Peng's art functions as a burning barricade in the media biosphere. What are the challenges to this position when working across national boundaries? Something apparently edgy in Germany might be illegal in Poland or the UK. In Europe, freedom of art is of greatest importance; in the US, freedom of speech. In the midst of questions of left-wing censorship and right-wing subversion, Peng share their tactics for disrupting both sides of the debate.
The nation state is a modern fiction: a result of the conceptual intercourse between a sovereign introduced by Thomas Hobbes in “Leviathan” and the imperialist and nationalist ideologies of the nineteenth century. Despite all the criticism of it, it is approached as a fundamental component of the political order, an everlasting tabula rasa for (re)structuring power. We suggest an alternative ideology for political self-organisation: steɪt əv nəʊlænd [State of Noland]: a 'state of mind’ of not aligning with any geopolitical entity and a 'state-after-state’ as a constellation of practices that functionally replace nation-state monopoly.
We have built our concept of the nation on the ideas of institutions, of fixed points on maps, in time, and in law. We're also somewhat aware that this is fiction? Here, we'll explore how we might re-understand what we call a "nation".
The transnational reality of living in contemporary global societies poses several challenges for contemporary societies. The prioritization of western nation-state membership and economic imperatives has produced second-class citizenships, while the inhumanity of managing migration by reintroducing border regimes and prioritizing fake security has robbed millions of individuals of their humanity, and fed populist rage against migrants. World citizenship, based on more than the nation state, might assume an interplay of institutional policy with non-institutional practices of various subjectivities, constituting the public. Reclaiming humanity against “the globalization of indifference” requires a utopian invention of “worldliness of people” that stands for a political project of equality, rather than the moral project of the defence of traditions.
The border between Italy and its adjacent countries traverses snowfields and perennial ice sheets at high altitudes, mostly following the path of the Alpine watershed. Due to the global warming–induced shrinkage of the glaciers, a substantial shift of the watershed line has been detected in several places. Between 2014 and 2016, the project team of Studio Folder installed a network of custom-made, open-source sensors on a small section of the Austrian–Italian border on the Similaun glacier, to transmit in real time the position of the line. Marco Ferrari will talk about the genesis of the project and the fieldwork done in the Alps; he will also present the ongoing research on the history of Italian border surveys, along with a glimpse over other projects of Studio Folder that aim to develop a similar methodology of inquiry within the field of cartographic representation.