Walker Art Center

the aspiration to incorporate other perspectives and products into one's ambit (and thus reflecting global ambitions) is peculiar to the global curator, most concretely embodied in the biennial curators/artistic directors. One may quibble about whether it is really the globe that the global curator desires, or whether it is far more humble insofar as they aspire merely to represent a variety of perspectives, not comprehensively but conscientiously. Whatever one decides about these issues, the global curator, reflecting a "will to globality" in curat-ing and organizing art exhibitions, is an important mediator of the global in the art world. What is the role of the global curator in an age of translocations? Does the global curator sometimes embark on the translocations by his/her own travels, stringing together geographically and culturally diverse artists in ways that circumvent the need for others, such as the artists and the audiences, to "translocate"? Or is the global curator a key agent in initiating and sustaining critically nuanced translocational strategies in the art world?

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From: yukiko shikata <sica@dasein-design.com>
Date: Wed Mar 13, 2002 7:12am
Subject: Re: translocations

Dear Guna and the rest,

"Latitude" includes attitude, and the attitude comes from each person, so latitudes could be defined as the connected attitudes (perspectives and actions) of an unlimited number of people, each facing local realities and connected globally. "Forms" are generated by space and time, but nobody knows how they become, as each of us sees them from our own perspective.

I think the forms coming out of latitudes constitute an info-geography, consisting of dynamic, changing numerical codes, to which we cannot apply the existing notion of physical space. Via the Internet, we face totally different kinds of geography, which are beyond global and local, private and public.

Of course, there is a tendency toward territorialization (or globalization) of the information sphere, applying the existing material-based regulations to an info-, digital-, network-based entity and putting this info-geography under the control of governments and corporations. Artists could be "agents for change" (Konrad Becker) to resist such tendencies.

At the moment I am co-curating, with Shu Lea Cheang and Armin Medosch, an online exhibition titled Kingdom of Piracy (KOP).[18] Raqs Media Collective is participating with their Global Village Health Manual.[19] Shuddha or Jeebesh or Monica, could one of you talk about the project in relation to translocation or other related topics?

With KOP, we are dealing with the piracy issue, trying to promote artistic interventions, as the whole digital-based information "space" is in possible danger of future control by the global economy. Piracy also references issues of deterritorialization and omnipresence.

Regarding info-geography, I am also interested in the aspects of memory that can be collected and stored as resources for future use. Raqs is also dealing with this issue in its OPUS project.[20] This is a totally new way of production and locates works as nodes in an infinitely open-ended progression of possible future productions.

Henri Lefebvre wrote in Production of Spaces as follows (sorry for my bad translation from the Japanese):

18 Kingdom of Piracy, curated by Shu Lea Cheang, Armin Medosch, and Yukiko Shikata, launched online December 9, 2001, at http://www.adac.com/tw. The on-site exhibition was held at ArtFuture 2002, March 2002, at Acer Digital Art Center, Taiwan.

19 Raqs Media Collective, with Mrityunjoy Chatterjee, Global Village Health Manual, CD-ROM. See http://www.sarai.net/compositions/multimedia/multimedia.htm.

20 See http://www.sarai.net/opus/.