INTERDEPENDENCIES, (IN)ADEQUATE CONFRONTATIONS, (TRANS)LOCAL IMPLICATIONS
One of the few things I am sure of is that I am a »transversal thing«. Both in my personal and professional life, moving across fields and places has always been a source of joy, rather than a matter of discomfort, despite the frictions and collisions that the fact of crossing borders often implies. Yet of late I have been experiencing an acute need to critically resituate my beloved transversal practices of the last years within the current financial, technological, informational, creative capitalism, and the correspondent dominant knowledge economy and knowledge management that has been expanding across western world(s) and beyond – so much predicated on mobile and transversal forms of creativity, on processing, connecting and transplanting information; redesigning, retransplanting, reconnecting, expanding, expanding, expanding. Often softly imposing a life-long social choreography of self-organizing malleable networking, and a never-ending combination of skilling with de-skilling and re-skilling. In this set up, there is no time to really pay attention to the ecologies of our practices, their social effects – not only there where they take (and make) place as they materialize, but also there where they will take (and make) place afterwards, rematerializing in more or less visible ways.
Following this thread, it is clear that a closer look at the working and production modes of my current artistic and related theoretical practices can help me understand the material and immaterial complexity of the social relations they imply, and the economies they have been moving with. And yet I know I will go on working in transversal modes, transposing tools (and plants) across fields and landscapes, for many reasons that have to do with how I want to live everyday. Because displacement (sensorial-intellectual, cultural, geographic) – call it a certain kind of »tourism«, if you will – is where I get my joy from. Because displacement, and even a certain kind of mis-placement – something like a constant artificialization of »original« frames – is what I believe makes sense not only for my practices (taken as inherently social), but also for wider social processes.