“Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff : Summary and Critique

Introduction: “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

“Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer, and Irit Rogoff first appeared in Art Journal, Vol. 57, No. 4, Winter 1998, published by the College Art Association. This seminal article engages deeply with the evolving dynamics of globalization and cultural identity in the realm of art and theory, reflecting on the twenty years since Edward Said’s Orientalism. The authors critically examine the tensions between global homogenization and local specificity, emphasizing how migration, diaspora, and cultural dislocation shape artistic practices and intellectual discourse. The piece is significant in literary theory and cultural studies for its interrogation of postnational identities, the commodification of diversity, and the power asymmetries embedded within global art systems. It challenges conventional paradigms by calling for nuanced frameworks that recognize hybridities and resist reductive binaries of the global and the local, contributing profoundly to the discourse on postcolonial aesthetics and the politics of representation.

Summary of “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

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Theoretical Terms/Concepts in “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

Term/Concept	Definition/Description	Author(s)	Context/Key Insights
Globalization	The process of interconnectedness across cultural, economic, and political boundaries.	Amor, Enwezor	Globalization influences art production and curatorial practices but often reinforces hegemonic structures.
Postnationalism	A cultural perspective that transcends traditional national boundaries and identities.	Enwezor, Minglu	Examined as both a challenge and an opportunity in the context of diasporic and global art practices.
Cultural Hybridity	The mixing and negotiation of diverse cultural influences to create new identities and expressions.	Enwezor, Mercer	Explored in the context of diasporic art, Hong Kong’s multicultural identity, and African diasporic formations.
Diaspora	The dispersion of people from their original homeland and the resultant cultural and identity dynamics.	Enwezor, Mercer	Highlights the fluidity of identity and the complexity of belonging in the contemporary globalized world.
Unhomeliness	The condition of being displaced, not feeling at home in one’s cultural or geographic context.	Rogoff	Derived from Homi Bhabha, this term explores the psychological and cultural effects of dislocation in a globalized world.
McDonaldization	The spread of homogenized, global cultural symbols that overshadow localized traditions.	Minglu	Used to critique superficial global modernization, particularly in Chinese art and culture.
Multicultural Normalization	The incorporation and depoliticization of cultural diversity within global art markets.	Mercer	Raises concerns about the commodification of cultural difference in international art systems.
Hyperblackness	A representation of Blackness that becomes hyper-visible but stripped of political substance.	Mercer	Discusses the media’s portrayal of African American culture and its detachment from meaningful activism or critique.
Cultural Voyeurism	The consumption of other cultures without fully understanding or engaging with their complexities.	Rogoff	Critiques superficial approaches to curatorial practices and cultural exchange.
Geography of Identity	The spatial and cultural dimensions that shape belonging and identity.	Rogoff	Explores how geographic and cultural dislocations influence identity formation and political alliances.
Cultural Translation	The process of interpreting and negotiating meaning across different cultural contexts.	Rogoff, Mercer	Explored as a means of connecting localized and globalized perspectives in art and cultural discourse.
Ethnocentric Nationalism	The pursuit of a pure, singular cultural identity rooted in national or ethnic exclusivity.	Rogoff, Ho	Critiqued as artificial and reductive in the context of globalized and multicultural societies.
Deterritorialization	The severing of cultural practices and identities from specific geographic locations.	Rogoff	Explored as a consequence of globalization and diaspora in shaping new cultural dynamics.
Representation and Identity	The portrayal of cultural and ethnic identities in art and its impact on understanding and discourse.	Amor, Enwezor, Mercer	Highlights the challenges of representing identity authentically in the global art system.

Contribution of “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  to Literary Theory/Theories

1. Postcolonial Theory
   • Reimagining Postcolonial Identity:
     • The article challenges static notions of identity, emphasizing hybridity and the fluidity of cultural affiliations in postcolonial contexts (Mercer, Enwezor).
     • Kobena Mercer critiques ethnocentric frameworks and highlights diasporic identity as a subversion of national and racial boundaries.
     • “The unhomed subject finds new avenues of expression in the liminal spaces between the global and the local” (Rogoff).
   • Representation and Power:
     • Discusses how cultural representation in art reinforces or subverts postcolonial power dynamics (Amor, Enwezor).
2. Globalization and Cultural Theory
   • Hybridity and Transnationalism:
     • Explores how globalization creates new hybrid identities and artistic practices, offering insights into the transnational reshaping of local cultures (Enwezor, Minglu).
     • Oscar Ho critiques Hong Kong’s cultural identity within the global/local dichotomy: “Hong Kong’s culture thrives on its ability to absorb and adapt without obsession over distinctiveness.”
   • Cultural Translation:
     • Rogoff emphasizes the necessity of cultural translation in navigating and interpreting global cultural flows.
     • Highlights the importance of creating “dialogical models” to bridge local and global cultural expressions (Amor).
3. Critical Race Theory
   • Hyperblackness and Representation:
     • Mercer examines how African American identity is commodified through “hyperblackness,” where visibility is stripped of political context (Mercer).
     • The critique ties into broader discussions of race, visibility, and aesthetics in the global art world.
4. Diaspora Studies
   • Diasporic Identity and Belonging:
     • Enwezor and Mercer explore how diaspora challenges traditional notions of home and belonging, advocating for understanding identity as a fluid, negotiated process.
     • “The diaspora is not a site of loss but a dynamic space of cultural production and reinterpretation” (Enwezor).
   • Deterritorialization:
     • Rogoff discusses the cultural and psychological effects of deterritorialization, advancing diaspora studies by linking geographic displacement with identity formation.
5. Feminist and Intersectional Theories
   • Intersectionality of Art and Identity:
     • The intersection of race, gender, and locality is explored through the lens of marginalized artists, particularly women and diasporic subjects.
     • Rogoff critiques the lack of intersectional approaches in global art practices, arguing for the inclusion of diverse perspectives in curatorial practices.
6. Cultural Materialism
   • Commodification of Diversity:
     • Mercer critiques how multiculturalism has become normalized and depoliticized in the global art market.
     • “Cultural difference has been subsumed into commodifiable identities, serving the interests of neoliberal globalization” (Mercer).
7. Deconstruction
   • Unpacking Binaries:
     • Rogoff and Amor challenge binaries such as global/local, national/international, and traditional/modern, advocating for deconstructive approaches to cultural theory.
     • “The global does not erase the local; rather, it reframes it within broader networks of cultural exchange” (Amor).
8. Spatial and Geographic Theory
   • Geographies of Identity:
     • Rogoff introduces “geography as a critical lens,” focusing on how spatial dislocations shape identity and cultural practices.
     • Her concept of “unhomeliness” expands on Homi Bhabha’s ideas, linking geographic displacement to subjective and collective identity.

References from the Article

• “Globalization is not merely a homogenizing force but a space of cultural resistance and negotiation” (Amor, 1998).
• “Diasporic formations challenge static notions of identity and create dynamic models of cultural production” (Enwezor, 1998).
• “Hyperblackness exemplifies the commodification of racial identity, detaching it from its socio-political roots” (Mercer, 1998).
• “The curatorial process must address the legacies of colonialism and the complexities of transnational cultural exchange” (Rogoff, 1998).

Examples of Critiques Through “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

Literary Work	Key Themes	Critique Through Liminalities Framework	Theorist/Concept Referenced
Chinua Achebe’s Things Fall Apart	Colonialism and Identity	Achebe’s exploration of the Igbo community before and after colonialism reflects the tension between the local and the global. Rogoff’s concept of “unhomeliness” highlights the displacement of indigenous cultural identity caused by colonial forces.	Irit Rogoff: Unhomeliness, hybridity, and the disruption of local geographies.
Salman Rushdie’s Midnight’s Children	Postcolonialism and National Identity	The novel’s focus on India’s partition resonates with discussions of national and postnational identities. Enwezor’s emphasis on “diasporic subjectivity” critiques the fragmented identities of postcolonial subjects.	Okwui Enwezor: Diaspora as a space of dynamic cultural production.
Toni Morrison’s Beloved	Slavery, Memory, and Trauma	Morrison’s examination of African American identity connects to Mercer’s critique of “hyperblackness” and the commodification of black narratives in a global context.	Kobena Mercer: Hyperblackness and its relationship to representation and memory.
Arundhati Roy’s The God of Small Things	Locality and Globalization	The novel’s tension between traditional Kerala culture and modern global influences reflects Minglu’s analysis of “transnational cultural systems” and their impact on local identities.	Gao Minglu: Transnationalism and the negotiation of cultural boundaries.

Criticism Against “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

• Overemphasis on Theory Without Practical Resolution
  • Critics argue that while the discussions present nuanced theoretical frameworks, they lack actionable solutions or practical implications for addressing the challenges posed by globalization in art and culture.
• Eurocentric Lens Despite Postcolonial Focus
  • Despite critiquing Western dominance, some scholars note that the discussions inadvertently perpetuate Eurocentric paradigms by framing local and global tensions predominantly through Western theoretical tools.
• Ambiguity in Defining Key Concepts
  • Terms like “hybridity,” “diaspora,” and “transnationalism” are critiqued for being ambiguously defined, leaving them open to multiple interpretations without concrete application in the arts and literature.
• Neglect of Grassroots Perspectives
  • The dialogue is criticized for prioritizing elite and institutional perspectives (e.g., biennials and curatorial practices) over grassroots cultural expressions and their role in the global-local dynamic.
• Limited Scope on Non-Western Models
  • While the discussion explores globalization’s impact on non-Western art, critics point out a lack of deep engagement with indigenous or alternative non-Western frameworks for understanding global-local relationships.
• Overgeneralization of the Global Art Market
  • The analysis of globalization in art often treats the global art market as homogenous, overlooking significant regional differences and local market dynamics.
• Insufficient Representation of Marginalized Voices
  • The focus on prominent theorists and artists from established institutions overlooks the contributions of lesser-known artists and thinkers from marginalized communities.
• Risk of Overintellectualization
  • Critics argue that the highly theoretical discourse may alienate practitioners and audiences who seek accessible language and direct engagement with global-local issues in art.

Representative Quotations from “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  with Explanation

Quotation	Explanation
“Globalization… can illuminate—or obfuscate—our understanding of contemporary artistic practices.”	Highlights the dual role of globalization: fostering connections yet potentially obscuring local artistic contexts. It critiques the imbalance where global paradigms overshadow local narratives in art.
“The multiculturalism of our global village manifests itself through quotas… intervening little in the dominant discourse.”	Critiques superficial attempts at inclusivity that fail to disrupt entrenched hierarchies in Western art institutions. The quotation underscores the paradox of diversity quotas reinforcing rather than dismantling dominance.
“Migration… does not only mean physical crossing of borders but involves other forms of traveling.”	Addresses the multidimensional nature of migration, encompassing cultural, psychic, and intellectual shifts. This perspective widens the discourse beyond physical movement to include identity transformations and hybrid cultural experiences.
“Cultural identity… undergoes a constant process of negotiation and circulation.”	Emphasizes that cultural identity is not static but dynamic, shaped by interactions and negotiations in global and local contexts. It critiques essentialist views of identity while advocating for fluid and hybrid understandings.
“Hong Kong’s success is built on its ability to accommodate, absorb, adopt, manipulate, and transform.”	Describes Hong Kong’s adaptive culture as a strength rather than a weakness. The quotation underscores the value of cultural diversity and fluidity, challenging nationalist or monolithic identity narratives.
“The unhomely captures something of the estranging sense of the relocation of the home and the world.”	Draws from Homi Bhabha’s concept of the “unhomely” to explore the dislocation experienced in a globalized world. It highlights how cultural identities and senses of belonging are destabilized yet reconfigured through globalization.
“The tendency to contextualize South American art in cultural issues, not in dialogue with formal problems… limits recognition.”	Critiques how South American art is often framed only within cultural or geopolitical lenses, ignoring its contributions to global formal and aesthetic developments, thus marginalizing its significance.
“Diaspora offers a premodern paradigm for postindustrial times.”	Suggests that the concept of diaspora, with its intrinsic hybridity and transnational connections, serves as a model for understanding contemporary globalization and identity formation.
“The integration of global and local contexts… requires more than a hierarchical dichotomy.”	Advocates for moving beyond binary oppositions (global vs. local) to understand their interdependence, critiquing simplistic hierarchical frameworks in cultural analysis.
“Curating… as an intellectual, critical, and pedagogical work… confronts material and psychic problems.”	Redefines curating as a critical practice that engages with broader social, cultural, and epistemological challenges, positioning it as a site of negotiation and knowledge production.

Suggested Readings: “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

1. Amor, Monica, et al. “Liminalities: Discussions on the Global and the Local: Whose World? A Note on the Paradoxes of Global Aesthetics.” Art Journal 57.4 (1998): 28-50.
2. Amor, Mónica, et al. “Liminalities: Discussions on the Global and the Local.” Art Journal, vol. 57, no. 4, 1998, pp. 28–49. JSTOR, https://doi.org/10.2307/777926. Accessed 20 Dec. 2024.
3. Anthes, Bill. “Ethics in a World of Strange Strangers: Edgar Heap of Birds at Home and Abroad.” Art Journal, vol. 71, no. 3, 2012, pp. 58–77. JSTOR, http://www.jstor.org/stable/43188555. Accessed 20 Dec. 2024.