Multinational art

In the dash to internationalism the national is

site of

a disordered world, of national 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

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on the trumpets of
one’s fellow nations. And currently auditioning for the

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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),

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Asia-Pacific (2007), Middle East and North
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Africa (2009) and African (2011) committees have added over 100 works to the collection. Two more committees – South Asia google_ad_slot = "6023194682"; and Russia & Eastern Europe – are in the pipeline.

It was Serota’s cultivation of a global powerbase,

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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 google_ad_width = 970; 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 whereas global terrorism has a clear idea what it’s about, global art is undecided. At the moment

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it’s professing anti-capitalism in a general, innocuous sort of way. Enwezor’s Venice exhibition will open
with a
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live reading of all four volumes of Marx’s Das Kapital, “building into an epic display of orality”. Groan if you will, but Enwezor is a global player with a bunch of biennials under his belt. He curated the Lagos

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

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a global art market, but there are no international institutions.” The Tate aims to change that. Assuming its extension is ever finished – and mothballing it would take a mountain of camphor – its