The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis

Taking exhibition as a transparent construct maintains a theoretical pact through which the exhibitionary form and its modern/colonial roots are glossed over. My research proposes to critically appraise the exhibitionary form and its ideological infrastructure, starting from the concurrent birth of...

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Bibliographic Details
Main Author:	Catalina Imizcoz
Format:	Article
Language:	English
Published:	University of Gothenburg 2021-08-01
Series:	Parse Journal
Subjects:	architecture cabinet of curiosities colonialism decoloniality epistemology exhibitionary form imperialism modernity non-human bodies positivism
Online Access:	https://parsejournal.com/article/the-modern-paradigm-the-exhibitionary-form-and-our-epistemological-crisis/

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spelling	doaj-1c9c3b5c8ae9471a8f691954eddf3ac62021-09-08T09:02:18ZengUniversity of GothenburgParse Journal2002-05112002-09532021-08-01On the Question of Exhibition Part 213.2The Modern Paradigm, the Exhibitionary Form and Our Epistemological CrisisCatalina Imizcoz0Central Saint Martins, LondonTaking exhibition as a transparent construct maintains a theoretical pact through which the exhibitionary form and its modern/colonial roots are glossed over. My research proposes to critically appraise the exhibitionary form and its ideological infrastructure, starting from the concurrent birth of Western modernity and the art exhibition as a cultural device, and asking if the exhibitionary form can be used to critique modernity as a socio-cultural phenomenon. This article draws on a series of epistemological reviews of modernity—Bruno Latour’s, Bonaventura de Sousa Santos’s and Paul B. Preciado’s—to frame such a critique. I use two recent shows as examples in which the exhibitionary form emerges as a locus for epistemological otherness. In Cecilia Szalkowicz’s “Soy un disfraz de tigre” and Adrián Villar Rojas’s The Theater of Disappearance, human and non-human bodies enact the exhibition’s architecture. In these examples, a critique of the modern world view transpires through the exhibitionary form.https://parsejournal.com/article/the-modern-paradigm-the-exhibitionary-form-and-our-epistemological-crisis/architecturecabinet of curiositiescolonialismdecolonialityepistemologyexhibitionary formimperialismmodernitynon-human bodiespositivism
collection	DOAJ
language	English
format	Article
sources	DOAJ
author	Catalina Imizcoz
spellingShingle	Catalina Imizcoz The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis Parse Journal architecture cabinet of curiosities colonialism decoloniality epistemology exhibitionary form imperialism modernity non-human bodies positivism
author_facet	Catalina Imizcoz
author_sort	Catalina Imizcoz
title	The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis
title_short	The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis
title_full	The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis
title_fullStr	The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis
title_full_unstemmed	The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis
title_sort	modern paradigm, the exhibitionary form and our epistemological crisis
publisher	University of Gothenburg
series	Parse Journal
issn	2002-0511 2002-0953
publishDate	2021-08-01
description	Taking exhibition as a transparent construct maintains a theoretical pact through which the exhibitionary form and its modern/colonial roots are glossed over. My research proposes to critically appraise the exhibitionary form and its ideological infrastructure, starting from the concurrent birth of Western modernity and the art exhibition as a cultural device, and asking if the exhibitionary form can be used to critique modernity as a socio-cultural phenomenon. This article draws on a series of epistemological reviews of modernity—Bruno Latour’s, Bonaventura de Sousa Santos’s and Paul B. Preciado’s—to frame such a critique. I use two recent shows as examples in which the exhibitionary form emerges as a locus for epistemological otherness. In Cecilia Szalkowicz’s “Soy un disfraz de tigre” and Adrián Villar Rojas’s The Theater of Disappearance, human and non-human bodies enact the exhibition’s architecture. In these examples, a critique of the modern world view transpires through the exhibitionary form.
topic	architecture cabinet of curiosities colonialism decoloniality epistemology exhibitionary form imperialism modernity non-human bodies positivism
url	https://parsejournal.com/article/the-modern-paradigm-the-exhibitionary-form-and-our-epistemological-crisis/
work_keys_str_mv	AT catalinaimizcoz themodernparadigmtheexhibitionaryformandourepistemologicalcrisis AT catalinaimizcoz modernparadigmtheexhibitionaryformandourepistemologicalcrisis
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The Modern Paradigm, the Exhibitionary Form and Our Epistemological Crisis

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