Julia Bethwaite | Tampere University (original) (raw)
Papers by Julia Bethwaite
New Perspectives, 2019
This paper focuses on the role of contemporary art in international relations and world politics.... more This paper focuses on the role of contemporary art in international relations and world politics. In IR, art is often examined within the framework of cultural diplomacy, country branding, and soft power, or approached as a site of resistance. We argue that the concept of heteronomy offers an alternative conceptual framework for analysing contemporary art in world politics. It highlights the interaction of various fields such as art, commerce, the state and media. We concretise this approach with an analysis of the Venice Biennale. We show that the Biennale is heteronomous in the sense of being an arena where actors from various fields struggle for power by accumulating different types of capital. We focus our analysis on the Russian national pavilion in 2011–2015 and show how the efforts of the country's elite to legitimise its position intertwined with the projects of the state, sponsors, artists, curators and art market actors.
Arts & International Affairs, 2018
Artikkeli kasittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lahtokohtan... more Artikkeli kasittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lahtokohtana on huomio megatapahtumien paradoksaalisuudesta. Tarkastelemme Venajan kansallisen Venetsian-paviljongin paradokseja analysoimalla, miten yksityisen taidesaation johtaja ja ”oligarkin vaimo” Stella Kesajeva nousi Venajan kansallisen Venetsian-paviljonginkomissaariksi kaudelle 2011–2015. Esitamme, etta biennaali tarjosi olosuhteet yhteiskunnalliselle ja poliittiselle alkemialle, jossa taloudellista paaomaa on mahdollista muuntaa symboliseksi paaomaksi tai symbolista taloudelliseksi. Venetsian biennaalin paradoksaalisuutta voidaan selittaa silla, etta kyseessa on Pierre Bourdieun kasittein heteronominen tila. Yhteiskunnan eri kenttien arvostusperiaatteet risteavat biennaalissa, mika synnyttaa paradokseja. Pohdimme artikkelissa myos nykytaiteen ja Venetsian-paviljongin muutosvoimaa suhteessa Venajan kleptokratiseen jarjestelmaan, jossa vauraan bisneseliitin ja valtion suhteet ovat kietoutu...
Russia's Cultural Statecraft, 2021
New Perspectives, 2019
This paper focuses on the role of contemporary art in international relations and world politics.... more This paper focuses on the role of contemporary art in international relations and world politics. In IR, art is often examined within the framework of cultural diplomacy, country branding, and soft power, or approached as a site of resistance. We argue that the concept of heteronomy offers an alternative conceptual framework for analysing contemporary art in world politics. It highlights the interaction of various fields such as art, commerce, the state and media. We concretise this approach with an analysis of the Venice Biennale. We show that the Biennale is heteronomous in the sense of being an arena where actors from various fields struggle for power by accumulating different types of capital. We focus our analysis on the Russian national pavilion in 2011–2015 and show how the efforts of the country’s elite to legitimise its position are intertwined with the projects of the state, sponsors, artists, curators and art market actors.
Idäntutkimus, 2019
Artikkeli käsittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lähtökohtan... more Artikkeli käsittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lähtökohtana on huomio megatapahtumien paradoksaalisuudesta. Tarkastelemme Venäjän kansallisen Venetsian-paviljongin paradokseja analysoimalla, miten yksityisen taidesäätiön johtaja ja ”oligarkin vaimo” Stella Kesajeva nousi Venäjän kansallisen Venetsian-paviljongin komissaariksi kaudelle 2011–2015. Esitämme, että biennaali tarjosi olosuhteet yhteiskunnalliselle ja poliittiselle alkemialle, jossa taloudellista pääomaa on mahdollista muuntaa symboliseksi pääomaksi tai symbolista taloudelliseksi. Venetsian biennaalin paradoksaalisuutta voidaan selittää sillä, että kyseessä on Pierre Bourdieun käsittein heteronominen tila. Yhteiskunnan eri kenttien arvostusperiaatteet risteävät biennaalissa, mikä synnyttää paradokseja. Pohdimme artikkelissa myös nykytaiteen ja Venetsian-paviljongin muutosvoimaa suhteessa Venäjän kleptokratiseen järjestelmään, jossa vauraan bisneseliitin ja valtion suhteet ovat kietoutuneet yhteen sekä varallisuus huomattavan epätasaisesti jakautunutta.
The 57th edition of the Venice Biennale opened on Saturday 13 May 2017. For an International Rela... more The 57th edition of the Venice Biennale opened on Saturday 13 May 2017. For an International Relations scholar, the Biennale offers an opportunity to explore the structures of the art world and observe the dynamics between different kinds of actors.
Arts & International Affairs, 2018
The number of contemporary art biennials has increased significantly over the last 25 years givin... more The number of contemporary art biennials has increased significantly over the last 25 years giving rise to the phenomenon of biennalization of contemporary art. In this article, we detail the world politics of biennalization through a review of mainly academic literature on biennials. We analyze internal definitions within the reviewed material through three dimensions: scale, politics, and production of value (political economies). Our analysis shows the world politics of biennials revolves around a set of productive tensions between the order of nation states and its alternatives, cultural dominance and resistance, and various modes of value production.
Drafts by Julia Bethwaite
UPTAKE Working Paper No. 1/2017, 2017
Working paper: this paper was presented at the UPTAKE Training School at the University of Kent o... more Working paper: this paper was presented at the UPTAKE Training School at the University of Kent on 15–22 January 2017.//
Museums are establishing foreign branches and satellite museums abroad, illustrating a growing trend among both public and private museums. Guggenheim, Louvre, Centre Pompidou, The State Hermitage Museum and Victoria and Albert Museum are a few of the cultural institutions that have presence abroad in the form of physical exhibition sites. In addition to creating permanent venues in foreign countries, many museums also cooperate internationally through temporary circulating exhibitions that engage expert exchanges and diplomatic relations.
This article frames the discussion about the role of art museums as practitioners and actors of international cultural diplomacy and cultural relations. It delves into the interplay between the state actors and non-state actors that are involved in the museums’ trajectories, further extending the understanding of constituent and influential actors in
international relations. In particular, the focus is on the State Russian Museum’s first foreign branch that was opened in Málaga, Spain in March 2015.
First, the paper identifies the key actors, who contributed to the project, paying attention to both the state actors and non-state actors. Second, the paper reviews the purpose of establishing the museum in Málaga in the context of the interests of each of the selected actors. The paper concludes with a brief discussion on how the analysis of foreign branches and satellite museums could be deepened and what methodological instruments would be beneficial for further research.//
Keywords: Museums; public diplomacy; cultural diplomacy; cultural relations; museum diplomacy; state actors; non-state actors; The State Russian Museum
Books by Julia Bethwaite
by Dorothee I Richter, Dr. Shwetal A Patel, PhD, giulia colletti, Rime Fetnan, Daniela Labra, Henk Slager, Dr Katerina Valdivia Bruch, Nathalie Zonnenberg, Ronald Kolb, Julia Bethwaite, and per gunnar eeg-tverbakk
OnCurating - Contemporary Art Biennials - Our Hegemonic Machines in Times of Emergency, 2020
Biennials are each in their own way a complex constellation of different economical and geopoliti... more Biennials are each in their own way a complex constellation of different economical and geopolitical, and representational cultural aspects within its own power relations. With all their underlying deficiencies (canonical, hegemonic, colonialist, hot money-funded, politically influenced, hierarchical), biennials tend to establish international discourse, at best, rooted in local cultural specificities and contexts. With this edition of the journal, we wanted to include a variety of cases and research areas, not ordered along a historical trajectory, but rather, ordered by theme. With a mix of over sixty new contributions and reprints of important articles for the biennale discourse this issue is like a biennale: too much to experience at once.
Contributors
Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Ana Paula Cohen, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Rafal Niemojewski, Ksenija Orelj, Anita Orzes, Shwetal A. Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie Zonnenberg
Contemporary Art Biennials - Our Hegemonic Machines in Times of Emergency, 2020
Biennials are each in their own way a complex constellation of different economical and geopoliti... more Biennials are each in their own way a complex constellation of different economical and geopolitical, and representational cultural aspects within its own power relations. With all their underlying deficiencies (canonical, hegemonic, colonialist, hot money-funded, politically influenced, hierarchical), biennials tend to establish international discourse, at best, rooted in local cultural specificities and contexts. With this edition of the journal, we wanted to include a variety of cases and research areas, not ordered along a historical trajectory, but rather, ordered by theme. With a mix of over sixty new contributions and reprints of important articles for the biennale discourse this issue is like a biennale: too much to experience at once.
Edited by Ronald Kolb, Shwetal Patel and Dorothee Richter
Contributions by Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Ksenija Orelj, Anita Orzes, Shwetal A. Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie Zonnenberg
New Perspectives, 2019
This paper focuses on the role of contemporary art in international relations and world politics.... more This paper focuses on the role of contemporary art in international relations and world politics. In IR, art is often examined within the framework of cultural diplomacy, country branding, and soft power, or approached as a site of resistance. We argue that the concept of heteronomy offers an alternative conceptual framework for analysing contemporary art in world politics. It highlights the interaction of various fields such as art, commerce, the state and media. We concretise this approach with an analysis of the Venice Biennale. We show that the Biennale is heteronomous in the sense of being an arena where actors from various fields struggle for power by accumulating different types of capital. We focus our analysis on the Russian national pavilion in 2011–2015 and show how the efforts of the country's elite to legitimise its position intertwined with the projects of the state, sponsors, artists, curators and art market actors.
Arts & International Affairs, 2018
Artikkeli kasittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lahtokohtan... more Artikkeli kasittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lahtokohtana on huomio megatapahtumien paradoksaalisuudesta. Tarkastelemme Venajan kansallisen Venetsian-paviljongin paradokseja analysoimalla, miten yksityisen taidesaation johtaja ja ”oligarkin vaimo” Stella Kesajeva nousi Venajan kansallisen Venetsian-paviljonginkomissaariksi kaudelle 2011–2015. Esitamme, etta biennaali tarjosi olosuhteet yhteiskunnalliselle ja poliittiselle alkemialle, jossa taloudellista paaomaa on mahdollista muuntaa symboliseksi paaomaksi tai symbolista taloudelliseksi. Venetsian biennaalin paradoksaalisuutta voidaan selittaa silla, etta kyseessa on Pierre Bourdieun kasittein heteronominen tila. Yhteiskunnan eri kenttien arvostusperiaatteet risteavat biennaalissa, mika synnyttaa paradokseja. Pohdimme artikkelissa myos nykytaiteen ja Venetsian-paviljongin muutosvoimaa suhteessa Venajan kleptokratiseen jarjestelmaan, jossa vauraan bisneseliitin ja valtion suhteet ovat kietoutu...
Russia's Cultural Statecraft, 2021
New Perspectives, 2019
This paper focuses on the role of contemporary art in international relations and world politics.... more This paper focuses on the role of contemporary art in international relations and world politics. In IR, art is often examined within the framework of cultural diplomacy, country branding, and soft power, or approached as a site of resistance. We argue that the concept of heteronomy offers an alternative conceptual framework for analysing contemporary art in world politics. It highlights the interaction of various fields such as art, commerce, the state and media. We concretise this approach with an analysis of the Venice Biennale. We show that the Biennale is heteronomous in the sense of being an arena where actors from various fields struggle for power by accumulating different types of capital. We focus our analysis on the Russian national pavilion in 2011–2015 and show how the efforts of the country’s elite to legitimise its position are intertwined with the projects of the state, sponsors, artists, curators and art market actors.
Idäntutkimus, 2019
Artikkeli käsittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lähtökohtan... more Artikkeli käsittelee Venetsian nykytaidebiennaalia, taidemaailman megatapahtumaa. Sen lähtökohtana on huomio megatapahtumien paradoksaalisuudesta. Tarkastelemme Venäjän kansallisen Venetsian-paviljongin paradokseja analysoimalla, miten yksityisen taidesäätiön johtaja ja ”oligarkin vaimo” Stella Kesajeva nousi Venäjän kansallisen Venetsian-paviljongin komissaariksi kaudelle 2011–2015. Esitämme, että biennaali tarjosi olosuhteet yhteiskunnalliselle ja poliittiselle alkemialle, jossa taloudellista pääomaa on mahdollista muuntaa symboliseksi pääomaksi tai symbolista taloudelliseksi. Venetsian biennaalin paradoksaalisuutta voidaan selittää sillä, että kyseessä on Pierre Bourdieun käsittein heteronominen tila. Yhteiskunnan eri kenttien arvostusperiaatteet risteävät biennaalissa, mikä synnyttää paradokseja. Pohdimme artikkelissa myös nykytaiteen ja Venetsian-paviljongin muutosvoimaa suhteessa Venäjän kleptokratiseen järjestelmään, jossa vauraan bisneseliitin ja valtion suhteet ovat kietoutuneet yhteen sekä varallisuus huomattavan epätasaisesti jakautunutta.
The 57th edition of the Venice Biennale opened on Saturday 13 May 2017. For an International Rela... more The 57th edition of the Venice Biennale opened on Saturday 13 May 2017. For an International Relations scholar, the Biennale offers an opportunity to explore the structures of the art world and observe the dynamics between different kinds of actors.
Arts & International Affairs, 2018
The number of contemporary art biennials has increased significantly over the last 25 years givin... more The number of contemporary art biennials has increased significantly over the last 25 years giving rise to the phenomenon of biennalization of contemporary art. In this article, we detail the world politics of biennalization through a review of mainly academic literature on biennials. We analyze internal definitions within the reviewed material through three dimensions: scale, politics, and production of value (political economies). Our analysis shows the world politics of biennials revolves around a set of productive tensions between the order of nation states and its alternatives, cultural dominance and resistance, and various modes of value production.
UPTAKE Working Paper No. 1/2017, 2017
Working paper: this paper was presented at the UPTAKE Training School at the University of Kent o... more Working paper: this paper was presented at the UPTAKE Training School at the University of Kent on 15–22 January 2017.//
Museums are establishing foreign branches and satellite museums abroad, illustrating a growing trend among both public and private museums. Guggenheim, Louvre, Centre Pompidou, The State Hermitage Museum and Victoria and Albert Museum are a few of the cultural institutions that have presence abroad in the form of physical exhibition sites. In addition to creating permanent venues in foreign countries, many museums also cooperate internationally through temporary circulating exhibitions that engage expert exchanges and diplomatic relations.
This article frames the discussion about the role of art museums as practitioners and actors of international cultural diplomacy and cultural relations. It delves into the interplay between the state actors and non-state actors that are involved in the museums’ trajectories, further extending the understanding of constituent and influential actors in
international relations. In particular, the focus is on the State Russian Museum’s first foreign branch that was opened in Málaga, Spain in March 2015.
First, the paper identifies the key actors, who contributed to the project, paying attention to both the state actors and non-state actors. Second, the paper reviews the purpose of establishing the museum in Málaga in the context of the interests of each of the selected actors. The paper concludes with a brief discussion on how the analysis of foreign branches and satellite museums could be deepened and what methodological instruments would be beneficial for further research.//
Keywords: Museums; public diplomacy; cultural diplomacy; cultural relations; museum diplomacy; state actors; non-state actors; The State Russian Museum
by Dorothee I Richter, Dr. Shwetal A Patel, PhD, giulia colletti, Rime Fetnan, Daniela Labra, Henk Slager, Dr Katerina Valdivia Bruch, Nathalie Zonnenberg, Ronald Kolb, Julia Bethwaite, and per gunnar eeg-tverbakk
OnCurating - Contemporary Art Biennials - Our Hegemonic Machines in Times of Emergency, 2020
Biennials are each in their own way a complex constellation of different economical and geopoliti... more Biennials are each in their own way a complex constellation of different economical and geopolitical, and representational cultural aspects within its own power relations. With all their underlying deficiencies (canonical, hegemonic, colonialist, hot money-funded, politically influenced, hierarchical), biennials tend to establish international discourse, at best, rooted in local cultural specificities and contexts. With this edition of the journal, we wanted to include a variety of cases and research areas, not ordered along a historical trajectory, but rather, ordered by theme. With a mix of over sixty new contributions and reprints of important articles for the biennale discourse this issue is like a biennale: too much to experience at once.
Contributors
Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Ana Paula Cohen, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Rafal Niemojewski, Ksenija Orelj, Anita Orzes, Shwetal A. Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie Zonnenberg
Contemporary Art Biennials - Our Hegemonic Machines in Times of Emergency, 2020
Biennials are each in their own way a complex constellation of different economical and geopoliti... more Biennials are each in their own way a complex constellation of different economical and geopolitical, and representational cultural aspects within its own power relations. With all their underlying deficiencies (canonical, hegemonic, colonialist, hot money-funded, politically influenced, hierarchical), biennials tend to establish international discourse, at best, rooted in local cultural specificities and contexts. With this edition of the journal, we wanted to include a variety of cases and research areas, not ordered along a historical trajectory, but rather, ordered by theme. With a mix of over sixty new contributions and reprints of important articles for the biennale discourse this issue is like a biennale: too much to experience at once.
Edited by Ronald Kolb, Shwetal Patel and Dorothee Richter
Contributions by Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Ksenija Orelj, Anita Orzes, Shwetal A. Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie Zonnenberg