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transculturation as a phenomenon that enables the existence of a “third enunciation space”, an “in-between”9, a negotiation space for both cultures; secondly, it takes up again Hal Foster’s concept of the artist as ethnographer, according to which the artist becomes the observer and pointer of a phenomenon.

In Introducción a una poética de lo diverso, Glissant sustains that the art of the future is translation. Franz Fanon proposes a view of the artist as someone capable of exploiting the transit from one culture to another. If we think of translation not as the apropiation of a foreign culture through our own, but as a dynamic interaction in which conceptual limits are expanded and differences respected, it offers a wider view of the multiple levels and routes available for intercultural exchange.

If we start from the premise that people that share a language also share a precise view of the world, the need for research on the mechanisms through which people, with different cultural backgrounds, can establish communication and contact points that negotiate their differences becomes evident. This mechanism is something inherent and especific to art so art becomes a negotiation space, a translation space. Among those participating in Displaced it’s apparent the search for balance; these artists, without suscribing to a universalist or essencialist view, direct their work towards the construction of channels that allow communities an intellectual contact and socialization spaces.


Term used by Hommi Bhabha in The Location of Culture, Routledge, Londres y Nueva York, 1994,

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