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Hypothesis
IAE, like all languages, has a community of users that it both sorts and unifies. That
community is the art world, by which we mean the network of people who collaborate
professionally to make the objects and nonobjects that go public as contemporary art:
not just artists and curators, but gallery owners and directors, bloggers, magazine
editors and writers, publicists, collectors, advisers, interns, art-history professors, and
so on. Art world is of course a disputed term, but the common alternativeart industry
doesnt reflect the reality of IAE. If IAE were simply the set of expressions required to
address a professional subject matter, we would hardly be justified in calling it a
language. IAE would be at best a technical vocabulary, a sort of specialized English no
different than the language a car mechanic uses when he discusses harmonic balancers
or popper valves. But by referring to an obscure car part, a mechanic probably isnt
interpellating you as a member of a common worldas a fellow citizen, or as the case
may be, a fellow traveler. He isn't identifying you as someone who does or does not get
it.
When the art world talks about its transformations over recent decades, it talks about
the spread of biennials (http://www.e-flux.com/announcements/9th-gwangju-biennalestheme-is-roundtable/). Those who have tried to account