Tracing the Routes of Floating Exhibitions: A Fluid Cartography of Post-war Modernism around 1956
This article discusses the phenomenon of floating art exhibitions based on the examples of the Argentinian exposición flotante and the Australian Pacific Loan Exhibition (both 1956). They manifested themselves at the same time as the “second wave of biennials” and can be interpreted as floating nati...
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| Format: | Text |
| Language: | English |
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École normale supérieure Paris
2019
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| Online Access: | https://dx.doi.org/10.7892/boris.128013 https://boris.unibe.ch/128013/ |
| Summary: | This article discusses the phenomenon of floating art exhibitions based on the examples of the Argentinian exposición flotante and the Australian Pacific Loan Exhibition (both 1956). They manifested themselves at the same time as the “second wave of biennials” and can be interpreted as floating national pavilions. Through a spatial analysis of the routes taken across the open ocean, it is shown how the ships’ movements form what can be understood as a ‘negative map’ of canonical art history, oriented around the North Atlantic. This cartographic approach reveals blind spots in art historical research and contributes to the creation of new narratives. : Cet article traite du phénomène des expositions d'art flottant en prenant pour exemple la exposición flotante Argentine et de Pacific Loan Exhibition Australienne (les deux 1956). Ils se sont manifestés en même temps que la “deuxième vague de biennales” et peuvent être interprétés comme des pavillons nationaux flottants. L'analyse spatiale des itinéraires empruntés en haute mer montre comment les mouvements des bateaux forment ce que l'on peut interpréter comme une carte négative de l'histoire de l'art canonique, orientée autour de l'Atlantique Nord. Cette approche cartographique révèle des éléments manquant de l’histoire de l’art et contribue à la création de nouveaux narratifs. |
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