A new world art?

Documenting Documenta 11
Stewart Martin

Documenta 11 was one of the most radically conceived

events in the history of postcolonial art practice. It is
exemplary of the influence of postcolonial discourses
on critical art practice over the last twenty years in
breaking profoundly with the colonial presuppositions
of the nineteenth-century tradition of ethnographic or
anthropological exhibitions of non-Western art as
primitive culture. It exhibited contemporary art from
across the globe in accordance with a profound critique
of the orientalism and neocolonialism that this task
faces, which in many respects went beyond that of
previous landmark shows, such as the 1989 Magiciens
de la Terre in Paris, or the 1993 Whitney Biennial in
New York. It presents a watershed in the history of
Documenta one of the pre-eminent exhibitions of
contemporary art, held in Kassel, Germany, every five
years the first to be curated by a non-European, with
an unprecedented presence of artists from outside
Europe and North America, and an extensive transformation of Documentas geographical and
intellectual constitution. However, despite predictably
extensive coverage, the critical reception of
Documenta 11 so far has been severely delimited.
It is now over a year since Documenta 11 closed its
exhibition your last chance to see the show was 15
September 2002 and it has long since drifted out of
the consciousness of art journalism. It is no longer de
jour. And yet, all reviews of Documenta 11 to date
have been premature, since only now, over a year on,
has it completed the programme of placing itself in
the public realm, with the publication of the last in its
series of volumes. These volumes are not

supplementary, since it is the distinctive curatorial

innovation of Documenta 11 to constitute itself through
a series of five Platforms, of which the exhibition
which traditionally has been the centrepiece of
Documenta is only one. These Platforms were
intended as a displacement of the temporal and spatial
centrality of Documentas site in Kassel, that would
actualize Documenta 11s postcolonial critique of the
geopolitical constitution of the historical avant-garde.
They mostly consisted of themed conferences, with
occasional workshops and film and video programmes.
The location, name and date of the Platforms were as
follows: Platform 1, Democracy Unrealized, was
held in Vienna, 1520 April 2001, and Berlin, 930
October 2001; Platform 2, Experiments with Truth:
Transitional Justice and the Processes of Truth and
Reconciliation, New Delhi, 721 May 2001; Platform
3, Crolit and Creolization, St Lucia, 1315 January
2002; Platform 4, Under Siege: Four African Cities:
Freetown, Johannesburg, Kinshasa, Lagos, Lagos, 16
20 March 2002; Platform 5, the Exhibition, Kassel,
8 June15 September 2002.
The volumes of the proceedings of these conferences are the only public form of the Platforms, for
those unable to attend them, besides the website.*
They need to be examined as constitutive parts of the
enterprise of Documenta 11. This has not been possible
until now. It is questionable whether they would have
been considered had they been available to reviewers
originally. Few of the contributions to these extensive
volumes even attempt to address art and they draw on
a wide range of intellectual disciplines and knowledges

* www.documenta.de/ The volumes are: Okwui Enwezor et al., eds, Democracy Unrealized, Documenta 11_1, Hatje Cantz,
Ostfildern-Ruit, 2002; Okwui Enwezor et al., eds, Experiments with Truth: Transitional Justice and the Processes of Truth
and Reconciliation, Documenta11_2, Hatje Cantz, Ostfildern-Ruit, 2002; Okwui Enwezor et al., eds, Crolit and Creolization,
Documenta 11_3, Hatje Cantz, Ostfildern-Ruit, 2003; Okwui Enwezor et al., eds, Under Siege: Four African Cities: Freetown,
Johannesburg, Kinshasa, Lagos, Documenta 11_4, Hatje Cantz, Ostfildern-Ruit, 2002; Okwui Enwezor et al., eds, Catalogue,
Documenta 11_Platform 5: Exhibition, Hatje Cantz, Ostfildern-Ruit, 2002. Armando Silva, ed., Urban Imaginaries from
Latin America, Documenta 11, Hatje Cantz, Ostfildern-Ruit, 2003, was also published under the imprint of Documenta 11.

Radical Philosophy 122 (November/December 2003)

outside of conventional art theory and art history.

While this is by no means unprecedented, it presents a
massive extension of the already formidable task of
assessing the artworks exhibited. And while there
have been reviews of Documenta 11 that refer to
Platforms 1 and 2, there is little sense that the absence
of the other volumes is decisive. Indeed, some
reviewers have maintained that the non-exhibition
Platforms are superfluous.1 Nonetheless, it is clear
that this is a serious misconception of the project of
Documenta 11.

Avant-garde or postcoloniality?
The immense scale and complexity of Documenta 11
is a formidable challenge to any attempt to assess it as
an intergrated event. It was certainly the intention of
the curators to frustrate reductive unifications. Nonetheless, if Documenta 11 is intended as a relatively
coordinated and consistent project, as the curators
make clear that it is, then this curatorial intention
provides a point of departure for the attempt to apprehend it. This may be liable to objections about the
general overvaluation of curators that has become so
prevalent recently according to which artists and
artworks are reduced to the materials of the curator/
super-artist but the assessment of an exhibition as
novel in organizational structure and in the selection
of artists as Documenta 11, would be naive if it did
not examine the curators intentions, albeit critically.
The texts by the lead curator, Okwui Enwezor, are of
particular interest here, especially his essay The Black
Box.2 This is partly because of his organizational
status, but also because, as one might expect, of all
the curators texts it offers the most programmatically
comprehensive conception of the radical artistic and
political claim of Documenta 11. It achieves this by
addressing one of the decisive questions that is implicitly imposed by the historical site of Documenta
itself: how do the kinds of postcolonial artistic practice
and discourse selected for Documenta 11 relate to the
history of avant-garde art that Documenta has, more
or less problematically, tended to exhibit and be
identified with? Enwezors answer is radical, if not
altogether novel or historically accurate:
While strong revolutionary claims have been made
for the avant-garde within Westernism, its vision of
modernity remains surprisingly conservative and
formal. [T]he political and historical vision of
the Western avant-garde has remained narrow. The
propagators of the avant-garde have done little to
constitute a space of self-reflexivity that can
understand new relations of artistic modernity not

founded on Westernism. The foregoing makes

tendentious the claims to radicality often imputed to
exhibitions such as Documenta or similar manifestations within the exhibitionary complex of artistic
practice today.3

From this equation of avant-gardism and Westernism,

Enwezor derives the programme of Documenta 11 as
a rupture in this culture, at one of its historic sites, and
the institution of an alternative artistic culture of
postcolonialism or postcoloniality.
The equation is a crude mixture of falsity and truth.
There are few more unifying claims about the heterogeneous art practices described as avant-garde than
that they constitute radical critiques of Western culture,
including the culture of imperialism and colonization.
Think of the surrealism of Georges Bataille and Michel
Leiris, or, more dramatically, the non-Western influences on the work denigrated by the Nazis in the
Degenerate Art exhibition of 1937. Enwezor
appears to have reduced the avant-garde to Greenbergs highly sanitized and selective account of
modernism, which traces a canon of Western art that
is certainly indifferent, if not antagonistic, to any
primitivistic influences (although Greenberg did not
even do justice to the art he sponsored, with both
Picasso and Pollock profoundly influenced by nonWestern art). But Enwezors equation is constituted in
relation to a critique of avant-garde arts orientalism
according to which its critique of Western culture was
not simply derived from, for instance, Africa or East
Asia, but involved their phantasmatic projection by
the West, which thereby, ironically, sustained a
colonial culture in the very attempt to overcome it.
Enwezor is indifferent to the complexities of these
oriental critiques of the West, as some reviewers have
noted. 4 But to fixate on this blindness is to overlook a
fundamental shift that is at stake here in the structure
of this critique of orientalism. On the one hand, this
involves a certain radicalization of the critique of
orientalism that rejects the implicitly colonial logic of
incorporating or including the marginal or the other,
and that instead insists on a politics and strategy of
empowering the marginalized without making it partake of the centre, while displacing the centre as the
arbitrator of empowerment. On the other hand, it
concerns a historical transformation in the political
context of the traditional sites of avant-garde art,
namely the move from European colonialism to a
period of decolonization and postcolonialism, as well
as the emergence of novel forms of global imperialism.
Enwezors contention is that, despite the anomalies
and exceptions, contemporary postcolonialism is a

Radical Philosophy 122 (November/December 2003)

political form that fundamentally postdates the

historical avant-gardes and that, as a consequence, the
political task of responding to contemporary postcolonialism demands a fundamentally new sense of
radical art.
By postcolonialism and postcoloniality Enwezor
does not only mean the general political status of
societies that have emerged from colonialism and that
are still undergoing processes of decolonization.
Rather, like many others, he understands postcolonialism as the break from the narrative or teleology of
development that, whether positively or negatively,
remains bound to a legacy of colonialism. The cultural
and political logic of postcolonialism is therefore
understood as a rupture and displacement of the
relations of centre and margin, which are taken to
dominate colonialism. It involves cultural forms that
have developed outside of a strict relation of identification with, or opposition to, an imperial state. However, for Enwezor as for many others, postcolonialism
is not exhausted by the recovery of national or individual sovereignty. Rather it introduces a new form of
relations of difference. This is the global form that
Enwezor emphatically ascribes to postcoloniality. In
certain respects, this tends towards an exaggeration of
the legacy of European colonialism. But it is bolstered
by a diagnosis of the form of capitalism that has
emerged from the Cold War and is now entering an
eternal War on Terror, as a new, intensively globalized
form of (strictly speaking, non-colonial) imperialism,
which thereby generalizes and intensifies the condition
of postcoloniality. Enwezor borrows Hardt and Negris
analysis of Empire in order to generalize the condition
of postcoloniality by analogy with their characterization of the multitude as a global political counterpower, emerging immanently from the globalization
of transnational capital while overdetermining this
notoriously indeterminate category as a politics of
postcoloniality.
This globalization of postcoloniality accounts for a
number of the cultural and political features attributed
to it. Enwezor emphasizes the spatial and temporal
condensation that characterizes many aspects of
globalization, in which distances and times are
shortened to the point of near immediacy. This underpins the move from a geopolitics of centre and margin
to one characterized by the immanence of the margin
and the centre in which these relations do not dissolve
completely, but are nonetheless destabilized and transformed in their dynamic relation, producing condensations, displacements and equivalences of margin
and centre.5 Enwezor refers to how modern communi-

cations technologies facilitate this immanence of

margin and centre and constitute an everyday life,
inflected by globalized relations of postcoloniality.6
He also alludes to how these transformations of spatial
and temporal experience generate a transformation of
subjectivity.7 This informs his discussion of September
11. True to the transformed dynamics of global
political forms, it is understood as the claim of an
alternative world culture (Islam), not merely a
marginal, nationalist culture, which is made at the
very centre of the dominant world culture (North
American capitalism), in an act that presents the full
emergence of the margin to the centre.8
Without identifying with this Islamism, Enwezor
proposes a refunctioning of the name Ground Zero
that hijacks its deployment in the wars for a New
World Order and proposes it as the slogan for the
regrounding of an alternative, postcolonial world. He
thereby engages in an exemplary hegemonic strategy,
proposing Ground Zero as a cipher in relation to
which an inherently complex political constituency
can combine to form an alternative global polity.
(Given that Documenta is usually numbered according
to roman numerals the last was Documenta X in
1997 the correspondence of Documenta 11 and
September 11 is striking, although it is not explained
as such.) Enwezor proposes Documenta 11 as a
cultural formation of this project, aligning it explicitly
with the combination of postcolonial and anticapitalist
movements that have emerged recently.9 This is the
political act that Documenta 11 itself is intended to
perform: the irruption of a central location of the art
world by an alternative world art, the full emergence
of the margin to the centre.
If we consider this political positioning of Documenta 11 as an agenda for a new form of radical art, it
becomes apparent that it indicates transformations of
a number of fundamental conceptions of the radical
avant-garde. This is particularly clear if we relate it to
the profoundly influential conception of historical
avant-gardes outlined by Peter Brger, which
emphasizes the revolutionary project of the early
avant-gardes (especially, Dada, surrealism and constructivism) to expose art as the product of bourgeois
institutions the museums, galleries, art market and
attendant discourses and engage in the emancipatory
dissolution of art into a life free from capitalist social
relations. 10 This politicized project of a total transformation of social relations is distinguished from
neo-avant-gardes that attempt to continue the artistic
heritage of the original avant-gardes, but in the knowledge that this revolution of art and everyday life is no

Radical Philosophy 122 (November/December 2003)

longer at stake. The neo-avant-gardes therefore tend

towards a parody rather than a reinvention of the
historical avant-gardes. There are a number of ways in
which Documenta 11 is conceived as a rearticulation
of this discourse. In relation to the historical avantgardes claim for a total revolution of social relations,
Documenta 11 proposes a new, postcolonial configuration of this totality of social relations, which is not
historically the same as that available to the historical
avant-gardes, or politically identical with the fight
against imperialism as these avant-gardes conceived
it. There is therefore a new political ontology of
totalization at stake today. In the terms of phenomenological ontology, Documenta 11 discloses a
different world to that disclosed by the historical
avant-gardes. This infuses the other forms of totality
at stake here: a transformation of subjectivity and
everyday life is induced by the inflection of the
condensed, displaced and equivalent spatio-temporal
relations of a globalized culture. Documenta 11s
Platforms engage in a re-territorialization of an art
institution according to these transformed dynamics,
which are not reducible to the critique of inside and
outside, centre and margin, that characterizes the
imperial metropolitan context of the historical avantgardes.
Yet there is an obvious sense in which Documenta
11 remains caught in the predicament of a neo-avantgarde. Despite its political rhetoric, it is funded by
national institutions and capitalist corporations.11
Whatever the potential of its claim that the revolutionary force of postcoloniality is immanent, it is
also currently deeply subordinated. There is also a
sense in which its transformation of the avant-gardes
discourse of totalization does not merely bring it to an
end, but produces a critical renewal of it. In short,
then, there is a persistent sense in which Documenta
11 proposes a radical transformation of avant-garde
art, while remaining deeply entwined within its
traditional problems. But in order to articulate this
sense more concretely, we need to consider the
actuality of Documenta 11 and examine its Platforms
in the relative independence that they demand.

1_Democracy unrealized
Platform 1 sets out to examine issues surrounding the
emergence of democracy as the hegemonic political
form of contemporary globalization, particularly as it
has been articulated by the neoliberal capitalism that
has emerged since the end of the Cold War. More
critically, the platform is intended as an examination
of the ways in which democracy serves as an ideology

10

of political Westernization that sustains the very undemocratic dominance of the economic interests of
the leading capitalist nations, especially those of
Europe and North America. It is the contradiction or
tension between the ideology and the actuality of
international democracy that explains the attention to
democracys unrealized condition and the way in
which the Platform responds to the general preoccupations of Documenta 11.
Almost without exception, the contributors to Platform 1 assume democracy to be the most appropriate
political form for the tasks of a globalized postcolonial
politics. The closest to an exception to this rule is
perhaps Bhikhu Parekh, who draws a sharp distinction
between democracy and liberalism in order to argue
that todays liberal democracies should respond to the
challenge of multiculturalism by an increase in the
liberal respect for individual freedoms and further
neutralize the cultural presuppositions of the state.12
But this is addressed solely to liberal democracies and
therefore ignores the political predicament of many
postcolonial states. This liberal objection is matched,
at the other end of the political spectrum, by Michael
Hardt and Antonio Negris communism of the multitude.13 They conceive the multitude as an immanently
self-relating multiplicity, which is thereby understood
as incompatible with antagonistic and representative
political forms, which they attribute to conventional
forms of democracy. Instead they argue that the
politics of the multitude is a form of self-realization or
absolute democracy. But this remains abstract with
respect to the elaboration of historical forms of postcolonial politics. The most widely canvassed position
is probably that of a constitutively unrealizable
democracy that would enfranchise the complex constituencies of a postcolonial globe through refusing
any realized or substantive totalization of the political
community.
Ernesto Laclau and Chantal Mouffe, who have
done most to theorize a constitutively unrealizable
conception of democracy as a radicalization of the
political, both contribute essays, but these are very
formal and do not address the question of a globalized
postcolonial politics. Laclaus essay argues for democracy as caught between tendencies to autonomy and
heteronomy, and Mouffe sketches the concept of a
democratic public sphere as constitutively agonistic,
which may allude to the problem of a global public
sphere, but only refers explicitly to rethinking the
federalist conception of Europe. 14 It is largely left to
Stuart Hall and Homi K. Bhabha to elaborate this
political theory more explicitly in relation to post-

Radical Philosophy 122 (November/December 2003)

colonial politics, both effectively proposing an openness to the infinite play of difference. Immanuel
Wallerstein is among the few contributors to consider
democracy as a political project that was yet to be
fulfilled and so is unrealized in the more straightforward sense, arguing that, when considered at the
level of world history, democracy (in the sense of a
demand for equality) has been increasingly realized
up to the present, and that this has led to an impending
crisis for the structural inequalities that characterize
capitalism. His diagnosis is not intended to defer
political action into long-term historical movement,

but to anticipate an impending political struggle over

democracy, in which its currently assumed legitimacy
would give way to a critical struggle.
These contributions all remain extremely abstract
with respect to actual political organizations or
political disputes in which a postcolonial democracy
is at stake. But this is corrected, in part, by texts from
a number of political organizations: kein mensch ist
illegal, Multiplicity, Arquitectos Sin FronterasEspaa,
and Demokratische Offensive. It is perhaps unfortunate
that these are all European organizations and there is
an obvious disparity between their aspiration to global
enfranchisement and their political activities. But this
is consistent with the geopolitical condensation of
locality and globality that is a theme of Documenta
11. Platform 1 was held in Vienna and Berlin. Nonetheless, there is a lamentable absence of more
extensive groupings, such as the World Social Forum
that has emerged in opposition to the World Economic
Forum.

As is characteristic of the Platforms more generally,

very few of the contributors even attempt to write
about art or address the artistic context of Documenta.
Of the twenty-six papers, only those by Boris Groys
and Iain Chambers do so substantively. Emblematically, the text by the group Multiplicity, who
exhibited at Platform 5, makes no mention of art at
all. This is characteristic of the eccentric logic of
much of the discourse surrounding contemporary art.
However, it leaves a number of decisive questions
about the political situation and strategy of Documenta
11 unaddressed, especially in relation to the history of
avant-garde art. I have addressed some of these issues above
and others will be dealt with
below, in connection with the
other Platforms, as their distributed form demands. But it
is worth noting here that the
complex history of relations
between political discourse and
avant-garde art has in many
respects been dominated by a
more or less dissident communism. This raises the question
of how Platform 1s discourses
on democracy relate to communism; in particular, how they
relate to the communist critique
and politics of anti-imperialism
that infused the historical
avant-gardes. Traces of this
prehistory are detectable in the communist sentiments
iek, but they make no address
of Hardt, Negri and Z
to avant-garde art. Groys comes the closest, but he
does so through a very dubious aesthetics of anticapitalist politics as essentially ascetic.15 This is a
blind spot of Documenta 11, intensified by its
indifference to art history and the history of avantgardes.

2_Experiments with truth

Platform 2 is an attempt to deal with the novel
conceptions of right and justice that have emerged in
response to aggression perpetrated by states on their
own people, as well as others, and which, to that
extent, fall outside of juridical processes circumscribed
by the sovereignty of the nation-state or, at the very
least, create a crisis for it. To this end the volume
deals with the theoretical and historical predicament
of the development of universal human rights, from
its institutional inception in the Nuremberg trials after

Radical Philosophy 122 (November/December 2003)

11

the Second World War (194546), to the institution of

a permanent International Criminal Court. The volume
is also preoccupied with a number of other experimental juridical processes established to institute a
solution to the contradictions of national justice, in
particular the various Truth and Reconciliation
Commissions that have been established, not only in
South Africa, but also in the former Yugoslavia and
Argentina.16 It is largely in the context of these
institutions that the volume addresses the concept of
transitional justice as a novel juridical form geared
towards negotiating a transformation of political forms,
such as the end of apartheid in South Africa. The
main controversy that emerges is whether transitional
justice is part of the generation of a less nationalist or
statist conception of law, which is increasingly needed,
or whether it is an ideology that depicts a narrative of
organic change, but which conceals key political
decisions or struggles. For example, Ruti Teitel argues
for the former, with respect to post-apartheid South
Africa, claiming that processes of transitional justice,
like South Africas Truth and Reconciliation Commission, enable the state to re-establish its legitimacy
in circumstances of constitutional crisis, where this
demands convicting itself of illegal acts.17 Conversely,
Boris Buden argues that the truth and reconciliation
processes in the former Yugoslavia are part of a
depoliticizing ideology of post-communist neoliberalism, which conceals the political decisions that
are at stake and which results in a general impoverishment of democratic political culture.18 This tension
between juridical and political responses is expressed
across the Platforms, with Mouffe also arguing against
the privilege of juridical or moral forms of resolving
social disputes.
Platform 2s preoccupation with these juridical
forms may appear to be somewhat removed from the
principal themes of Documenta 11, but on reflection it
is apparent that they are significant for the emergence
of global forms of political legitimacy and citizenship
central to the novel forms of postcolonial political
culture that Documenta 11 addresses.19 In this context,
the controversy over human rights therefore takes two
forms: a controversy over whether juridical processes
are adequate to empower a postcolonial and global
citizenship; and a controversy over whether they
conceal political processes, particularly whether or
not they are just the veil for a neo-imperialism.
Besides juridical forms, Platform 2 also addresses a
number of more experimental theoretical and cultural
issues that surround or underpin these forms, incorporating essays on questions of trauma, witnessing,

12

memory, testimony, narration, and so on. It is largely

in this context that the Platform addresses art,
although, as with the other theoretical Platforms, this
is limited to a few contributions. Susana Torres article
discusses a number of contemporary memorials that
negotiate the public construction of memory and thereby justice.20 For instance, Jochen Gerzs 2146 Steine
Mahnmal gegen Rassismus (2146 Stones Monument
against Racism) in Saarbrcken, Germany, which
replaces seventy cobblestones in a major public space
with identical cobblestones inscribed with the names
of obliterated Jewish cemeteries in Germany, but on
their underside so that they are invisible to the passerby. Alfredo Jaars article discusses his series of artworks about the indifference of the media Western to
the massacres in Rwanda and the challenges of his
attempts to depict and bear testimony to it.21 Some of
this work was also exhibited at Platform 5. Jaar is in
many respects exemplary of a heritage of avant-garde
art that is evident in the artworks exhibited at Platform
5. The form of politicized art practice that he has
developed exemplary of the set of concerns
addressed by Documenta 11 is made possible by a
course of formal and ontological transformations of
what can and cannot be considered an artwork, which
pay a particular debt to conceptual art and its radical
exposure of art to its contextual discourses. This has
enabled Jaar to give his lecture in a form that is
appropriate to a conference. However, it also expresses
issues of justice in forms that are awkwardly expressed
in juridical discourses. It is at the limits of juridical
discourse that it establishes itself as an art practice,
not merely through the prescribed use of a medium or
space. It is in this sense that criticisms of postconceptual art as a collapse into other cultural forms
criticisms that pervade the reception of Documenta 11
are misconceived.

3_Crolit and creolization

Many of the issues surrounding postcolonial culture
and the processes of cultural mixing and exchange
that have become characteristic of contemporary forms
of globalization, were pursued in Platform 3 through
the examination of the concepts of crolit and
creolization. The concept of crolit, or creoleness,
was introduced by three Martinican intellectuals, Jean
Bernab, Patrick Chamoiseau and Raphal Confiant
in their 1989 publication Eloge de la Crolit,
translated in 1990 as In Praise of Creoleness in
order to theorize the socio-economic, cultural and
creative form of creole languages that have emerged
within the Caribbean Basin. It was proposed in order

Radical Philosophy 122 (November/December 2003)

to demarcate the specificity of these forms with respect

to more general forms of cultural mixing, and as an
alternative to the racialized concept of negritude
developed by Aim Csaire, which (following Fanon)
they reject as the replacement of a European illusion
of primitivism with an equally illusory myth of the
African. Creolization is a concept that Edouard
Glissant has proposed as a corrective to crolit,
emphasizing the processual, open-ended and expansive
character of creole cultural formations that extend
well beyond the Caribbean to a generalized process of
globalization. As he puts it in an epigraph to the
volumes Introduction, The whole world is becoming
creolized. Conversely, Bernab, Chamoiseau and
Confiant insist that crolit is a form of autonomization, emerging from a wider process of creolization.
This precarious debate about the specificity and
universality of creole cultural form traversed by
questions of literary form, linguistics and political
history, among others structures many of the articles
and contributions in the publication of Platform 3. It
also structures the relation of this Platform to the
other ones. The formation of a specific, localized
culture, through processes of colonial and postcolonial
transculturation, on the one hand, and the transculturation of a general process of contemporary
globalization, on the other, is a tension that profoundly
inflects the whole project of cultural analysis and
politics informing Documenta 11. This remains
implicit in most of the contributions. But Platform 3
does deal more explicitly with art than Platforms 1, 2
or 4, especially in relation to creole poetry and
literature Derek Walcott addressed the conference a
number of times as well as through such forms as
Jamaican dancehall music. Isaac Julien showed his
films and discussed them, including the film he was to
show at Platform 5, Paradise Omeros. And Petrine
Archer-Straw explicated a number of relations between
avant-gardism, primitivism and colonialism through a
discussion of negrophilia in Parisian avant-garde
circles of the 1920s, in comparison to a certain reversal
of this in the reappropriation of primitivism among
contemporary Caribbean artists although in many
respects these artists seemed to engage in a reinvigorated negritude.22
Many essays and much of the discussion which
was published in the volume as a series of Open
Sessions revolves around the definition and clarification of the concepts of crolit and creolization in
relation to various meanings and allusions associated
with creole forms, as well as in terms of diaspora,
hybridity, mtissage and miscegenation. This includes

instructive comparisons and distinctions of creole as

the generation of a third language, distinct from the
mixing of the two languages from which it emerged.
In the case of the Caribbean the creoles are distinct
from the dominant colonial languages of French,
English or Spanish, on one side, as well as the
dominated African languages of the plantation slaves,
on the other. The specific linguistic form of Caribbean
creoles is therefore also determined by particular
political formations, which seem to be decisive. Even
the meeting of separate cultures in the context of
European enslavement of Africans in Central America
is not adequate to explain the emergence of creoles, as
Virginia Prez-Ratton points out in relation to Costa
Rica, where the arrival of slaves in the eighteenth
century did not produce creole languages. She argues
that this was due to their small numbers (relative to
the Caribbean), their arrival from the Antilles rather
than Africa, and their employment as domestic
servants, which meant that under the masters roof
mtissage took place rapidly; all of which resulted in
the complete suppression of alternative languages or
contexts for the formation of a creole language.23
Conversely, in the port of Coln in Panama, on the
coast of the Atlantic, despite a high degree of ethnic
mixing among Hindus, Chinese, Arabs, blacks and
Europeans, there is no real linguistic mixing, but a
near total bilingualism of English and Spanish. Indeed,
the volume is littered with anomalous linguistic
communities.
A number of contributors were undeterred from
thinking more broadly about the relation of these
forms of creole culture to broader processes of cultural
formation, whether in relation to diverse linguistic
forms such as Spanglish in New York or the tentative
emergence of Euroenglish across the European Union
or in relation to global processes of cultural exchange
and resistance. Given this context, it is surprising that
there was no reflection on the globalization of
American English through computer and media technologies. Stuart Halls contributions are notable here.
While insisting on the Caribbean specificity of crolit
and creolization in certain respects, he also presents
these processes as exemplary or limit-cases of cultural
change tout court, opening a perspective onto the
processes of globalization as a contemporary political
project. Hall emphasizes the relation of these questions
to a political engagement with the present, that is, to a
desire and a project of hope and transformation, which
make them irreducible, if not indifferent, to empirical
verification and specification. Moreover, this is set
within the context of a diagnosis of the novel form of

Radical Philosophy 122 (November/December 2003)

13

globalization that has become evident since the mid1970s, a phase of transnational neoliberalism, distinguished from the initial colonial and postcolonial
phases of globalization. In this he probably does most
to articulate the relation of this Platforms concerns to
the project of Documenta 11 as a whole. Indeed he
provides a striking formulation of what is at stake in
its reception:
We will see ... whether Documenta 11 is greeted as
an interesting diversion, written off as a momentary
interruption, a moment of the exotic, a temporary
deviation from what art is really about; an
interlude of cultural diversity in the onward march
of Western civilizational discourse. Or whether it
represents a more permanent break in the regime
which governs the international circulation of the
artwork.24

4_Under siege
The project of Platform 4 was to analyse the contemporary African city as exemplary of the various
and complex effects of postcolonialization and
globalization. The Platform presents investigations and
analyses of a collection of African cities not only
Freetown, Johannesburg, Kinshasa, Lagos, as the title
suggests, but also Pikine, Marrakesh, Kisangani, Addis
Ababa and Douala, among others that are currently
constituted by dramatic transformations in their urban
form and that, as such, present themselves as
symptomatic of fundamental changes in relation to
modernization, particularly in so far as this modernization presents a sedimented form of cultural
Westernism. It is in this context that the editors call
for a rethinking of Africas urban spaces and practices,
as a way of rethinking the social constitution of a
postcolonial urban citizenship that is taken to be
symptomatic of a new global trend.
In general, the essays are committed to criticizing
the practical and theoretical effects of the Westernized mode of modernization to which African cities
have been subjected, stretching from European
colonialism, through the processes of decolonization
and independence, and up to the generally disastrous
policies of the International Monetary Fund and the
structural adjustment programmes inaugurated by
the World Bank since the 1980s. This more or less
tragic narrative is the prehistory for the common
undertaking by the Platforms contributors to rethink
radically the horizon of development for the postcolonial African city. For most contributors, this takes
place through a reconsideration of failed urban forms,
which, instead of treating them as failures, looks at
them in terms of an alternative to received paradigms

14

of urbanization. This demands not just a closer look,

but a new sense of what is being looked for, and
therefore a new conception of urbanization. This
introduces a methodological theme of the Platform
that is conspicuously indebted to Merleau-Ponty. As
AbdouMaliq Simone argues, in terms of the received
Western conceptions of urbanization, many of the
emergent urban forms of contemporary African cities
are rendered invisible.25 Indeed, he argues that invisibility has become the pervasive condition for the
citizens of cities such as Lagos and Douala, because
their activities are often occluded by what is considered significant by received models of urbanization
and urban behaviour.
For Rem Koolhas whose paper on Lagos derives
from a large research project that he has directed on
the contemporary city, Project on the City the
transformation of urban studies at stake here is radical:
Taken together, these studies [from Project on the
City] suggest that the notion of the city itself has
mutated into something that is no longer Western.26
Koolhass interest in Lagos concerns the symptomatic
significance of its exceptional transformation: in fifteen
years it will be the third largest city in the world, able
to support a colossal population despite the apparently
terminal decay and breakdown of the programme of
modernization undertaken in the 1970s after a period
of postcolonial affluence from its oil fields. This combination of decay and population explosion has become
characteristic of Africas exponential urbanization.
Largely as a result of rural decline, 40 per cent of
Africas population live in cities today, with population
increases in cities such as Lagos, Nairobi, Dar es
Salaam or Kinshasa dramatically exceeding the
worlds metropolitan growth. Through the metaphor
of a cameras field of vision, Koolhas describes how,
on his first trips to Lagos, what appeared close up as
apocalyptic rubbish heaps, chronic overcrowding and
dysfunctional transport systems subsequently, and
from a different angle, revealed complex systems of
recycling and highly sophisticated strategies of trading
that enable the sustenance of millions of people in a
deeply impoverished environment. In this sense,
Lagoss emergence as one of the worlds largest cities
is built on conditions that depart radically from the
Western model of urbanization.
This revised conception of urban studies brings
into view many of the so-called informal activities
of these cities, which are conventionally disregarded
as supplementary to the essential activities of urban
citizens. This is especially the case in cities where the
states power has declined to the point that its formal

Radical Philosophy 122 (November/December 2003)

structures conceal informal but habituated conventions

that effectively determine urban life.27 It is in this
context that certain themes of global and postcolonial
citizenship developed. Antoine Bouillons examination
of identity in post-apartheid Durban is particularly
interesting here, insofar as it is an example of political
tensions that have emerged between a global and a
postcolonial citizenship.28 It discusses not just how
black South Africans, who remain impoverished after
apartheid, have rationalized an animosity to immigrants according to a nationalistic ideology that is
inscribed geographically in relations to the city
despite the fact that their nationalism is forged
explicitly on the anti-apartheid movements premiss
of universal human rights.
In certain respects, Under Siege is the Platform that
responds most directly and concretely to Documenta
11s preoccupation with postcolonial globalization.
The selection of African cities obviously affects profoundly the kind of postcolonial urbanization at stake,
but the curators are explicit about this and do not
propose the Platform as exhaustive of the topic. However, except for an interesting essay on Nigerian home
videos, this Platform is also even more indifferent to
questions of art than any of the others.29 And yet, in
raising the issue of the contemporary city in this form,
Platform 4 proposes a novel critique of the relation of
the city to avant-garde art that is profoundly significant. If the aspiration to overcome the institutional
autonomy of the museum or gallery is taken to be one
of the decisive gestures of the historical avant-garde,
it has been the city that has nearly always awaited this
escape with problematic demands of its own. Equally,
if the modern institutional autonomy of art can be
traced back to the Louvres relocation of artefacts
from Napoleons imperial campaigns, and in particular
from the beautiful city of Rome, then the city can be
seen to frame the beginning and end of art.30
More topically, it is clear that art museums and
exhibitions have become popular ways in which to
advertise cities within a global economy, partly for
tourism, but also as part of the establishment of these
cities as nodal points in the increasingly flexible and
transnational movement of capital. Documenta stands
in a peculiar relation to this history. Its periodic form
every five years was conceived as an attempt to
overcome the avant-gardes objection to the classicizing form of the museum, without obviously going
so far as to abolish it altogether.31 Kassel is also both
an exception to, and proof of, the significance of art
shows in establishing a world city: it is only because
of Documenta that Kassel is known internationally.

Within this situation, Documenta 11s dedication of a

Platform to African cities can be interpreted as a
profound critique of the urban presuppositions of the
historical avant-garde. Although Kassel is hardly Paris
or New York, the displacement of Documentas urban
site into these postcolonial cities, in the context of
their emergent global significance which takes place
literally in so far as Platform 4 was held in Lagos
performs a critique that, on the one hand, reveals the
Western, imperial urban site of the historical avantgardes, and, on the other, resonates with the new
urban politics of contemporary globalization.

Urban Imaginaries of Latin America

Although published under Documenta 11s imprint,
Urban Imaginaries of Latin America is not formally
attached to any particular Platform, but it is undoubtedly very close to Platform 4 in its concerns and
should be examined as such. It serves to supplement
the African bias of Platform 4, presenting studies of
Asuncin, Barcelona, Bogot, Buenos Aires, Caracas,
Havana, La Paz, Lima, Mexico City, Montevideo,
Panama City, Quito, Santiago de Chile and So
Paulo. 32 Urban Imaginaries is far more unified in its
form than the volumes published from the Platforms,
as one would expect from the publication of a research
project. It assumes the protocols of conventional social
science, with texts clarifying its hypothesis, theoretical
presuppositions and methodology, written by the
director, Armando Silva although the theorization is
generally very poor, particularly in the recourse to
psychoanalysis, and it tends to undermine rather than
enhance what is, otherwise, a fascinating project. As
its title suggests, the aim of the project is to examine
the imaginary dimension of urbanization within the
cities under consideration, not merely as an unreal
form of social perception or illusion, but as a
substantive mode of the constitution of urban spaces
and practices. As such, it is oriented against a purely
objective or physical conception of urban forms and
systems exhausted by the building of roads,
residential areas, parks, and so on and, instead,
develops a form of urban analysis that examines the
city as the formation of a social imaginary, invoking
the imaginary city as an object of analysis. The project
has a further critical and emancipatory dimension in
so far as it is oriented towards the enfranchising of
citizens imaginary constitution of public space, as an
alternative or corrective to the norms imposed or
induced by a citys physical environment, in so far as
that is overwhelmingly forged by the state. The volume
includes numerous studies of urban fantasies and

Radical Philosophy 122 (November/December 2003)

15

imaginary constructions, in practices such as graffiti,

forms of dance and protest.33
Silva itemizes a number of methodologies or
techniques through which urban imaginaries may be
examined. These include points of view, understood
not merely as opinions, but as the operation of a
gaze, in which the imaginary relation of an observer
to an urban space is revealed. These are examined
through what Silva refers to as visual sketches,
which are various forms of figuring, symbolizing or
constructing an image of the city. Largely, they are
derived from the imaginary associations that roads,
neighbourhoods or spaces acquire, such as the different
colours, ambiances or genders with which certain
streets are associated.34 These are collated through
polls, and various statistical representations of these
are included throughout the book. While many of the
imaginary forms are subterranean and unofficial, the
book also includes studies of high-profile media
representations of the city, as well as a fairly extensive
collection of postcard depictions of the cities. Silva
also refers to the significance of the study of family
histories, although there is little evidence of this in
the book. Part of the volume displays a series of
identification card portraits of people from these cities
as part of their image culture, without any information
about who is being depicted. Finally, a number of
parallel representations are cited. These take the
form of public interventions, modelled on the critical
function of public art events, which attempt to disrupt
the received mediation of the city. Silva refers to a
project on public radio, in which pivotal historical

16

moments in a citys life

are spliced into radio programmes in the style of
an oral memory. The
research project has also
bought a monthly page
in a paper circulated with
El Tempo, in which they
attempt to review the
news of the month in
images.
In this relation to
public art, Urban Imaginaries responds more
directly to questions of
art than Under Siege. And
although the psychoanalytical presuppositions
of the project are confused, the project suggests
a social scientific institution of the kinds of psychoanalytically informed urban practices developed by
avant-garde groups such as the surrealists and, in
particular, the situationists and their quasi-scientific
practice of psychogeography. This encourages the
reconfiguration of urban space according to psychic
associations and desires induced by moving through
the city. Guy Debord understood this as an emancipatory form of urbanism, partly in the specifically
historical context of breaking free from the military
presuppositions of Pariss urban modernization. Such
a historical contextualization of urbanism is absent
from the conception of Urban Imaginaries. But in the
light of the historical critique of colonial and postcolonial urbanization developed in Under Siege, we
could begin to imagine a corrective: a postcolonial
psychogeography.

5_Exhibition
Enwezor insists that the exhibition of Platform 5
which has traditionally been the only site of
Documenta should not be understood as the result or
destination of the other Platforms. Their unavailability
until after the exhibition ensured that this would not
be the case. But, contrary to the dismissal of the
theoretical Platforms as irrelevant to the exhibition by
certain critics, reviewing the exhibition in conjunction
with them is revealing, although not in the sense that
they explain the exhibition and its works in the
instrumental form of a methodology. The exhibition is
far too complex for this, as are the foregoing Platforms,
and many of the artists provide theoretical contextual-

Radical Philosophy 122 (November/December 2003)

izations of their own work that resist such a connection. But the Platforms do generate a set of debates
in relation to which ones experience of the exhibition
may be inflected and, in important respects, enriched.
This relation is probably most straightforwardly
informative in some of the photographic work. David
Goldblatts photographs of post-apartheid South Africa
are illuminated by the questions of post-apartheid
citizenship addressed in Experiment with Truth. The
photographs of Lagos by Muyiwa Osifuye resonate
with the context of urban studies presented in Under
Siege, as does Ravi Agarwals photographs of casual
labour in India. But there are also works that seem
directly to contradict the themes or ethos established
by the other Platforms, or at least to go against their
grain. Constants utopian urbanism sits ambivalently
among the critiques of Westernism presented by Under
Siege. His models are fantastically unconventional,
while still partaking of a kind of planned utopianism
largely absent from Under Siege. In this sense, the
aged and faded inclusion of these works from the late
1950s and 1960s seems to be critical of them. But this
is certainly not the case in the fantastic urban landscapes of Bodys Isek Kingelez, who lives in Kinshasa
but whose urban imagination projects a utopianism
largely absent from the sensibilities of the urbanism of
Under Siege, although perhaps not of Urban
Imaginaries. And yet his use of readily available
materials speaks a certain distance from cutting-edge
modernity.
The materials and formal strategies of much of the
art display a range of practices that have become
characteristic of contemporary art since the breakdown
of the medium-specific narratives of modernism in the
1970s. In one sense this breakdown is a rather
Western affair. However, it has resulted in an experimental openness that has destroyed a number of
conventions that previously excluded work developing
outside the leading art centres by ascribing it a purely
ethnographic status. This is particularly apparent in
the montage of high- and low-tech practices. In some
instances these are characterized by cultural contexts,
or perhaps preconceptions. Compare Feng Mengbos
videogame with the simple arrangement of books,
images and artefacts in a room by Georges Adagbo.
There was also a conspicuous use of photography,
video and video projection that often directly or
indirectly invoked the news media. It is noticeable
that Platform 5s larger exhibition catalogue opens its
pages onto a series of news images from a number of
familiar, dramatic recent events: bombings in Palestine
and Israel, Ground Zero, anti-globalization demon-

strations, and so on. This image culture seems archetypical of the condensation of spaces and times that
Enwezor attributes to everyday life in the age of
postcolonial globalization. In certain respects, this is
the combined effect of the exhibition as a whole. It is
less the experience of ethnographic wonder or shock
that is prevalent here, than the both strange and
familiar experience that results from the critical
assemblage of the spaces and times that constitute our
everyday life today, indeed our subjectivity.
Various works deal with the vicissitudes of global
passage and communication. Allan Sekulas series of
photographs and texts, Fish Story, documents the lie
in the popular image of contemporary global capitalism
as a virtual and rapidly moving substance, depicting
aspects of the massive industrial cargo ships that
actually transport goods and that generate forms of
manual labour that persist as if regardless of its
obsolescence. Tsunamii.net is a group of computer
artists that have developed a programme that demands
that one is actually in the physical locality of the
server that hosts the website you wish to visit in order
to access it, thereby subverting the virtual forms of
accessibility generated by the Internet. There are
photographs of the members of the group travelling,
with computer and receiver in their backpack, in order
to visit a website. Certain artists made works that deal
with the specific locality of Kassel. This may seem to
contradict the eccentric logic of Documenta 11, but
there are some ingenious solutions to this. Jens
Haaning exchanged a light bulb between a street light
in Kassel and a street light in Hanoi. This minimal,
largely invisible exchange presents a kind of internationalist reinvention of Dan Flavins constructivism,
elegantly expressing the kind of equivalence of distant
spaces that is symptomatic of various aspects of
globalization. Thomas Hirschhorn constructed a monument to Georges Bataille in a predominantly Turkish,
working-class residential estate on the outskirts of
Kassel. This involved a library, caf, play area and
media centre, all run by local kids. Hirschhorn narrated
this as a displacement of the central exhibited spaces
of Kassel, thereby reiterating Documenta 11s project
in Kassels own back yard amidst its own immigrant
communities. Ironically, the surrealist fantasy of the
primitive becomes the memorial with which to criticize
Documenta 11s own limits.
It is evident that Documenta 11 remains entwined in
the legacies of a heritage of radical avant-garde artistic
practice in a number of complex ways, many of which
it conceals from itself. With respect to Brgers in-

Radical Philosophy 122 (November/December 2003)

17

fluential distinction of historical and neo-avantgardes, Documenta 11 is ambivalent. On the one

hand, like the neo-avant-gardes, it proposes a radical
revolution in the institutions of art, while
presupposing them in various ways. Documenta 11 is
proposed as the dtournement of the spectacular
visibility of Documenta, in order to pursue a
destructive critique of Documenta. But this is par for
the course of contemporary exhibiting. Otherwise,
lets face it, Documenta wouldnt have let it happen.
However, like the historical avant-gardes, Documenta
11 is conceived in conjunction with a radical political
project that promises a dramatic transformation of
social relations. Moreover, it does this through a
conception of the totality of social relations that is
distinct from the historical avant-gardes and therefore
not merely a parody of them. But this political project
of a globalized postcolonialism that is to replace the
project of communism remains currently highly
indeterminate, leaving Enwezors artistic gambits in
debt to a future that demands a formidable struggle.
If we are to judge Documenta 11 in a way that is less
directly indebted to such a future, then it is as a
watershed in the development of a postcolonial art
practice. It is certainly not unprecedented in conception. The discourses of postcoloniality have been
well established over the last twenty-five years. Its
novelty is more curatorial and opportunistic. It articulates the unity of the discourses and practices of
postcolonialism and avant-gardism on the global stage
provided by Documenta.

6.

7.

8.
9.

10.

11.

Notes
1. Axel Lapps review in Art Monthly is symptomatic of
this problem. Referring to the inaccessibility of the
non-exhibition Platforms, he complains: since they
could not normally be attended by visitors to the
exhibition (one was closed to the public altogether)
and since the publication of their proceedings will not
be completed before the end of the show, this
contextualization will only be virtual and will only
happen with hindsight. This later aggrandisement of
the exhibition through theoretical discourse seems quite
unnecessary. Platform 5 could well stand on its own.
Art Monthly 258, July/August 2002, p. 8.
2. Okwui Enwezor, The Black Box, in Documenta
11_Platform 5: Exhibition, pp. 4255.
3. Ibid. p. 47.
4. See Anthony Downey, The Spectacular Difference of
Documenta 11, Third Text, vol. 17, no. 1, 2003, pp.
8592.
5. Enwezor does not fully address the complex persistence
and dissolution of postcolonial relations of margin and
centre. But, as I have tried to indicate, there is a sense
in which this problem can be negotiated via an Althusserian concept of contradiction, whereby a structural
relation
(for
Marxism,
superstructure
and

18

12.
13.
14.

15.
16.

17.
18.

Radical Philosophy 122 (November/December 2003)

infrastructure; for postcolonialism, margin and centre)

is not completely dissolved but subject to various forms
of overdetermination. See Louis Althusser, For Marx,
trans. B. Brewster, Verso, London and New York, 1969.
Enwezor writes that postcoloniality exceeds the border
of the former colonized world to lay claim to the
modernized, metropolitan world of empire by making
empires former other visible and present at all times,
either through the media or through mediatory,
spectatorial, and carnivalesque relations of language,
communications, images, contact, and resistance within
the everyday. Enwezor, The Black Box, p. 45.
Ibid. p. 44. Enwezor is indebted here to the link made
between postcolonial everyday life and regimes of
subjectivity in an article by Achille Mbembe and Janet
Roitman, Figures of the Subject in Times of Crisis,
originally published in Public Culture 16, Winter 1995,
but which is reprinted as part of Platform 4 in Under
Siege, pp. 99128. See discussion of Under Siege below.
Ibid., p. 47.
As the battle with the forces of terrorist elements
continues apace in Afghanistan and elsewhere as
Palestinians fight Israeli hegemony in the Occupied
Territories; as anti-globalisation groups battle the police
in Genoa, Seattle, Montreal, and other cities in Europe
and North America; as protesters in Argentina, Turkey,
Nigeria, and all across the developing world engage the
pernicious policies of the World Bank and the International Monetary Fund there is a view today that
Ground Zero represents the clear ground from which
the margin has moved to the centre in order to reconceptualize the key ideological differences of the
present global situation. Ibid., p. 48.
Peter Brger, Theory of the Avant-Garde, trans. M.
Shaw, University of Minnesota Press, Minneapolis,
1984.
While Documenta is funded by the German state and
various German art foundations, it also has a number of
corporate and charitable sponsors, which include the
Ford Foundation, the Prince Claus Fund for Culture and
Development, Deutsche Telekom, Finanzgruppe (whose
advert says: Artistic freedom is a fundamental right.
And we feel free to promote it.), Volkwagen, and
others.
Bhikhu Parekh, Deepening Liberal Democracy, in
Enwezor et al., eds, Democracy Unrealized, pp. 5566.
Michael Hardt and Antonio Negri, Globalization and
Democracy, in ibid., pp. 32336.
Chantal Mouffe, For an Agonistic Public Sphere, in
ibid., pp. 8796; and Ernesto Laclau, Democracy
between Autonomy and Heteronomy, in ibid., pp. 377
86.
Boris Groys, Beyond Diversity: Cultural Studies and
Its Postcommunist Other, in ibid., pp. 30322.
See, respectively, Albie Sachs, Different Kinds of
Truth: The South African Truth and Reconciliation
Commission, in Enwezor et al., eds, Experiments with
Truth, pp. 4360; Gurjot Malhi, An Experiment in
International Justice: The Philosophy, Methodology and
Working of the International Criminal Tribunal for the
Former Yugoslavia, in ibid., pp. 195204; and Maria
Jose Guembe, The Search for the Turth Before the
Courts, in ibid., pp. 23140.
See Ruti Teitel, Transitional Justice as Liberal
Narrative, in ibid., pp. 24160.
See Boris Buden, Truth and Reconciliation Are Not

What We Really Need, in ibid. pp. 6579.

19. This is indicated by the source of the title Experiments
with Truth, which is derived from the processes of
decolonization and postcolonialism addressed in
Mahatma Gandhis autobiography, The Story of My
Experiments with Truth.
20. See Susana Torre, Constructing Memorials, in
Enwezor et al., eds, Experiments with Truth, pp. 343
60.
21. See Alfredo Jaar, Its Difficult, in ibid., pp. 289310.
22. See Derek Walcotts contributions, Exasperating
Theory, More than Criticism, and, especially, The
Length of the Breath, all in Enwezor et al., eds, Crolit
and Creolization, respectively, pp. 1920, 436, and
24144. See also Isaac Julien, Creolizing Vision, in
ibid., pp. 14956; Petrine Archer-Straw, Paradise,
Primitivism, and Parody, in ibid., pp. 6376.
23. See Virginia Prez-Ratton, Central America and
Creolization: The Invisible Caribbean? in ibid., pp. 77
86.
24. Stuart Hall, Creolization, Diaspora, and Hybridity in
the Context of Globalization, in ibid., p. 198. See also
his Crolit and the Process of Creolization, in ibid.,
pp. 2742, and various of his contributions to the Open
Sessions.
25. See AbdouMaliq Simone, The Visible and the Invisible:
Remaking Cities in Africa, in Enwezor et al., eds,
Under Siege: Four African Cities, pp. 2344.
26. Rem Koolhaas, Fragments of a Lecture on Lagos, in
ibid., p. 175. Project on the City has otherwise concentrated on the Peal River Delta between Hong Kong and
Macao. See Chuihua Judy Chung, Jeffrey Inaba, Rem
Koolhaas and Sze Tsung Leong, eds, Great Leap Forward, Harvard Design School Project on the City,

27.

28.

29.

30.

31.
32.

33.

34.

Taschen, Cologne, 2002. For a review of this project

see Fredric Jameson, Future City, New Left Review
21, May/June 2003, pp. 6579.
See Achille Mbembe and Janet Roitmans discussion of
Cameroon in Figures of the Subject in Times of Crisis,
ibid. pp. 99126.
See Antoine Bouillon, Between Euphemism and
Informalism: Inventing the City, in Enwezor et al., eds,
Under Siege: Four African Cities, pp. 8198.
Onookome Okome, Writing the Anxious City: Images
of Lagos in Nigerian Home Video Films, ibid. pp. 315
36.
For an account of this imperial origin of modern art, see
Hans Belting, The Invisible Masterpiece, trans. H.
Atkins, Reaktion Books, London, 2001. It should be
noted that Belting is principally concerned with a particular myth of the masterpiece, rather than the avantgarde dissolution of art into life.
See Manfred Schneckenburger, Documenta: Idee und
Institution, Bruckmann, Munich, 1983, pp. 728.
Note the exceptional inclusion of Barcelona among these
Latin American cities, Silva, ed., Urban Imaginaries
from Latin America.
See for instance Miguel ngel Aguilar, The Full,
Imagined, and Invisible Centre of Mexico City, in ibid.,
pp. 15269; Armando Silva, Graffiti, Humour and
Citizens of Latin America, in ibid., pp. 21223; Guillermo Mariaca, Bodies of Air: On Three Chola Dances,
in ibid. pp. 24047; Valeria Silvina Pita and Alejandra
Vassallo, Mothers of the Plaza de Mayo: From Dictatorship to Democracy, in ibid. pp. 24861.
See, for instance, Natalia Fernndez and Teresa
Velzquez, Barcelona: Resonance, Smells, and
Chromatisms, in ibid., pp. 17691.

Radical Philosophy Conference 2003

Possibilities
Historical Conditions,
olitical
P

Change

Saturday 29 November, 10am6pm

Birkbeck College, Malet Street, London WC1
Politics, they say, is the art of the possible. But what is possibility? And what
conditions the possibilities to which politics extends? This conference considers
different ways of thinking about recent historical changes in the conditions of political
experience and the possibilities they extend.

Neil Smith (CUNY)

Lost Geographies, Impossible Imperialisms

Rebecca Karl

(NYU)

China: Joining Tracks with the World

Peter Osborne

(Middlesex)

Tiziana Terranova

Communication s Biopower
(Essex)

Eric Alliez
(Vienna/Karlsruhe)

The Politics of Anti-Oedipus: 30 Years On

12 waged,5 student/unwaged

Advance registration: David Cunningham (RP Conference), Dept of English & Linguistics, Unive
32-38 Wells Street, London W1T 3UW. [email protected]

Radical Philosophy 122 (November/December 2003)

19