Issue 1: Borders and the Global Contemporary

HomelandSecurity_InstallMaster_300dpi18.5cm

Interventions, Volume 02, Issue 01: Borders and the Global Contemporary

Widely recognized as the moment that ushered in the era of globalization, the fall of the Berlin Wall in 1989 emblematized freedom and unity. The current global reality, however, is a far cry from the neoliberal promises of a globalized future marked by progress and prosperity. Technological advancement has radically transformed spatiotemporal boundaries, enabling unprecedented circulation of people, information, and capital. In an age of mass tourism, mass media, and mass markets, the world is united but under the subsumptive logic of neoliberal capitalism. Alongside paradigmatic shifts in identity and consciousness engendered by this increased permeability and fluidity, international security measures escalate, violent geopolitical strife persists, and rampant socioeconomic inequality proliferates.

This issue of Interventions takes the border as a means through which to investigate such contradictions of our global contemporary. As the structures and mechanisms of the capitalist system evolve to become ever more pervasive and ever less discernible, “Borders and the Global Contemporary” explores the ways in which contemporary artistic production engages the militarization, mediation, and commercialization of everyday life. The projects comprised herein examine art’s subversive capacity to destabilize dominant discourse and posit counter-narratives as well as its compliance with hegemonic forces. They also address the challenges of artistic production, dissemination, and exhibition in the face of current geopolitical conditions. The projects offer multiple ways to conceptually take on the border: to forge borders and to forget them, to elude borders and to elucidate them. With this issue, we hope to complicate the border and to contribute to an ongoing critical investigation and re-imagination of the global contemporary.

Carmen Falcioni, Carmen Ferreyra, and Cecelia Thornton-Alson

New York, January 2013


Homeland Security: Borders and the Global Contemporary

Notes on dOCUMENTA (13) by Kaira M. Cabañas

ARTIST’S PROJECT: BULLETPROOF by Milagros de la Torre

Adornian Ethics for the Digital Era by Jaime Schwartz

Betwixt and Between: Displacement and Liminality in Laura Waddington’s “Border” by Marion Hohlfeldt

The Liminal Body: Assemblage and Identity in Maïmouna’s Female Icons by Michelle Apotsos

ARTIST’S PROJECT: LATE EDITION by Jin Joo Chae

Geopolitical Tensions and Problematics of Exhibiting: Exterritory Project by Sascha Crasnow

Who, By Whom, and For Whom: Presentation Of Contemporary Art in Iran and Representations of the Art of Iran Elsewhere by Sandra Skurvida

Traces: Land Use and Representation in Arizona, U.S.A. and Sonora, Mexico Border Arts by John-Michael H. Warner

ARTIST’S PROJECT: HOMELAND SECURITY (IT’S HARD TO FIND A GOOD LAMP) by Charles Stankievech

The Readymade Was Always a Trojan Horse: Charles Stankievech + Tim Johnson in Conversation about Homeland Security between Charles Stankievech and Tim Johnson 

Where Art and Commerce Hold Hands in the Sunset: a Pilot Study of Katerholzig @ Papaya Playa—A Design Hotels™ Project by Benjamin Scheerbarth

ARTIST’S PROJECT: CONSIDERATIONS FOR ERASING/OBFUSCATING/FORGETTING A BORDER by Broken City Lab

Unlimited Edition by Justin A. Langlois