As an established key concept within cultural, literary, and art historical studies the phenomenon of modernity is commonly understood to refer to a distinct time period and human experience. This, in turn, is usually tied to a specific set of economic, ideological and technological innovations as well as intellectual enquiries. As such, modernity has frequently been framed as something that originated in Europe and was subsequently exported around the world. Yet modernity was a highly dynamic, global process; experiences, discourses and technologies in numerous geographic locations constantly reinforced, reflected, and further developed from each other. The plural term modernities, then, recognises this multiple character of modernity and serves as an attempt to anchor the phenomenon of modernity within a global, non-linear perspective.
Franziska Kabelitz, 2024
As an art historian, I am curious about art movements and their interconnectedness. An attempt to make sense of often contradicting but continuously reinforcing inclinations initially sparked my fascination with modernity – and by extension modernism. In the past, I primarily explored artists, artworks, and collectives of the “modernist“ period in Europe and South Asia. Joining SAWA and experiencing both the UAE’s and Germany’s vibrant art scenes, my curiosity shifted towards Arab artists and collectives from this period. I was very happy and lucky to find out that our visit coincided with several pertinent exhibitions.
[S]ocieties experienced modernity in unique ways across the world, resulting in diverse, hybrid yet localised artistic expressions that reflected both international discourses as well as unique social, political and economic histories and cultural traditions.