the itinerary (see below):

AICA-USA member John Elderfield and his colleague Mary Morton will lead members through their exhibition Cézanne Portraitswhich they co-curated at the National Gallery of Art.

Please RSVP by Friday April 20 to Jamie Keesling (jamiekeesling@gmail.com) to be included in this special group.

DAY ONE: Tuesday, May 8
Amtrak from Penn station
Meet at Penn at 6:45amTrip: 7:05 am – 10:32am
Purchase tickets through Amtrak.com

11:30am: meet at National Museum of the American Indian for special visit with curator Paul Chaat Smith
Lunch at the museum’s Mitsitam cafe.
2:30pm meet at the National Gallery

DAY TWO: Wednesday, May 9
11:00am: Meet at National Museum of African American History and Culture
VIP entry passes for 10

Amtrak from Union Station
Meet at station at 3:30pm
Trip: 3:55 pm – 7:23 pm
Purchase tickets through Amtrak.com

aica press: Book review, Lee Yil – Dynamics of Expansion and Reduction

article from: https://londonkoreanlinks.net
Book review: Lee Yil – Dynamics of Expansion and Reduction

by PHILIP GOWMAN on 25 APRIL, 2018
in ART HISTORY | BOOK REVIEWS | BOOKS ON ART | EVENT REPORTS AND REVIEWS

Lee-yil_1.jpg

Lee Yil: Dynamics of Expansion and Reduction
Selected Writings on Korean Contemporary Art, 1970 – 1996
Initial draft translations: Chung Yeon-shim, Park Eun-ah, Park Sung-ji
Final translations: Paul O’Kane, Song Bada
Published by AICA (International Association of Art Critics) /
Les Presses du Réel, Dijon, France, 2018, 212pp

How often do you read the learned essay that accompanies a new art exhibition and find yourself not understanding a word of it? For me, more often than I would like. I am never sure how to tell whether the essay is unclear because the writer is being deliberately obscure (to cover up the fact that he does not understand the artwork himself); or simply doesn’t know how to write clearly; or because I’m not clever enough to understand what he is saying. Then there are the instances where the essay seems to say absolutely nothing: a less than competent writer has been paid to fill a side of A4 and pens a few paragraphs of empty fluff.

If someone has decided to publish a collection of essays by a single critic, there must be a general consensus among the experts that he knows what he is talking about – he must be a significant figure in the art-historical world, and worth taking seriously. And fortunately, this collection of essays and criticism by prominent Korean art critic Lee Yil (1932-1997), are, amazingly, clear and for the most part comprehensible – clear to the extent that even where you’re not sure what it is he is trying to say you think it’s your fault for not being familiar enough with the subject matter or with the concepts involved, rather than the writer’s fault for being deliberately obscure. You are left with the feeling that, if you come back to the essay again in the future, you will understand it better. And that it will be actually worth the effort to do so.

What is even more amazing is that all the essays and articles in this collection are translations from the original Korean. I cannot imagine what a difficult exercise that must have been (though the fact that the task required as many as five translators is indicative that the task was herculean). But Paul O’Kane and Bada Song, who were responsible for the final drafts, have produced results that read as if the articles were (a) originally written in English by (b) someone who is trying to communicate with a broader audience than just other art critics. That is quite an achievement.

 Paul O’Kane talks at the launch of Lee Yil’s selected writings at the KCC, 23 March 2018. Jean-Marc Poinsot, series editor, looks on.

Paul O’Kane talks at the launch of Lee Yil’s selected writings at the KCC, 23 March 2018. Jean-Marc Poinsot, series editor, looks on.

The book is a selection from a two-volume publication (in Korean) of all of Lee Yil’s writings. The selection is divided into two parts: a dozen or so essays on art-historical trends or trying to place in context the works in a particular group show; and over twenty, usually briefer, pieces focusing on the work of individual artists. In both cases it is fascinating to read, a few decades after the event, a contemporary take on trends in art history or on the importance of a particular artist.

Yes, there are articles I don’t understand too well. The 1970 article, Dynamics of Expansion and Reduction, that gave this collection its title is a case in point. There is a general consensus that post-war Korean art history included an “Art Informel” phase and a “Dansaekhwa” phase – in both of which Park Seo-bo was a leading light. But there were other things going on as well. Does it make sense to talk of a single “phase” in between those two major trends mentioned above ? Lee Yil’s solution is to posit a phase of “expansion and reduction” – which I’m not sure I fully understand – and which would be made clearer by the presence of images to illustrate key exemplars in this phase. But, to be honest, I think I might not understand Lee’s concept because maybe there wasn’t really a leading trend that held primacy in between informel and monochrome – and that seems to be what is suggested by a graphical timeline of Korean art history that I happened to photograph last year when I was browsing round SeMA (Seoul Museum of Art, near the Deoksugung).

 Timeline of Korean art history in the 60s and 70s, on display at SeMA

Timeline of Korean art history in the 60s and 70s, on display at SeMA

It must have been tough to select which pieces to translate. One can choose to grumble about what the collection could have been: it would have been nice, as noted above, to have many more illustrations (which of course would have increased the cost and timeline); it would have been nice to have had the two essays Lee Yil wrote as introductions to the Korean entries to the Paris Biennale in 1963 and 65 – perhaps ruled out for being in French rather than Korean. And among the many artists featured in the book are some big names (Park Seo-bo, Kim Whan-ki, Yun Hyong-keun) and some lesser known ones. One big name is notable by his absence: one is dying to know whether Lee ever wrote about Nam June Paik, and if so what he had to say about him.

But these grumbles are more a compliment than criticism: I simply want more of it, and I would rather celebrate that the collection has happened at all. It would certainly be vain to hope for a follow-up book with the remaining essays. In the real world, this volume probably has a limited readership, no matter how much that readership might appreciate its value; and AICA must move on to the third volume in their Art Critics of the World series.

Finally, there is one feature of Lee Yil’s writing that is totally endearing and which makes you trust that he isn’t consciously trying to befuddle you when you don’t immediately grasp his argument: he is disarmingly open when he himself doesn’t understand a particular artist. “To be honest, Kim Ki-rin’s painting still remains a mystery to me,” he confesses (p 134)1; and “Lee Dong-youb’s painting is not easy to grasp.” (p169). If only all critics were that frank.

Highly recommended, as a supplement to general overviews of the period such as Charlotte Horlyck’s Korean Art from the 19th Century to the Present.