Walker Art Center

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Fran Ilich


An online exhibition of network-based art from Brazil, China, Croatia, India, Japan, Mexico, Singapore, South Africa, Turkey, and the United States.

. . . sarais were the typical spaces for a concrete translocality, with their own culture of custodial care, conviviality, and refuge. They also contributed to syncretic languages and ways of being. We would do well to emulate even in part aspects of this tradition in the new-media culture of today. --Shuddha Sengupta, Raqs Media Collective, Translocations

"Think locally, act globally," artist and theorist Tetsuo Kogawa exhorts. Translocations explores notions of what constitutes the local in a globally networked environment. This is not simply a question of where the "trans-there" lies. If the nonspace of cyberspace can create the possibility of a diasporic community, united not by geography but by shared interests, what precisely is held in common? How do similarly worded ideas translate across cultures? Do the same mixes sound different depending upon where they are sampled? Is there the possibility of transcultures that are neither isolationist nor imperialistic? What is the public commons of digital intercourse?

Translocations is a series of platforms--the physical, networked exhibition installation of Architecture for Temporary Autonomous Sarai; the streaming media platform of the Translocal Channel, which is programmed by a number of artist groups from around the world; and the platforms of individual artworks such as OPUS and Translation Map, which require the participation of viewers to establish the possibility of translocal communities over the network. These projects and others in Translocations envision and promote an open, participatory culture that is translocal, interconnected, hybrid, and in flux.

Translocations is organized by Steve Dietz, Curator of New Media, Walker Art Center. It is made possible with funding from the Rockefeller Foundation and The Daniel Langlois Foundation.