Monolingualism of the Global
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Abstract
This article undertakes a critical analysis of how “other” art histories (understood as non-Western) are put to work as global art in exhibitions that often display confidence in the ability of similar forms to be read as a global art history. More specifically, it turns to the exhibition of psychiatric patients’ creative production in the global contemporary art circuit. I examine how such work has been included in international exhibitions such as the 55th Venice Biennial (2013) and the uncritical return of categories such as outsider art.
Translated into Brazilian Portuguese by the author and Sérgio Bruno Martins
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