Exposition
About this exposition
This essay explores Nomadic Aesthetics as a post-disciplinary ethical philosophy grounded in movement, displacement, and moral geography. Through the lens of travelling installations, Dorian Vale interrogates how contemporary art carries not only material form but migratory conscience. Installations by artists such as Francis Alÿs, Mona Hatoum, Chiharu Shiota, and Khalil Rabah are examined not as static works, but as mobile testimonies—witnesses to border regimes, global inequality, and spiritual unbelonging. The essay argues that when art moves, it inherits moral weight: the crate becomes a coffin, the gallery a customs post, and the viewer a pilgrim. Nomadic aesthetics reframes mobility not as logistics, but as liturgy. It positions the travelling installation as a modern secular relic—bearing not truth as monument, but truth as residue. This is a theology of movement: truth that survives only by circulation.
Title: Nomadic Aesthetics — Travelling Installations as Moral Geography
Keywords:
Post-Interpretive Criticism, Nomadic Aesthetics, Installation Art, Moral Geography, Migrant Artworks, Travelling Exhibitions, Globalization, Francis Alÿs, Mona Hatoum, Ai Weiwei, Chiharu Shiota, Khalil Rabah, Ethics of Movement, Conscience in Contemporary Art, Aesthetic Displacement, Witnessing, Museum Critique, Portable Truth, Moral Cartography
License:
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)
Publication Year:
2025
Movement / Framework:
Post-Interpretive Criticism (The Museum of One)
DOI (Placeholder until generated):
[To be automatically assigned by Zenodo]
Journal / Series:
The Journal of Post-Interpretive Criticism (ISSN 2819-7232)
Volume: III
Publisher: Museum of One (Registered with Library and Archives Canada)
Persistent Identifiers:
ORCID: 0009-0004-7737-5094
ISNI: 0000000537155247
Wikidata: Q136308879 (Museum of One)
Comments are only available for registered users.