Paper short abstract:

The global circulation of contemporary art largely depends on the use and mastery of English and on the transculturalist idea of universal relevance of contemporary art forms. This paper explores the consequences of the ongoing mainstreaming of language and form in the globalising Indian art world.

Paper long abstract:

The global circulation of contemporary art largely depends on the use and mastery of English and on the transculturalist idea of universal relevance of contemporary art forms. While cultural difference and distinctiveness are central subjects of much contemporary art, expressions and representations of difference for the most part conform to the same repertoire of aesthetic norms and standards regardless of their place of production. In India, the contemporary art world is decidedly Anglophone. Though most curators and art professionals are bilingual, curatorial texts and art criticism are almost exclusively written in English. This practice renders many artists unable to write, talk and explain about the art they produce and since contemporary conceptual art generally needs to be contextualised and explained large potential audiences are excluded, even in national museums. Nonetheless, notions of transculturalism and translation are not much debated in the Indian art world.

This paper explores the consequences of the ongoing mainstreaming of language and form in the fast globalising Indian art world and argues the nearly consequent use of English in exhibitions, art writing and art talks creates cultural distinctions that marginalizes certain artists and art forms.

The paper is based on totally 10 months ethnographic fieldwork among artists and art professionals in India between 2016 and 2018.