GLOBAL VORKURS: REASSEMBLING THE HISTORY OF THE BAUHAUS FROM THE GLOBAL SOUTH
INSTITUTE OF AESTHETIC RESEARCH
NATIONAL AUTONOMOUS UNIVERSITY OF MEXICO
In 2019, Germany will be celebrating the one-hundredth anniversary of the inauguration of the Bauhaus. In order to celebrate the legacy of this influential school and aesthetic idea, Germany will relocate different Bauhaus archives in three new museums. In addition, a number of exhibitions and seminars around the globe will be discussing the presence of the Bauhaus worldwide. The centenary of the Bauhaus is the perfect arena for discussing the latest epistemological and geopolitical foundations that are encouraging art historical visions and museum imaginaries in Europe to become global. In this keynote address, Joaquín Barriendos focuses on the relationship between the Bauhaus and Latin America, with an emphasis on Mexico and the intense connection this country “south the border” had with several of the members of the Bauhaus.
Joaquín Barriendos is a Research Fellow at the Instituto de Investigaciones Estéticas, Universidad Autónoma de México in Oaxaca, México and an Associated Academic Curator at Tlatelolco University Cultural Center, Barriendos has published extensively on the globalization of Latin American contemporary art as well as the theorization of global art circuits and institutions. He has served as Latin American Cultural Studies Assistant Professor at Columbia University, Visiting Professor at the Universitat de Barcelona, and Research Fellow at the Institute National d’Histoire de l’Art in Paris. Barriendos’s is the authore of Geoestética y Transculturalidad: Globalización de la Diversidad Cultural, Políticas de Representación y Nuevo Internacionalismo del Arte Contemporáneo (Girona, Fundaciò Espais [Premio Espais a la Crítica de Arte]), and his writings have appeared in Javier Guerrero’s Visual Objects (Princeton University Press, 2018), James Elkins’s Art and Globalization (Penn State University Press, 2011), Mieke Bal’s Migratory Politics: Technology, Time, Performativity (Amsterdam, 2011), and Hans Belting’s The Global Art World: Audiences, Markets and Museums(Ostfildern: Hatje Cantz, 2009).