None of the Above: From Hybridity to Hyphenation. The Artist as Model Subject, and the Biennial Model as Apparatus of Subjectivity

It is significant that the productive capacities of this Third Space have a colonial or postcolonial provenance. For a willingness to descend into that alien territory—where I will lead you—may reveal that the theoretical recognition of the split-space of enunciation may open the way to conceptualizing an international culture, based not on the exoticism of multiculturalism or the diversity of cultures, but on the inscription and articulation of culture’s hybridity. To that end we should remember that it is the ‘inter’—the cutting edge of translation and negation, the in-between space—that carries the meaning of culture.1
Homi K. Bhabha