<div dir="ltr"><div dir="ltr"><div>Dear Renate and Junting,</div><div><br></div><div>I would like to join the conversation and draw your attention on the antiatlas of borders,
a group of researchers, artists and experts. As they articulate
research and artistic creation, they attempt to apprehend in a unique
way the mutations of borders and spaces of our contemporaneous
societies. Here is an abstract of its <a href="http://www.antiatlas.net/towards-an-antiatlas-of-borders/">manifesto</a>:</div><div><br></div><div>"From scientific exploration to artistic experimentation: initially conceived as an exploratory research project, the <i>antiAtlas of borders </i>has
become a performance in the artistic meaning of the word. The fact that
researchers, professionals of border control, and artists have met each
other for ten seminars between 2011 and 2013 has of course allowed them
to enrich their own approach. In addition, this has also led to
uncommon transdisciplinary experiences through which original works have
reffered to borders as they are lived: this has been the case when
producing video games and films on the basis of anthropoligical
observations, when managing participative cartography, etc. Moreover,
artistic works have provided many explorations and experiences of our
ambivalent relation to borders – one one side, what they make of us, of
our identity, of our intimacy, of our body, etc.; on the other side,
what do we make of them, how we give them material and immaterial
visibility or invisibility, how we play with them, either for freeing of
them, or for surveying and denouncing our contemporaries. Tactic media
as diversions of surveillance are spectacular manifestations of such an
ambivalence. These pieces help us to keep some distance with the
domination/resistance alternative. They show that the relations between
the rationality of control initiatives and the practices that evade them
are perpetually replayed.
<p>Favouring a dialogue between art, science, and practice, does not
mean promoting a new ‘doxa’ for border studies. We simply assume that
transdisciplinarity generates cognitive gains made of quotations,
transfers and exemplification. Any discipline at any time may function
as a vehicle for another one. None of each specific knowledge is
confronted to the collapse of its proper logic, but committed in new
experiments, with all the limits and benefits this may induce. This is
the way the <i>antiAtlas</i> challenges our routines by pushing everyone for experimentation and taking completely different backgrounds into account."</p><p>I curated 6 <a href="http://www.antiatlas.net/actions-en/exhibitions/">exhibitions</a> as part of the antiatlas of borders collective and combining all these different practices was a wonderful and exciting
adventure. During one year and a half, we worked very closely with the
scientific and artistic committee and tried to exchange as much as
possible between different visions and ways of working. I learned a lot
from researchers and was amazed by the deep understanding and knowledge
they have on the subject of borders. Thanks to their research and to
their approaches to this issue, I was able to get a very diverse
understanding of this complex subject. From me, they discovered the
online communication and the power of the web and social networks to
diffuse and share the information. They also got a better understanding
of the tactical media field and we learned so much from each other that
this experience is already a beautiful success in sharing and learning
from passionate human beings. I come from media art world and I tried to
respond to a scenario that the committee conceived with artists’ works,
which is a very different way for me to work. This time I had a script
to follow; the way I did it was to try to find some ludic interactive
installations, as well as documentary projects or games, in order to
allow the experimentation of the subject by the audience. <br></p><p>The antiatlas of borders organises regularly sminars at the border of art and research and also distribute a <a href="http://www.antiatlas.net/antiatlas-journal-02-fictions-at-the-border-2017/">journal</a>.</p><p>Isabelle Arvers<br></p>
</div><div><div><div dir="ltr" class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><a href="http://www.isabellearvers.com/wp-content/uploads/2013/03/animLogo.gif" target="_blank"><img alt="http://www.isabellearvers.com/wp-content/uploads/2013/03/animLogo.gif" src="http://www.isabellearvers.com/wp-content/uploads/2013/03/animLogo.gif"></a><br>Isabelle Arvers<br>Curator, art critic and artist<br>+33 661 998 386<br><a href="http://www.isabellearvers.com" target="_blank">http://www.isabellearvers.com</a><br>Director of Kareron<a href="http://www.kareron.com" target="_blank"> www.kareron.com</a><br>twitter: @zabarvers<br><a href="http://youtube.com/zabarvers" target="_blank">youtube.com/zabarvers</a><br><a href="https://vimeo.com/isabellearvers" target="_blank">https://vimeo.com/isabellearvers</a><br>Skype ID: zabarvers</div></div></div></div></div></div></div><br></div></div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">Le sam. 4 mai 2019 à 17:26, Renate Ferro <<a href="mailto:rferro@cornell.edu">rferro@cornell.edu</a>> a écrit :<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------
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<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Dear Junting,
<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Many thanks for sharing Michael Joo’s pieces, both the Salt Transfer Cycle and Migrated at the Smithsonian. I am so happy to be introduced to our Cornell alumni’s work.
What an uncanny juxtaposition to Robert Smithson’s salt sculptures that were exhibited at Cornell’s Herbert F. Johnson Museum of Art in the late 60’s. Smithson’s sculptures were installations of piles of salt crystals that he mined about four miles from campus
under Cayuga Lake’s Salt Mines, also a site for his art at the time. He identified the relationship between the two as having a site/non-site relationship.
<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">The resonances between Joo’s three sites in his performance/installation video Salt Transfer Cycle begins in Chinatown in a pile of salt, continues to the Great Salt Lake
in Utah (where to the north of the lake lies Smithson’s own creation, Spiral Jetty). The piece finally ends with his return to South Korea. In the three segments Joo’s body accepts traces of salt onto his body; salt to represent the salt from sweat and labor.
<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Thanks Junting for sharing your own research on spatial narrative and the contemporary works, Liquid Borders and Sonic Territories. Global geopolitical narrative and the
potential were sound flows and oozes between the cultural and political spaces of borders is especially fascinating in relationship to propaganda. If you can share other work or specifics about your own research though out the month hope you will. Also would
love to hear from others in your network in Asia. <u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">I was just talking to a colleague of mine last night. We were reminiscing about another exhibition here at Cornell at the Johnson Museum of Art curated by Iftikhar Dadi,
Partition as a Productive Space. <a href="https://www.academia.edu/10615321/Lines_of_Control_Partition_as_a_Productive_Space_co-edited_" target="_blank">
https://www.academia.edu/10615321/Lines_of_Control_Partition_as_a_Productive_Space_co-edited_</a><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">The exhibition and conference that followed was an early discussion of the border. Dadi’s catalog entry, Partition and Contemporary Art, discusses the relationship between
space, political crisis, and contemporary art. That early exhibition and conference in 2012 was one of the first for me to collapse issues of space-borders- and the politics of culture.
<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">I am wondering if there are others whose research or art are resonating from these issues.
<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Ricardo Dominguez and Amy Sara Carroll come to mind who both work on the site of the Mexican/ US Border. Hoping I can poke them back channel to perhaps post about their
recent work. <u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Thanks again Junting. Renate<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Renate Ferro<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Visiting Associate Professor<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Director of Undergraduate Studies<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Department of Art<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black">Tjaden Hall 306<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Arial",sans-serif;color:black"><a href="mailto:rferro@cornell.edu" target="_blank">rferro@cornell.edu</a><u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">I have recently been thinking a lot about how artwork restructures space. Taking on Renate’s opening thread of this month, I want to share my recent experience and perhaps
reflect on the global identity that -empyre- as a platform has instituted throughout the years.
<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">I was at a conference called “Global Asias” earlier this month. And for some, the title itself may already invite controversies. As paradoxical as it sounds, how could a
geographical area called Asia be global?<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">With that question in mind, I was fascinated by a presentation by Terry K Park, who analyzed the works of the Korean-American artist Michael Joo (who was born in Ithaca to
a South Korean couple studying at Cornell!), from his earlier works like Salt Transfer Cycle (<a href="https://redflag.org/magazine/issue-8/salt-transfer-cycle-a-video-piece/" target="_blank">https://redflag.org/magazine/issue-8/salt-transfer-cycle-a-video-piece/</a> <<a href="https://redflag.org/magazine/issue-8/salt-transfer-cycle-a-video-piece/" target="_blank">https://redflag.org/magazine/issue-8/salt-transfer-cycle-a-video-piece/</a>>) to more recent
ones like Migrated at the Smithsonian (<a href="https://www.apollo-magazine.com/meditations-on-migration-michael-joo-at-the-smithsonian/" target="_blank">https://www.apollo-magazine.com/meditations-on-migration-michael-joo-at-the-smithsonian/</a> <<a href="https://www.apollo-magazine.com/meditations-on-migration-michael-joo-at-the-smithsonian/" target="_blank">https://www.apollo-magazine.com/meditations-on-migration-michael-joo-at-the-smithsonian/</a>>). As seen in both works, the Korean Demilitarized
Zone (DMZ) becomes a recurring trope in Michael Joo’s oeuvre, not simply as an identifier of the physical space, but rather a constituent of a spatial narrative about movement and migration, whose ecological and/or humanitarian consequences demand a global
identity. <u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Some of my recent research on contemporary art in China/Hong Kong/ Taiwan also resolves around this restructuring of space as a global narrative. I have been writing about
artworks like Liquid Borders (<a href="http://cargocollective.com/samsonyoung/Liquid-Borders/" target="_blank">http://cargocollective.com/samsonyoung/Liquid-Borders/</a> <<a href="http://cargocollective.com/samsonyoung/Liquid-Borders/" target="_blank">http://cargocollective.com/samsonyoung/Liquid-Borders/</a>>) and Sonic Territories (<a href="https://news.artnet.com/art-world/taiwan-kinmen-island-sonic-territories-1332893/" target="_blank">https://news.artnet.com/art-world/taiwan-kinmen-island-sonic-territories-1332893/</a> <<a href="https://news.artnet.com/art-world/taiwan-kinmen-island-sonic-territories-1332893/" target="_blank">https://news.artnet.com/art-world/taiwan-kinmen-island-sonic-territories-1332893/</a>>),
where the spatial narrative is exactly an integral part of the global geopolitical discourse. But in any case, I appreciate that -empyre- provides the space for discovering the connections we need towards that global identity.<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif"><u></u> <u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Junting<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Junting Huang<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Department of Comparative Literature<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">240 Goldwin Smith Hall<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Cornell University<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:12pt;font-family:"Helvetica",sans-serif">Ithaca, NY 14853<u></u><u></u></span></p>
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