continued thanks to all who have posted. there is much to reflect on and
Reading over everyone's contributions I'm reminded of a comment made by
Amit Rai, who spent the day with us at our workshop on Saturday, "there is
less and less room for the hybrid these days."
Coming from the position of a curator, a researcher, and, as a human, a
point that i consider to be important to add to this discussion is, where
are the public spaces to continue a politics of disturbance? and how can we
make public spaces with others?
Following on from Cecilia's post, where she reminded us that we need to
continue to give space to 0ther perspectives, i think it is worth saying
that social media spaces might offer people a podium to voice complexity,
but as an increasingly dominant public platform I have my reservations
about the effects promotional sharing sites can and do have on our
collective capacity to listen and respond to others. I bring this up as i
feel this reflects a more endemic issue, quite often the dominant
structures for communication and collaboration we use in the arts do not
support ambiguity, nor do they engage in the multiple positions (internally
and externally) that we take up at different times. This, i feel, threatens
the range of voices - not necessarily the amount of things being posted,
produced, performed, but it does contribute to it, and it definitely limits
how and who are listening.
There have been a number of significant and poetic artworks, projects (such
as watchthemed) and interventions shared already, (thank you esp, to
Ricardo and Copa&Sordes) and we still have some more dispatches to come in.
I'd like to mention another two works, which i consider as 'technologies of
border disturbance', as Ricardo so eloquently put it. these works, rather
than take up media technologies to fix social issues, focus on
conceptualising and analysing the conditions brought about by migration by
bringing social and media technologies together and therefore, i think, are
also worth incorporating into our conversations.
In 2012 the Israeli performance and research group Public Movement held a
competition between three branding agencies, Demner, Merlicek & Bergmann
(DMB), Love Tensta, and Metahaven, inviting each studio to 'rebrand'
European Muslims. A gala was held on 28 September, 2012, at Steirischer
Herbst Festival in Graz, where each branding agency presented their
campaign and it was put to an open public vote to decide the winner. The
winning agency was DMB and their campaign was displayed on public
billboards in Graz that Autumn. The project was also included in a national
branding competition. (
Public Movement's project asks us to think about the role the arts play in
the branding of nation states, what technologies are involved in changing
public opinion, and of Islamic identity in relation and context of Europe.
Nearly ten years earlier in 2003, Multiplicity, an Italian territorial
investigation agency made up of a collective of academics and
practitioners, produced 'Solid Sea 03 - Road Map'. (
http://www.attitudes.ch/expos/multiplicity/road%20map_gb.htm) Two journeys
on successive days were made starting out from a similar latitude in the
region of Jerusalem. The first journey was with someone holding an Israeli
passport and took an hour, whereas the taxi ride the next day was made with
someone with a Palestinian passport and took 5 1/2 hours. Mapping the
autonomous, durational measurements of two conflicting lived experiences
Multiplicity's project indexes the technologies that border control has
over the mobility of its people.
From my own failed and successful experiences as a curator, i feel the need
to continue to consider the ways that i make public-space with others.
Public spaces where we can open out conversations about important issues
like migration, where we can build, share, and expand social and political
narratives with 0thers, to problematise things, to find out how we are all
radically at stake to one another.