The following images, media links are pointers for a paper I delivered at the 2012 International Council of Canadian Studies conference, at Ottawa U.
Henry Tsang: Orange County
2003-04, video installation with 4 projectors, 4 DVD players. 4 minute loop.
“Orange County was shot in gated communities in Orange County, California, and Orange County, Beijing, where architects and interior designers from Orange County, CA, were hired by a Chinese developer to create an “authentic” American-style gated community near the site of the 2008 Summer Olympics in Beijing. Orange County evokes questions about the confluence of urban design, politics and global capital. What does it mean for the Chinese to earnestly replicate authentic southern California residential architecture when the housing design styles offered are defined as “Spanish,” “Italian,” and “French?” What happens when the American Dream is translated into Chinese?” (project description for artist’s website)
Jin-me Yoon: “The Dreaming Collective Knows No History”:
The dreaming collective knows no history (U.S. Embassy to Japanese Embassy, Seoul)
Single channel HD video, 2008
The dreaming collective knows no history (U.S. Embassy to Japanese Embassy, Seoul) extends my interest in the interrelationship between the built environment of the city, history and the body. The first part of the title makes reference to Walter Benjamin’s suggestion that modernity and the flows of history are phantasmagoric. The second part of the title refers to my performance for the video on the street crawling from the U.S. Embassy to the Japanese Embassy in Seoul. Formally tipping the vertical city of skyscrapers and bipedal humans onto a horizontal plane, I allude to the simultaneously submissive and subversive possibilities of this inversion. Rife with historical and contemporary references and associations, the smooth flows of progress and power as well as the frantic pace of production and consumption are interrupted.” (from http://jin-meyoon.ca/video)
Jin-me Yoon: “As It Is Becoming (Beppu, Japan)”
As It Is Becoming (Beppu, Japan): Kannawa District Single channel HD video, 2008
Ali Kazimi: Continuous Passage
Ashok Mathur: A Little Distillery in Nowgong
The full discussion or paper will appear in print, and is available from me. In the meantime, the following are the key points raised in my attempt to outline what I refer to as “emergent aspects of a description” of a transurban approach to contemporary Vancouver culture.
1/ a concern for and resistance to the urban as a privileged site of national or international political will;
2/ a consequent remapping or re-spatialization of nationalist culture and its spheres of influence beyond the bounds of soil-bound chronotopes,
3/ an interest exploring and representing mobility (movement and motion) instead of the apparent fixities of departure and arrival;
4/ a focus on artists as a mediator who is situated in the midst of an ongoing process knowledge production/translation—i.e. rather than as the artist as genius interpreter decoding complex “matters of fact.”;
5/ an expanding network of associations (Latour’s human and non-human actors) that opens beyond the bounds of predetermined social categories—imagined communities, political groups, social roles (artist, professor, organizer), cultural identities (gendered, sexed, raced), and disciplinary boundaries or practices.