Introduction
Diagram on renegotiating Art
Questions for an interview
Alphabet of contributors
Zoom interviews
Summary of proposals
Building a new structure
Linking up to other parts
How to rethink and negotiate with others “How and in what way art is “Conceptualised and staged in a Global context?”
Develop a dematerialised practice that responds to a series of locations and events and engages with people in different settings. To immerse completely in each location, without the filter of a predetermined art object – being in Mongolia, being in each location in the Capital, being in the Airplane, being in the car, being in the Gobi Desert.
The dematerialised work problematises and suspends whatever is understood by the object of art, through problematising and rupturing the Colonisation of one culture over another.
Produce a new map that breaks from the nation-state by assembling an arbitrary sequence that joins peoples and cultures together into another logic.
The final installation was a site-specific wall drawing, a mind map/cognitive mapping comprising thoughts triggered in response to each location, experiencing distance and place, context, and discussions with different people. So, my work in this context was the capacity to think.
Discussions and disagreements between different people are central to my work. They test out and contest my thinking in order to break inherent thinking, beliefs, Colonialism, and Neocolonialism, the Colonial function of art.
The clearest framing of questions in a Global context
I am beginning to think that the clearest articulation of Globalisation, the conflict between Global Neoliberalism, and a culture seeking to survive and locate its own cultural identity and environmental sustainability can be found today in Mongolia.
The sum of the discussions with different people during my stay in Mongolia and online discussions since l returned to the UK offered insights into current conditions in Mongolia. The influx of multiple foreign influences. Mining by foreign companies and use of Mongolia’s mineral wealth. The internal debate amongst Mongolian artists is about how to retain and save its own cultural identity against waves of foreign cultural influences. The conflict between a rapidly growing technological and consumer society in the Capital, set against the traditional nomadic lifestyle of Mongolian peoples. What thinking and what cultural model is suitable and workable within rapidly changing conditions?
