Globalizacja a sztuka
Globalisation and Art

Summary/Abstract: Globalisation is a phenomenon, which can only be described in opposite terms. There is a conflict between local and general interests. Economically and politically weak regions are dominated by stronger regional units. Central governments are still stronger than local administration units. Globalisation contributes, though, to the opening of peripheral societies. It doesn’t impose uniformity. In the global reality, differences are welcome. In the United States of America, the sale of popular culture products is very well organised. We may assume that any cultural product can only become popular if it has commercial value and is sold on the market according to existing methods. Also, we may assume, that globalisation contributes to the loss of cultural identity. The supporters of globalisation say that it, rather, contributes to the decrease of chauvinism. Of course, we have to realise that the process of globalisation has already started. We cannot stop it. We can only discuss its implications. Would we, for example, consciously give up the chance of travelling to different countries, tasting different food, talking to different people who live on distant parts of the world? In Poland, Mieczysław Wallis wrote in the 1930’s that art shouldn’t be considered according to only one principle. He believed that the uniformity of art theories could be compared with rape of different kinds of art. He suggested that art shouldn’t be limited to “our own art”, and that we should also consider “alien forms of art”. We should be openminded towards different cultures. The theoreticians, like Wallis, wanted to broaden cultural horizons without ruining cultural centres. They believed that we are at home wherever we travel, and that we remain foreigners even in our own country.Television is often considered as a “globalising” medium. People who watch television live in a global village, although they stay in their own cultural centres. The exhibition entitled “Documenta 11”, which was organised in Kassel, concentrated on the problem of globalisation. The organisers referred to the problem of “Creolisation” as the result of “hybridisation”. They suggested that there wasn’t any p. 12 single cultural pattern which we could use as the basis for artistic and cultural development. There are many different patterns which should be developed without political and economic limitations. Of course, there are many different models of globalisation. We must evaluate their practical usability. I believe that mass media are the most powerful engine of globalisation which should be considered by contemporary artists. Also, I believe that the situation changes, and that we cannot be sure about the future.

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