Multinational art

In the dash to internationalism the national is trampled underfoot, argues Laura Gascoigne.

In November, Lund Humphries celebrated 75 years

of publishing books

a global art world. Hence the further questions raised by the Lund Humphries debate: “Is there an inherent, //--> identifiable ‘Britishness’ in the art
made in these islands today? Or
is any notion of a culturally significant Britishness now redundant?”

In his autumn pep talk to participants in the 56th Venice Biennale, President Paolo Baratta recalled the reaction against national pavilionism in 1999 that prompted the creation of the International Exhibition “to offer the world a global sounding board”. The man in charge of this year’s sounding board is Nigerian Okwui Enwezor and his exhibition, inclusively titled All the World’s Futures, will invite visitors to “read the Giardini with its

[sic] ramshackle assemblage of pavilions as the ultimate site of a disordered world, of national google_ad_client = "ca-pub-3967079123942817"; conflicts, as well as territorial and geopolitical explorations.”

In a disordered

world, blowing one’s national art trumpet is obviously out; the
polite thing to do is to tootle on the google_ad_height = 90; trumpets of one’s fellow nations. And currently auditioning for the post of international trumpeter-in-chief is the director of our very own Tate Modern, which has been scrambling to diversify its collections in preparation for the post-pavilionist age. In
November 2012 a special report on Tate’s International Activities announced the formation over the previous decade of a series of Acquisitions Committees supporting “Tate’s global reach”. Between them, the North American (2001), Latin American (2002), Asia-Pacific (2007), Middle East and North Africa (2009) and African (2011) committees have added over 100 works to the collection. Two more committees – South Asia and Russia & Eastern Europe – are in the pipeline.

It was Serota’s cultivation of a global powerbase, rather than his winning personality, that won him top spot in last year’s Power 100. “Tate Modern very aggressively internationalized quite quickly,” explained ArtReview’s editor Mark Rappolt. “It is not a national collection, it is an international collection that happens to be in London.” Like the British Museum, in other words, except that the nations from which the Tate is acquiring this stuff are unlikely to hire Mrs Clooney to get it back.

In our hyper-connected world, global art is a development as unavoidable as global terrorism. But international brand… can only help to add to


London’s image in the world”. Hang on there, Lebedev. Tate & Lyle is an international brand. The Tate is, or was, a national art gallery. It is responsible to the nation
for many images, but London’s isn’t one of them. It is also expected to maintain

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ethical standards a notch or two higher than your

Process Overview:

average multinational. Two more reasons given by ArtReview

For detailed process, you can “visit here” or contact

for Serota’s global domination of its google_ad_slot = "8637400688"; Power 100 were the


amount of income the Tate receives from foreign private sources and the number of collectors on its international acquisitions committees – collectors who are presumably honour bound //--> to recommend the artists in their own collections. 97w" sizes="(max-width: 2362px) 100vw, 2362px" />Are these acquisitions really necessary? If

the object is to introduce audiences to art
from around the world – and ‘ART FROM AROUND THE WORLD’ is what /* xin2 */ it is is a world leading domain escrow service platform and ICANN-Accredited Registrar, with 6 years rich experience in domain name brokerage and over 300 million RMB transaction volume every year. We promise our clients with professional, safe and easy third-party service. The whole transaction process may take 5 workdays.

currently advertised on the builders’ hoardings outside Tate Modern – there are cheaper alternatives to acquisitions, known as loans. But as you will have noticed, this spurt of international
collecting activity coincides with the tacking of Herzog & de Meuron’s multistorey starship park onto

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the back of Giles Gilbert Scott’s former power station. The Tate is

​ looking to its international committees and foreign income sources to solve the problem of filling

this vast unwanted space on the cheap


by shopping in relatively undeveloped markets. But it could shop even more cheaply at home if it
was prepared to look at google_ad_width = 970; national artists without international reputations.

“Real Art history is always part of national history,” wrote the Russian critic Boris Groys a few years ago. “There

be variously Christian, African, Neurotic, Alien, Decorative, deeply English or any complex sensibility – you name it, but I wouldn’t trust an art too much if it google_ad_slot = "6023194682"; was damn
well determined to be universal like Esperanto, which a lot of art now looks
like… because you are what you are and what can be more human than that?”