At-Tāriq. A Journey into the Rural Music Traditions of North Africa and the Arab World
Hegemony places literature, paintings, films, dance, television, music, and so on at the center of how a dominant culture rules or how a ruling class dominates. This is not to assert that art is propaganda for capitalism (although sometimes it is). Nor is it to revert to theories of “art for art’s sake” and the normative metaphysics of liberal cultural criticism (Art’s social value is its independence from politics. What about “beauty”? etc.). According to Williams’s theory of hegemony, art is one way of enlisting our desire in the “making and remaking” our own domination. But desire is unstable and, as an important part of maintaining a dominant culture, art is also, potentially, a means of its unmaking.
Many museum exhibitions—and re-hangings of permanent collections—have in recent years aimed to address legacies of colonialism, as well as outdated and oppressive gender and sexual “norms.” Sometimes these shows incorporate contemporary art in response to historical work now viewed as pejorative or oppressive. Too often forgotten in these re-visions of art/history is the stereotypically dehumanizing representation of disability and disabled persons.
Robert Hazen outlined the theory that the mineralogy of planets and moons evolves as a direct result of interactions with life. While only a dozen mineral species are known to have existed when our solar system formed 4.6 billion years ago, today Earth plays host to more than 4,400, an indication that the chemical and biological processes enacted by organisms engender their formation. On a planetary geology scale, then, our interactions with rocks stimulate their development as much as they buttress ours.
Rather than attempt a linear survey of a career that was truncated almost as it took wing, the show leads with two groundbreaking installations of the early 1990s before offering a chronologically broader presentation of Butt’s paintings and graphic works on a separate floor. The refabrication of the fly-infested noticeboard—an early example of art incorporating a kind of biotechnology—resuscitates a matter crucial to Butt’s political relevance.
In September 2019, an eight-year-old girl named Ágatha Vitória Sales Félix was shot and killed by police in Rio de Janeiro as she was riding home in a small public bus with her mother. The officers argued that they had been fired upon first, and that they were in the midst of a wider war, part of the former Brazilian president Jair Bolsonaro’s “30 bullets for every bandit” crackdown on crime, during which nearly a third of all violent deaths in Brazil’s second largest city came at the hands of the state.
In 2020, the group exhibition “OTRXS MUNDXS” offered a snapshot of Mexico City’s young artists and collectives. Whereas that first show felt overly ambitious, occupying the whole of Museo Tamayo and adopting a theoretical framework that attempted to define a generation, the latest iteration goes in the opposite direction: abbreviated to a few galleries and the central patio, and lacking any coherent sense of structure.
