Courses

From the nineteenth and twentieth centuries until today, the art spectator is insistently confronted with new and well-calculated exhibition devices, which provide a spatial arrangement for the artworks and foster regulated perceptions of the exhibitions and their contexts. Georges Didi-Huberman defines art museums as State apparatuses and art exhibitions as war machines. However, this statement may lead one to wonder: On what side do those war machines and State apparatuses work within the global context? This course proposes an investigation of art exhibitions' history and power and their particular function as international political weapons in the Latin American and Spanish contexts. During the semester, we will build a general panorama of contemporary art projects and exhibitions through which we will think about topics of national identity, processes of colonization, transatlantic political and cultural relations, and the emergence of new subjectivities.