Abstract
This paper examines the 25th anniversary of Magiciens de la Terre, one of the twentieth century’s most controversial and ambitious exhibitions. The aim of this text is to call into question the assumption that this exhibition inaugurated a sort of new global confluence between so-called Western and Non-Western art. In order to do that, the paper addresses some of the curatorial projects, theories of (alter)modernity and globalist ideologies that gravitate around this exhibition. Our intention is to analyse the consequences of accepting that 1989 is the degree zero of the ‘spherical confluence’ of global art. For our purposes here, the papers defines this phenomenon as the ‘magiciens effect’: the premise that art became truly global in 1989, in Paris, due to Magiciens de la terre, and that the canonical hierarchies of modernity were dissolved in the process giving place to a post-asymmetric geo-aesthetic regime.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: ARJ – Art Research Journal / Revista de Pesquisa em Artes
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
