Creative Cinematic Geographies Through the Hong Kong International Film Festival

Wong, Cindy Hing-Yuk

doi:10.1002/9781118883594.ch9

Cited by 2 publications

(1 citation statement)

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“…Biennials are here described as harbingers of Western imperialism and cultural inequality. Although these events claim to be international in scope, many scholars and art critics insist that they are dominated by Western artists (Demos 2010;Hassan and Oguibe 2001;Montero 2012;Oren 2014;Tang 2011;Wong 2015;Wu 2009) and continue to employ traditional hierarchical power structures -'the only difference being that "Western" has quietly been replaced by a new buzzword, "global"' (Wu 2009, 115). These authors are led to conclude that the ideas and meanings configured and presented at these events are linked to ideas and meanings that have emerged mainly in the West and are copied by (or forced upon) the rest of the world.…”

Section: Introductionmentioning

confidence: 99%

Diversity and (In)equality in the Global Art World: Global Development and Structure of Field-Configuring Events

Morgner

2017

New Global Studies

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There is a boom of art historical studies on the globalisation of the arts or global art world. Sociological accounts are, despite the rise of cultural and art sociology in recent years, almost complete absent from this discussion. This paper makes a contribution to the globalisation of the arts, but from a sociological and quantitative perspective. The focus of this paper is on particular type of global institution – biennials and other types of art festivals or large-scale exhibitions. These institutions are seen being major places of exchange and formulation of norms and standards. They define what is hip and new. However, theories of globalisation, in combination with accounts from professionals of the field, claim that these institutions propagate only Western values or have a homogenising quality, because they only show caste works from artists of the Western hemisphere or that they repeat the same works and artists across the globe. However, based on a large-scale quantitative survey, this paper will demonstrate that picture is more complex and that we find tendencies to homogenisation and heterogenisation existing at the same time or that the locality of these events acts as a source of uniqueness and innovativeness. The paper proposes a new theoretical framework that interprets these findings as based on Niklas Luhmann’s idea of second-order observation and Bruno Latour’s and Harrison C. White’s conception of the network.

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