This special issue is the current stage of a project that started in Bogota, in 2010, with the first exhibit-cum-workshop on the topic. The catalog and a book on the event had already been published. After Bogota, came Duke 2011, and after that several quasi simultaneous events took place: Be-Bop 2012 in Berlin, two panels at the Havana Biennial in May 2012 and five days in Kassel, Documenta 13, July 2012. References to this events you will find in the dossier in the contributions by Alanna Lockward, Miguel Rojas-Sotelo and Raul Ferrera Balanquet and Pedro Lasch.
I shall add that parallel to the unfolding of decolonial aestheSis there is also in the making a trajectory that i would like to call “dewesternizing aestheSis.” This trajectory is taking place in a different social sphere, that of museums and large budget, but not longer in Western Europe and the US but in the Middle East and East Asia. Sharjah Biennial 11, March-May 2013, is the first large event that collected a series of concerns regarding the overwhelming hegemony of Eurocentrism in the art world.]]>