Notes

Prologue

1See for example Matthew Rampley, ‘From Big Art Challenge to a Spiritual Vision: What “Global Art History” Might Really Mean’, in James Elkins, ed., Is Art History Global? (2007), especially 199–202.

2She also works on questions of empire and British India.

3Post-Production is a follow-on to Relational Aesthetics where Bourriaud highlights a different aspect of the contemporary art scene from the interest in the relational. Bourriaud isolates a trend he observed where artists no longer buy into notions of originality but work with pre-existing cultural material which they remix and recombine to create new meaning. The adaptation and remixing of the film Amélie that features in Rikki T’s show is an example of post-production as artistic strategy. See Nicolas Bourriaud, Post-Production (2002).

4See Frances Wood, Did Marco Polo Go to China? (1995).

5The Piro are indigenous peoples of the Bajo Urubamba River in eastern Peru. They are neighbours of the Shipibo-Conibo Indians and their design languages are thought to be related.

6When Deleuze engages with the thought of another philosopher, he enters into what he refers to as a ‘zone of indiscernability’ with this thinker. Writing about Bergson, he frequently drops the differentiation of ‘this is what Bergson says and this is what I think about it’, but instead thinks ‘through’ and ‘with’ Bergson’s ideas. Deleuze refers to this authorial blending as ‘indirect discourse’. He also and importantly takes respective thoughts further along what he sees as their lines of thought. Deleuze, however, collaborated and co-authored books with Guattari, and both conceived of this mode of collaboration as a blended voice. Taking account of this Deleuzian notion of ‘writing with and speaking through’, my reference to Deleuze throughout this discussion will range from ‘Deleuze’, to ‘Deleuze–Guattari’ and ‘Deleuze–Bergson’ etc. See for example Gilles Deleuze, Bergsonism (1988), 7–8; but also Deleuze and Guattari, Thousand Plateaus, 80.

7Traditional Tamil threshold designs are created with sinuous, continuous lines that loop around a grid of pre-placed dots that determine the design.

8James Clifford.

Introduction

1Thomas McEvilley, ‘D11’, Frieze: Contemporary Art and Culture, 69 (2002), 81–5: 81.

2Okwui Enwezor in James Meyer, ‘Global Tendencies. Globalism and the Large-Scale Exhibition’, Artforum, 42(3) (2003), 152–63, 206, 212: 154.

3See for example Meyer, ‘Global Tendencies’, 162.

4McEvilley, ‘D11’, 81.

5Ibid., 82.

6Charl Blignaut, ‘The Interview – Okwui Enwezor: Cruelty of the Ordinary’, Citypress (2 Feb 2014).

7McEvilley, ‘D11’, 82.

8Claire Bishop, ‘Safety in Numbers’, Artforum, 50(1) (2011), 276–81: 281.

9Ibid.

10Gerardo Mosquera, ‘The Global Sphere. Art, Cultural Contexts and Internationalization’, www.globalmuseum.de (2011).

11Okwui Enwezor, ‘History Lessons’, Artforum (September 2007), 382–85: 382.

12Ibid., 384.

13Bishop, ‘Safety in Numbers’, 281.

14The exhibition ran from 17 September 2011 to 5 February 2012.

15‘The Global Contemporary. Art Worlds After 1989’, www.globalartmuseum.de (2011).

16Ibid.

17See Meyer, ‘Global Tendencies’, 162.

18Mosquera, ‘The Global Sphere’,. n.p.

19Ibid.

20Ibid.

21Laymert Garcia dos Santos, ‘How Global Art Transforms Ethnic Art’, in Hans Belting and Andrea Buddensieg, eds., The Global Art World. Audiences, Markets, and Museums (2009), 164–76: 165.

22Ibid.

23Ibid., 167.

24Ulf Wuggenig, ‘The Empire, the NorthWest and the Rest of the World. “International Contemporary Art” in the Age of Globalization’, Transversal – eipcp multilingual webjournal, 9 (2002).

25Chin-Tao Wu, ‘Biennials without Borders’, Tate Online Research Journal, 12 (2009), 6.

26Ibid., 7.

27Nicolas Bourriaud, The Radicant (2009), 165.

28Ibid., 166.

29Ibid.

30Ibid., 167.

31Ibid., 188.

32Ibid., 102.

33See Okwui Enwezor et al., eds., Creolite and Creolization. Documenta 11_Platform 3 (2003), 99.

34Wuggenig, ‘Empire, North West and Rest’, 5.

35Françoise Vergès, ‘Kiltir Kreol. Processes and Practices of Creolite and Creolization’, in Enwezor et al., eds., Creolite and Creolization, 179–84: 181.

36Enwezor et al., eds., Creolite and Creolization, 209.

37Ibid.

38Vergès, ‘Kiltir Kreol’, 180.

39Bourriaud, The Radicant, 76.

40Ibid., 73.

41Ibid., 132.

42Ibid., 57.

43Ibid.

44Ibid., 17.

45Ibid., 56.

46Ibid.

47Garcia dos Santos, ‘How Global Art’, 174.

48Mosquera, ‘The Global Sphere’, n.p.

49Ibid.

50Ibid.

51See Justin Clemens, ‘We’re All Globile Now: The 2006 Biennale of Sydney: “Zones of Contact”’, The Monthly, 14 (July 2006), 4.

52Meyer, ‘Global Tendencies’, 156.

53Jodie Dalgleish, ‘The Biennial as a Form of Contradiction: The 16th Biennale of Sydney, “Revolutions – Forms that Turn”’, Electronic Melbourne Art Journal, 4 (2009), 1.

54Quoted in Meyer, ‘Global Tendencies’, 212.

55Quoted in ibid.

56Quoted in ibid.

57Quoted in ibid.

58Quoted in ibid.

59See Hou Hanru, ‘Towards a New Locality: Biennials and Global Art’, in Barbara Vanderlinden and Elena Filipovic, eds., The Manifesta Decade (2005), 57–62: 57.

60Hou, Hanru ‘Towards a New Locality’, 58.

61Ibid., 59.

62See ibid., 59–60.

63Ibid., 62.

64Gerardo Mosquera, ‘Beyond Anthropophagy: Art, Internationalization and Cultural Dynamics’, Global Art Symposium 2011 (17 June 2012), 3.

65See Johannes Fabian, Time and the Other: How Anthropology Makes Its Object (1983), especially 25–70.

66Nicolas Bourriaud, Relational Aesthetics (2002), 65.

67Ibid., 61.

68See ibid., 27–8 and 79.

69See ibid., 69ff.

70See Eric Alliez, ‘Capitalism and Schizophrenia and Consensus: Of Relational Aesthetics’, in Simon O’Sullivan and Stephen Zepke, eds., Deleuze and Contemporary Art (2010), 85–99: 89.

71Bourriaud, Relational Aesthetics, 13.

72Ibid., 44.

73Ibid., 31.

74Ibid., 44.

75Jerry Saltz, ‘Night at the Museum’, New York Magazine (9 Nov. 2008), http://nymag.com/arts/art/features/51998.

76Ibid.

77Ibid., n.p. The overall critical response to the exhibition, however, was negative. See Nancy Spector, ‘THEANYSPACEWHATEVER: After the Fact’, The Exhibitionist: Journal on Exhibition Making, 1 (Jan. 2010), 49, 51, 53, 55.

78John Perreault, Rirkrit Tiravanija: Fear Eats the Soul, www.ArtsJournal.com (2011).

79The piece was on display from November 2011 to February 2012.

80See for example Janet Kraynak, ‘Rirkrit Tiravanija’s Liability’, in Anna Dezeuze, ed., The ‘Do-It-Yourself’ Artwork. Participation from Fluxus to New Media (2010 [1998]), 165–84: 271.

81See Jessica Morgan, Common Wealth (2003), 25. Also Claire Bishop, ‘Antagonism and Relational Aesthetics’, October, 110 (Fall 2004), 51–79: 79.

82See Stewart Martin, ‘Critique of Relational Aesthetics’, Third Text, 21(4) (2007), 369–86; Janet Kraynak, ‘Rirkrit Tiravanija’s Liability’, Documents, 13 (Fall 1998), 26–40; Miwon Kwon, ‘Exchange Rate: On Obligation and Reciprocity in Some Art of the 1960s and After’, in H. Molesworth, ed., Work Ethic (2003), 83–97.

83See for example Beshty Walead, ‘Neo-Avantgarde und Service Industrie’, Texte zur Kunst, 59 (Sept. 2005), 150–57.

84Alliez, ‘Capitalism and Schizophrenia and Consensus’, 86–7.

85Ibid., 94.

86See Bishop, ‘Antagonism’.

87See Joe Scanlan, ‘Traffic Control. Joe Scanlan on Social Space and Relational Aesthetics’, Artforum (Summer 2005), 123.

88For a more in-depth discussion of these issues see Renate Dohmen, ‘Towards a Cosmopolitan Criticality? Relational Aesthetics, Rirkrit Tiravanija and Transnational Encounters with Pad Thai’, Open Arts Journal, 1(1) (2013), 35–46.

89Bourriaud, The Radicant, 22 and 39. Bourriaud proclaims the end of post-modernism and the beginning of a new era of altermodernity declared to be a synthesis between modernism and post-colonialism in response to a global dialogue.

90Ibid., 40.

91Ibid., 39.

92Ibid., 22.

93Ibid., 132.

94Ibid., 139.

95Ibid., 42.

96Ibid., 160.

97Ibid., 51.

98Ibid., 131–32.

99Ibid., 165–66.

100Ibid., 82.

101Martin, ‘Critique of Relational Aesthetics’, 386.

102Ibid., 385.

103The National Museum of the American Indian in the USA, for example, has a representative collection of Shipibo-Conibo artefacts. The Museum der Weltkulturen in Frankfurt owns a sizeable collection of Shipibo-Conibo ceramics, and the anthropology department of the University of Tübingen has probably the largest collection in Europe of Shipibo-Conibo artefacts.

104Threshold designs constitute an ancient, pan-Indian tradition which encompasses radically different design languages that have evolved across the subcontinent. The tradition is no longer as widespread as it used to be and has declined, especially in urban centres, with Tamil Nadu a notable exception: everyday applications of the designs are still found in villages and small towns but also in cities such as Chennai.

105See for example Elkins, ‘Art History as a Global Discipline’, in Elkins, ed., Is Art History Global?, particularly 19–20.

1 Transversality, Relational Aesthetics and Modes of Writing

1See Fabian, Time and the Other.

2Félix Guattari, The Three Ecologies (2000), 28.

3Guattari, Chaosmosis: An Ethico-Aesthetic Paradigm (1995), 74.

4Ibid., 1.

5Ibid., 22.

6Guattari, Three Ecologies, 56.

7Ibid., 36.

8Ibid., 35.

9Ibid., 36.

10Guattari stresses that we ‘need to free ourselves from a solitary reference to technological machines and expand the concept of machine’. See Guattari, Chaosmosis, 31.

11Ibid., 24.

12Ibid.

13Ibid., 25.

14Ibid.

15Ibid., 35.

16Ibid.

17Ibid., 18.

18Ibid.

19Ibid., 17–18.

20Ibid., 106.

21Ibid., 101–02.

22Ibid., 91.

23Ibid.

24Ibid., 109.

25Ibid.

26Ibid.

27Ibid., 108.

28Ibid., 37.

29Ibid.

30Ibid., 110.

31Guattari, Three Ecologies, 117.

32Ibid., 136.

33Ibid.

34See ibid., p. 142 for a further discussion of the term.

35Ibid., 128.

36Ibid., 132.

37Bourriaud, Relational Aesthetics, 87.

38Guattari, Three Ecologies, 34.

39Bourriaud, Relational Aesthetics, 31.

40Ibid.

41Ibid., 32.

42Ibid., 40.

43Ibid., 100.

44Ibid.

45Bourriaud, Relational Aesthetics, 100 (emphasis in the original).

46See ibid., 37.

47Bourriaud, Relational Aesthetics, 103.

48Gary Genosko, Félix Guattari. An Aberrant Introduction (2002), 75.

49Guattari, Chaosmosis, 128.

50Although Guattari spends a considerable amount of time railing against the fixities of signifying orders, he also acknowledges the value of their contributions to psychoanalysis and by implication to culture. The issue is, however, how to keep signification ‘fresh’, how to avoid ossification and a dogmatic turn. See Guattari, Chaosmosis, 10.

51Guattari, Chaosmosis, 112.

52For a discussion of ecosophic cartography see Guattari, Chaosmosis, 125.

53Clifford Geertz, Works and Lives: The Anthropologist as Author (1988), 144.

54James Clifford, ‘On Ethnographic Authority’, Representations, 2, 118–46: 120.

55Geertz, Work and Lives, 141.

56James Clifford, ‘Introduction: Partial Truths’, in James Clifford and George Marcus, eds., Writing Culture: The Poetics and Politics of Ethnography (1986), 1–26: 2.

57Ibid., 4.

58Ibid., 5.

59Ibid.

60Stephen Tyler, ‘Post-modern Ethnography: From Document of the Occult to Occult Document’, in Clifford and Marcus, eds., Writing Culture, 122–41: 130.

61Tyler, ‘Post-modern Ethnography’, 130.

62Geertz, Works and Lives, 140.

63Interpretive anthropology sees cultural analysis as intrinsically incomplete. It views cultures as loosely and frequently contradictory assembled texts and emphasizes inventive poiesis as part of all cultural representations. It stresses that the experiences and interpretations of the scientific researcher can never be innocent and that cultural accounts are necessarily constructive negotiations between various parties. For further reference see Clifford Geertz, The Interpretation of Cultures (1973), especially chapter 1.

64Tyler, ‘Post-modern Ethnography’, 136.

65James Clifford, The Predicament of Culture (1988), 40.

66Clifford, ‘On Ethnographic Authority’, 131.

67Ibid., 130.

68Ibid.

69Clifford, ‘Introduction: Partial Truths’, 4.

70Clifford, The Predicament of Culture, 10.

71Clifford, ‘Introduction: Partial Truths’, 6

72Ibid., 7.

73Ibid.

74Ibid.

75Geertz, Works and Lives, 145.

76Clifford, ‘On Ethnographic Authority’, 137.

77Ibid.

78Ibid.

79Ibid., 135.

80Ibid.

81Ibid.,139.

82Ibid., 141.

83Clifford, ‘Introduction: Partial Truths’, 23.

84Ibid., 24.

85Clifford, The Predicament of Culture, 173.

86Claude Lévi-Strauss, Tristes Tropiques (1973), 333.

87Clifford, ‘On Ethnographic Authority’, 142.

88Ibid.

89Tyler, ‘Post-modern Ethnography’, 131.

90Ibid.

91Ibid., 126.

92Ibid.

93Ibid., 129.

94Ibid.

95Ibid., 130.

96Ibid.

97Guattari, Chaosmosis, 93.

98Tyler, ‘Post-modern Ethnography’, 134.

99Ibid., 135.

100Ibid., 136.

101See Gavin Butt, ed., After Criticism. New Responses to Art and Performance (2005), 2.

102Ibid., 6.

103Ibid.

104Ibid., 3–4.

105Ibid., 5.

106Ibid., 10.

107Ibid., 15.

108Ibid.

109John Seth, ‘Itinerant Improvisations: From “My Favourite Things” to an “Agency of Night” ’, in Butt, ed., After Criticism, 137–55.

110Fabian, Time and the Other, especially 25–70.

111Ibid., 31 (emphasis in the original).

112Ibid., 35.

113Geertz, Works and Lives, 147.

114For example, the Shiwiar tribe of the Amazon jungle who figure in this discussion in the context of the work of artist Valéry Grancher actively promote ecotourism in their villages on the internet.

115Clifford, ‘On Ethnographic Authority’, 142.

116This is a reference to Geertz’s notion of ‘thick description’ which situates a phenomenon in larger cultural contexts. See Geertz, Interpretation of Cultures, 3–30.

117Deleuze and Guattari contrast the rhizomatic map and the logic of tracing and reproduction. For further details see, for example, Gilles Deleuze and Félix Guattari, A Thousand Plateaus. Capitalism and Schizophrenia (1999), 12–15.

118Clifford Geertz coined the term ‘faction’ to highlight that any writing about culture to some degree also invents it. See Geertz, Works and Lives, 141 for further details.

2 Rirkrit Tiravanija, Relational Aesthetics and Cultural Alterity

1In the Pittsburgh version of Untitled (Free) the artist added a slight variation to his 1992 piece by including a wall text of instructions for cooking Southeast Asian green curry.

2Because of fire regulations, the curry – with the artist’s blessing – was prepared in one of the museum’s kitchens and taken to the galleries. The piece was on display until February 2012.

3Sophie Calle works with random encounters and Christine Hill chose the supermarket check-outs as a relational site. Bourriaud offers a typology of different approaches to creating relational scenarios. See Bourriaud, Relational Aesthetics, 29–40.

4Bishop, ‘Antagonism’, 58.

5Ibid.

6Quoted in Elizabeth Linden, Matt Sheridan Smith and Rirkrit Tiravanija, Rirkrit Tiravanija. A Retrospective (Tomorrow is Another Fine Day) (2005), iv.

7Gavin Brown, ‘Rirkrit Tiravanija. Other Things, Elsewhere’, Flash Art, 27 (177) (1994), 103–04: 104.

8For Bourriaud ‘traditional’ aesthetics stands for a host of ‘past’ approaches to art. For example he describes art theory in France as ‘depressive, authoritarian and reactionary’ (Bourriaud, Relational Aesthetics, 45), critiques approaches that focus on ‘sense’ and ‘meaning’ in art (53), is suspicious of interpretations which see the artist as ‘expressive genius’ (60) and declares that seeking art in the ‘hinter-world of form’ is completely passé (61)

9Perreault, Rirkrit Tiravanija: Fear Eats the Soul, n.p.

10Matthias Herrmann, ‘Interview’, in R. Tiravanija, ed., Secession (2003), 25–9: 25.

11Ibid., 27.

12Ibid., 26.

13Ibid., 27.

14Bruce Hainley, ‘Where are we going? And what are we doing? Rirkrit Tiravanija’s Art of Living’, Artforum, 34 (Feb. 1996), 54–9, 98: 59.

15Ibid.

16Ibid.

17Ibid.

18Ibid.

19Herrmann, ‘Interview’, 27.

20Ibid.

21Bruce Hainley, for example, refers to how Tiravanija sees ‘lots of people’ as a material ingredient to his installations. He writes, ‘In many of his installations, a fairly common material is “lots of people” – in his Untitled (Meet Tim & Burkhard), 1994, he lists as materials “furniture, refrigerator, TV-set, video-tape, music, drinks, lots of people”.’ See Hainley, ‘Where Are We Going?’, 59.

22Katy Siegel, ‘Rirkrit Tiravanija. Gavin Brown Enterprise’, Artforum, 38 (Oct. 1999), 146.

23See Jerry Saltz, ‘A Short History of Rirkrit Tiravanija’, Art in America, (Feb. 1996), 83–5, 107; but also Jerry Saltz, ‘Conspicuous Consumption’, New York Magazine – Art Review (23 Oct. 2007).

24Paula Cooper is a gallerist in downtown New York and an art dealer of repute. She owns the Paula Cooper Gallery.

25She founded the 303 Gallery in Soho in 1984 that first showed Tiravanija’s piece Untitled (Free).

26David Zwirner is a gallerist, art dealer and owner of the David Zwirner Gallery in New York where Tiravanija restaged his 1992 piece Untitled (Free) in 2007.

27Bishop, ‘Antagonism’, 66 (emphasis in the original).

28Ibid.

29Ibid., 67.

30Ibid., 79.

31Ibid. For more detail on Bishop’s argument about the fragmented contemporary self, see pp. 65–70.

32Guattari, Chaosmosis, 21–2.

33Bourriaud, Relational Aesthetics, 58.

34Herrmann, ‘Interview’, 25.

35Bishop, ‘Antagonism’, 78.

36Bourriaud, Relational Aesthetics, 31.

37Ibid.

38Ibid., 45.

39Ibid.

40Ibid.

41Bourriaud calls this separation of the political and aesthetics ‘absurd’. See ibid., 82.

42Ibid., 83.

43Ibid (emphasis in the original).

44Carsten Höller, Philippe Parreno and Rirkrit Tiravanija, Vicinato. The Transcription of a Film by Carsten Höller, Philippe Parreno and Rirkrit Tiravanija (1996), 6.

45Ibid.

46Ibid.

47See Arnd Schneider and Christopher Wright, eds., Contemporary Art and Anthropology (2006); Arnd Schneider and Christopher Wright, eds., Between Art and Anthropology: Contemporary Ethnographic Practice (2010); Sarah Pink, Advances in Visual Anthropology (2012).

48James Clifford, ‘An Ethnographer in the Field. James Clifford Interview’, in Alex Coles, ed., Site-Specificity: The Ethnographic Turn (2000), 52–71: 55.

49Hal Foster, ‘The Artist as Ethnographer’, in Jean Fisher, ed., Global Visions. Towards a New Internationalism in the Visual Arts (1994), 12–9: 15.

50Foster, ‘The Artist as Ethnographer’, 14.

51Susanne Küchler, ‘The Art of Ethnography: The Case of Sophie Calle’, in Coles, ed., Site-Specificity, 94–113: 97.

52Ibid., 103.

53See Bourriaud, Relational Aesthetics, 30.

54Foster, ‘The Artist as Ethnographer’, 13.

55Ibid., 14.

56See ibid., 14ff. for further details.

57Brown, ‘Rirkrit Tiravanija’, 104.

58Herrmann, ‘Interview’, 28.

59Bishop, ‘Antagonism’, 58.

60James Meyer, ‘Nomads: Figures of Travel in Contemporary Art.’, in Coles, ed., Site-Specificity, 10–26: 12.

61Richard Flood and Rochelle Steiner, ‘En Route’, Parkett, 44 (1995), 124–29: 119.

62Meyer, ‘Nomads’, 17.

63Flood and Steiner, ‘En Route’, 119.

64Ibid.

65Ibid.

66See Meyer, ‘Nomads’, 15.

67Brown, ‘Rirkrit Tiravanija’, 104.

68Ibid.

69Pandit Chanrochanakit, ‘Feeling Contemporary: The Politics of Aesthetics in Rirkrit Tiravanija’s Art’, Department of Political Science (2005), www2.hawaii.edu/~pandit/feel2.pdf, 13.

70See Jerry Saltz, ‘Resident Alien’, Village Voice (1999), http://www.villagevoice.com/1999-07-06/art/resident-alien.

71See Saltz, ‘Resident Alien’. According to Chanrochanakit, the tree was removed shortly after the 48th Venice Biennale was finished. See Chanrochanakit, ‘Feeling Contemporary’.

72Tiravanija grew up in Thailand, Ethiopia and Canada. He was educated in Chicago and New York and lives in Berlin, New York and Thailand.

73Saltz, ‘Short History’, 84.

74Flood and Steiner, ‘En Route’, 115.

75Carol Lutfy and Lynn Gumpert, ‘A Lot to Digest’, Art News (May 1997), 151–53: 153.

76Saltz, ‘Short History’, 84.

77See, for example, Kraynak, ‘Rirkrit Tiravanija’s Liability’, Morgan, Common Wealth, and Kwon, ‘Exchange Rate’.

78Saltz, ‘Short History’, 85.

79Saltz, ‘Conspicuous Consumption’, n.p.

80Beatrix Ruf, ‘Ruf, Beatrix’, in Cream 3. 100 Artists, 10 Curators, 10 Source Artists (2003), 10.

81Ruf, ‘Ruf, Beatrix’.

82The artist Rashid Araeen is a prominent critic of claims that the contemporary art world is now more inclusive. For him, the so-called inclusion is based on a ‘strategy of cultural difference’ that gives non-Western artists credence as long as they are or create art that is ‘other’. See also Khaled D. Ramadan, ‘The Edge of the WC’, in Khaled D. Ramadan, ed., Peripheral Insider. Perspectives on Contemporary Internationalism in Visual Culture (2007), 22–38: 27.

83The Italian sculptor Corrado Feroci (1892–1962) is considered the ‘Father of modern Thai art’. He arrived in Thailand in 1923 in response to the Thai king’s request to the Italian government for a sculptor to train Thai artists and craftsmen. He became the director of Thailand’s first School of Fine Arts set up in 1937 and he remained in Thailand throughout his life.

84Chanrochanakit, ‘Feeling Contemporary’, 2.

85Lutfy and Gumpert, ‘A Lot to Digest’, 152.

86Ibid., 153.

87See Chanrochanakit, ‘Feeling Contemporary’, 5.

88George E. Marcus, ‘Contemporary Fieldwork Aesthetics in Art and Anthropology: Experiments in Collaboration and Intervention’, Visual Anthropology, 23 (2010), 263–77: 264.

89Ibid.

90Ibid., 265.

91Ibid., 268.

92Ibid., 266.

93Ibid., 268.

94Ibid.

95Ibid.

96George E. Marcus, ‘The End(s) of Ethnography: Social/Cultural Anthropology’s Signature Form of Producing Knowledge in Transition’, Cultural Anthropology, 23(1) (2008), 1–14: 4.

97Marcus, ‘Contemporary Fieldwork Aesthetics’, 266.

98Ibid., 269.

99Ibid.

100Ibid.

101Ibid.

102Ibid., 270.

103Ibid.

104Foster, ‘The Artist as Ethnographer’, 13.

105Anne Kawala, ‘Valéry Grancher, The Shiwiars Project’, http://www.paris-art.com/art-numerique/valery-grancher-the-shiwiars-project/grancher-valery/41.html.

106Foster, ‘The Artist as Ethnographer’, 17.

107Clifford, ‘An Ethnographer in the Field’, 55.

108Ibid., 58.

109For a more detailed argument, please refer to Foster, ‘The Artist as Ethnographer’, 17ff.

110See Clifford, ‘An Ethnographer in the Field’, 62.

111Ella Shohat and Robert Stam, Narrativizing Visual Culture: Towards a Polycentric Aesthetics (1998), 31.

112Ibid.

Faction 1 ‘The Raw and the Cooked in Common Places’ – ‘Rikki T’ at the Serpentine Gallery, Review by ‘Johnny Zucker’

1Spector, ‘THEANYSPACEWHATEVER: After the Fact’, 49.

2Ibid., 53.

3Bishop, ‘Antagonism’.

4Anna Dezeuze, ‘Transfiguration of the Commonplace’, Variant, 2(22) (2005), 17–19: 18.

5Alliez, ‘Capitalism and Schizophrenia and Consensus’, 89.

6Ibid., 94–5.

7For further details see, for example, Herman Lebovics, ‘Post-Colonial Museums … How the French and American Models Differ’, http://hnn.us/article/6939; Michael Kimmelman, ‘A Heart of Darkness in the City of Light’, New York Times (2 July 2006); Jeremy Harding, ‘At Quai Branly’, London Review of Books, 29(1) (2007); Sally Price, Paris Primitive. Jacques Chirac’s Museum on the Quai Branly (2007); Sally Price, ‘Return to the Quai Branly’, Museum Anthropology, 33(1) (2010), 11–21; Anthony Alan Shelton, ‘The Public Sphere as Wilderness: Le Musee du Quai Branly’, Museum Anthropology, 32(1) (2009), 1–16.

8Kawala, ‘Valéry Grancher’.

9The round of speakers in the colloquium (November 2005) included the artist; the philosopher Jean-Claude Monod; Jean-Patrick Razon of Survival International France; Anne-Christine Taylor, Director of Research and Instruction, Musée du Quai Branly; Marc Sanchez, Programme Director of the Palais de Tokyo and Pascal Languillon, a representative for eco-tourism and Pascual Kunchicuy Carrasco, a Shiwiar political leader.

Faction 2 Rikki T and Curator C En Route

15 March –23 April 2011.

2See Foster, ‘The Artist as Ethnographer’.

3See Clifford, ‘An Ethnographer in the Field’, 62.

4For a discussion of the dilemmas inherent in the concept of culture please refer to Clifford, The Predicament of Culture; and also James Clifford, On the Edges of Anthropology (Interviews) (2003), 44–50.

5See Saltz, ‘Resident Alien’.

6See ‘The Way Things Go’, Yerba Buena Center for the Arts, San Francisco, 13 February - 24 May 2015.

7Demo Station No. 4 was on show at the Ikon Gallery in Birmingham between November 2003 and January 2004 where Tiravanija created three major projects: a bar complete with a juke box and pool tables, an exhibition of drawings and a programme of practical demonstrations by local organizations. These included a model railway and golf putting, calligraphy, flower arranging, chess, bonsai trimming, circus tricks, woodcarving and origami.

8Mark Wilsher, ‘Rirkrit Tiravanija’, Art Monthly, 273 (2004), 24: 24.

9See Lebovics, ‘Post-Colonial Museums’.

10See, for example, the exhibition catalogue for this 2005 retrospective at the Serpentine Gallery in London, Linden, Smith and Tiravanija, Rirkrit Tiravanija. A Retrospective.

11See Francesco Bonami, Universal Experience. Art, Life, and the Tourist’s Eye (2005), 20.

3 Voices: Dossier of Texts on Shipibo-Conibo Designs

1See Angelika Gebhart-Sayer, The Cosmos Encoiled, Indian Art of the Peruvian Amazon (1984), 4.

2See Bruno Illius, Ani-Shinan: Schamanismus bei den Shipibo-Conibo (Ost-Peru) (1991 [1987]), 383–90.

3Peter Roe, ‘Art and Residence among the Shipibo Indians of Peru: A Study in Microacculturation’, American Anthropologist, New Series, 82(1) (1980), 42–71: 52–3.

4Warren R. Deboer and J. Scott Raymond, ‘Roots Revisited: The Origin of the Shipibo Art Style’, Journal of Latin American Lore, 13(1) (1987), 115–32: 128–29.

5See Gebhart-Sayer, The Cosmos Encoiled, 12–13.

6The story was originally recorded by ethno-linguist and missionary Matteson who transliterated the name as Sankama. When the anthropologist Gow discusses the story, he spells the name Sangama. When I am referring to Gow’s text, his spelling will be adopted; when I am referencing Matteson’s text, the spelling follows her transliteration.

7See Esther Matteson, The Piro (Arawakan) Language (1965). The excerpts are taken from 217, 221, 223, 225, 227, 229, 231 and 233.

8Throughout this book, I have followed the transliteration for Shipibo-Conibo (with a capital C) commonly used in the English-speaking world. This excerpt, however, is from the pen of Bernd Brabec de Mori who adopts the German transliteration of Shipibo-Konibo (with a capital K).

9Bernd Brabec de Mori and Laida Mori Silvano de Brabec, ‘Shipibo-Konibo Art and Healing Concepts: A Critical View on the “Aesthetic Therapy” ’, Viennese Ethnomedicine Newsletter, 11(2–3) (2009), 18–26. The excerpts are taken from 18–19 and 22–3.

10Peter Roe, ‘Marginal Men: Male Artists among the Shipibo Indians of Peru’, Anthropologica, 21(2) (1979), 189–221: 190.

11See Donald W. Lathrap, The Upper Amazon (1970); as well as Donald W. Lathrap, ‘Shipibo-Tourist Art’, in Nelson H. H. Graburn, ed., Ethnic and Tourist Arts: Cultural Expressions from the Fourth World (1976), 197–207.

12‘Towers’: Buried ‘chomos’. Chomos are Shipibo-Conibo ceramic pots used to ferment masato beer made from the manioc plant. They are often partially buried in the ground to keep the masato beer cool during the fermentation process, and the lower section of the vessel is therefore often without decoration.

13‘Parrots’: male revellers.

14‘gods’: Incas.

15‘It’: the traditions of song and dance.

16‘Banner’: the macana [wooden club] the dancer is carrying on his shoulder.

17The horizon seems to be moving. That’s how drunk the singers are.

18‘Parrot’: host.

19The host is offering a cup of masato.

20More and more women are participating in the dance.

21Even though I am a terrible lead singer, I am leading this dance – a self-effacing idiomatic expression of the excellent singer Julián.

22‘Large boa-towers’: chomos.

23The guests are crowding around the next chomo to be unsealed.

24‘God’: Inca.

25Description of the dancing songs, where the lead singer improvises a line and the other dancers repeat it several times.

26‘Coo’: the satisfied mutter of the drinkers.

27‘Swallows’: the female guests.

28‘Heal’: a term taken from the shamanic register, but used ironically here as it refers to serving them with masato.

29I [Illius] cannot determine whether this terminology that is taken from shamanic songs is meant ironically, such as in line 40 (‘we are healing their bodies’), or whether it refers to the fact that by chance the lead singer and the most energetic dancers were all ayahuasca drinkers.

30‘They’: chai-coni (legendary descendants of Shipibos who are supposed to have had direct contact with Incas).

31‘Divine healers’: the chai coni.

32‘Touch’: enter in their ears.

33‘God’: the Inca, the master of the chai coni.

34Until the chomo is empty.

35Günter Tessmann, Menschen ohne Gott. Ein Besuch bei den Indianers des Ucayali (1928), 177.

36The official name ‘Shipibo-Konibo’ is often substituted by the shorter ‘Shipibo’, referring to the same population. This text uses the German transliteration for the tribe (spelled Konibo with a Capital K) and for ayahuasca spelled (spelled ayawaska).

37Such performances by Herlinda Agustín can be observed on the internet: http://www.youtube.com/watch?v=9frbbFFSCts, http://www.youtube.com/watch?v=8AwFTMTfwuk or http://es.youtube.com/watch?v=Vc23V819Btk (May 2016).

38For extensive descriptions of Shipibo indigenous medical concepts without focusing on ayawaska, see Arévalo Valera (1994), Tournon (2002) or LeClerc (2003), among others.

39A more profound discussion of these effects of pioneer anthropological research was presented by Brabec de Mori at the 2008 EASA meeting (Brabec de Mori 2008). It appears that almost the entire complex of Shipibo-Conibo traditional medicine as presented today is based upon ideas from Western researchers that have been reinterpreted by indigenous agents in order to benefit from the development.

40Personal communication with Herlinda Agustín, 2001.

41See, for example, the movie Woven Songs of the Amazon by Anne Stevens (2005, cf. http://www.greenspiderfilms.com/products.html; a trailer is available at http://www.arte-amazonia.com/films/film-woven-songs-of-the-amazon/ (May 2015). In this movie, Herlinda Agustín recounts this ‘tradition’ and says that Shipibo people who do not take part in it (say, who do not ‘sing pattern songs’) are regarded as ignorant. The fact that many Shipibo decline ‘singing pattern songs’ is explained as a loss of cultural tradition.

4 Making Sense of Shipibo-Conibo Designs

1Roe, ‘Marginal Men’, 190.

2See Peter Gow, ‘Visual Compulsion: Design and Image in Western Amazonian Cultures’, Revindi: Revista Indigenista Latinoamericana, 2 (1988), 19–32: 20.

3For more information on the developing art market in ethnic art and its impact on Shipibo-Conibo art and the work of other Amazonian Indians see Elke Mader, ‘Chomos and Molas, Indianische Künstlerinnen und ihr Handwerk in Zeiten der Globalisierung’, in Vienna Institute for Development, ed., Blickwechsel: Lateinamerika in der zeitgenössischen Kunst (2007), 107–30: 115–18.

4See Mona Suhrbier, ‘Leben als Töpferin. Biografien von drei Shipibo- Künstlerinnen’, in Mona Suhrbier and Gerda Kröber-Wolf, eds., Augenblicke. Keramik der Moche und Shipibo, Peru (2005), A47–54: A48–9.

5The National Museum of the American Indian has a representative collection of Shipibo-Conibo artefacts.

6The anthropology department of the University of Tübingen probably has the best collection in Europe. The Museum der Weltkulturen in Frankfurt owns a sizeable collection of Shipibo-Conibo ceramics and staged an exhibition that compared Moche and Shipibo-Conibo ceramics in 2005 (18 June 2005–29 May 2006).

7See for example www.amazonhandicrafts.com, www.ebay.com, www.novica.com, www.southamericanaccents.com, www.ccimports.com.

8As Thomas points out, a noteworthy exception here is Alfred Gell’s ‘Art and Agency’ which he describes as a radical reformulation of the anthropology of art and the study of cross-cultural aesthetics based on indigenous visual practice but not limited to it. See Nicholas Thomas, ‘Introduction’, in Chris Pinney and Nicholas Thomas, eds., Beyond Aesthetics. Art and the Technologies of Enchantment (2001), 1–12.

9See Barbara Keifenheim, ‘Concepts of Perception, Visual Practice, and Pattern Art among the Cashinahua Indians (Peruvian Amazon Area)’, Visual Anthropology, 12(1) (1999), 27–48: 43.

10Gow, ‘Visual Compulsion’, 23.

11See Keifenheim, ‘Concepts of Perception’, 27.

12See for example Lucien Taylor, ed., Visualizing Theory: Selected Essays from V.A.R. 1990–1994 (1994); Marcus Banks and Howard Morphy, Rethinking Visual Anthropology (1997); Gareth Davey, ‘Twenty Years of Visual Anthropology’, Visual Anthropology, 21 (2008), 189–201; and Gareth Davey, ‘Visual Anthropology: Strengths, Weaknesses, Opportunities, Threats’, Visual Anthropology, 23 (2010), 344–52.

13See David Howes, The Varieties of Sensory Experience. A Sourcebook in the Anthropology of the Senses (1991); David Howes, ed., Empire of the Senses: The Sensual Culture Reader (2004); Constance Classen, Worlds of Sense. Exploring the Senses in History and across Cultures (1993); Paul Stoller, Sensuous Scholarship (1997); Sarah Pink, Doing Visual Ethnography (2006); Sarah Pink, Doing Sensory Ethnography (2009); Schneider and Wright, eds., Between Art and Anthropology (2010).

14Sarah Pink, ‘The Future of Sensory Anthropology/the Anthropology of the Senses’, Social Anthropology, 18(3) (2010), 331–33: 333.

15See, for example, the work of the curatorial collective ‘Ethnographic Terminalia’ (http://ethnographicterminalia.org).

16In pottery, one frequently finds not only juxtapositions of different design motifs, but also of canoa and quene patterns, thus of different design types. By contrast textile decoration only employs quene designs.

17Even though this is the most common formal description, it only applies to the quene designs, i.e. the designs based on finer line thicknesses rather than bold positive–negative inversions. Also, as has already been stated, the differentiation of form and filler lines is of anthropological rather than Shipibo- Conibo origin.

18Angelika Gebhart-Sayer, Die Spitze des Bewußtseins – Untersuchungen zu Weltbild und Kunst der Shipibo-Conibo (1987), 278.

19Angelika Gebhart-Sayer, ‘The Geometric Designs of the Shipibo-Conibo in Ritual Context’, Journal of Latin American Studies, 11(2) (1985), 143–75: 143.

20Ibid.

21Gebhart-Sayer, The Cosmos Encoiled, 7.

22The missionary had no real interest in the designs and no further information is available on these hieroglyphic fillers. See Gebhart-Sayer, ‘Geometric Designs’, 153–56 for further details.

23Gebhart-Sayer, Die Spitze des Bewußtseins, 282.

24The anthropologist Tessmann, for example, proposed that all designs are abstractions of the human figure. This argument is supported by the many references to human body parts and positions encountered in the indigenous design terminology. He also sees the frequent employment of cross-motifs as references to the human body. See Tessmann, Menschen ohne Gott, 177, and Gebhart-Sayer, ‘Geometric Designs’, 161.

25Gebhart-Sayer, Die Spitze des Bewußtseins, 75.

26See also Bruno Illius, ‘Körper, Keramik und Gesellschaft’, in Mona Suhrbier and Gerda Kröber-Wolf, eds., Augenblicke. Keramik der Moche und Shipibo, Peru (2005), A23–43: A34.

27Gebhart-Sayer, ‘Geometric Designs’, 161.

28Ibid., and Illius, Ani-Shinan, 178.

29See Gebhart-Sayer, ‘Geometric Designs’, 168.

30Her view is shared by others. See Lathrap, The Upper Amazon (1970); Lathrap, ‘Shipibo-Tourist Art’, and Illius, ‘Körper, Keramik und Gesellschaft’.

31Deboer and Raymond, ‘Roots Revisited’, 128.

32For further background on the art-historical basis of anthropological approaches to indigenous visual artefacts see J. Coote and Anthony A. Shelton, eds., Anthropology, Art and Aesthetics (1992), 3–4.

33See for example Illius, Ani-Shinan, 170.

34However, it should be noted that not every chomo adheres to this three-partite decorative scheme.

35For more detail on cosmological models and their interpretive and experiential differences see Gebhart-Sayer, Die Spitze des Bewußtseins, 24–55.

36This is typically expressed by the shaman Rafael: ‘Quada uno tiene su verdad’ (‘Everyone has his/her own truth’), see Illius, Ani-Shinan, 155.

37An example is the addition of a Christian creator god to the traditional divine beings residing in the highest heavenly spheres who performs similar functions to the mythic shaman ani muraya.

38Not all designs are considered ‘rich in shina quality’. Designs lacking in complexity and innovation are not highly regarded and are seen to be lacking in shina. Similarly painters are considered to be of high or low shina capacity.

39G. Reichel-Dolmatoff, ‘Drug-Induced Optical Sensations and Their Relationship to Applied Arts among Some Colombian Indians’, in Michael Greenhalgh and Vincet Megaw, eds., Art in Society. Studies in Style, Culture and Aesthetics (1978), 289–304: 295.

40Gerald Oster, ‘Phosphenes’, Scientific American, 222(2) (1970), 83–7: 83.

41Oster, ‘Phosphenes’, 83.

42Reichel-Dolmatoff studied the Desana Indians of the far central eastern Amazonian lowlands of Colombia. They are also considered a subgroup of the Tukano Indians.

43Reichel-Dolmatoff, ‘The Cultural Context of an Aboriginal Hallucinogen: Banisteriopis Caapi’, in Peter T. Furst, ed., Flesh of the Gods (1972), 84–113: 111. Lewis-Williams and Dowson also take up this hypothesis and apply it to South African rock art. See J. D. Lewis-Williams and T. A. Dowson, ‘The Sign of All Times. Entoptic Phenomena in Upper Paleolithic Art’, Current Anthropology, 29(2) (1988), 201–45.

44See Reichel-Dolmatoff, Beyond the Milky Way: Hallucinatory Images of the Tukano Indians (1978).

45Gebhart-Sayer, ‘Geometric Designs’, 161 n. 167; see also Gebhart-Sayer, Die Spitze des Bewußtseins, 315.

46The perceptual and experiential dimensions of ayahuasca visions are explored in great depth by the psychologist Benny Shanon. See Benny Shanon, The Antipodes of the Mind. Charting the Phenomenology of the Ayahuasca Experience (2002); Benny Shanon, ‘Altered States and the Study of Consciousness – Ayahuasca’, The Journal of Mind and Behaviour, 24(2) (2003), 125–54; Benny Shanon, ‘The Epistemics of Ayahuasca Visions’, Phenomenology and the Cognitive Sciences, 9(2) (2010), 263–80.

47Gebhart-Sayer, Die Spitze des Bewußtseins, 312.

48Ibid., 315.

49Gebhart-Sayer, The Cosmos Encoiled, 13.

50Ibid.

51Ibid.

52Illius calls them acoustic hallucinations. See Illius, Ani-Shinan, 175 n. 529.

53Gebhart-Sayer, Die Spitze des Bewußtseins, 13.

54See Brabec de Mori and Mori Silvano de Brabec, ‘Shipibo-Konibo Art and Healing Concepts’, 18; and Bernd Brabec de Mori and Mori Silvano de Brabec, ‘La corona de la inspiración. Los diseños geométricos de los Shipibo-Konibo y sus relaciónes con cosmovisión y música’, Indiana, 26 (2009), 105–34.

55Brabec de Mori and Mori Silvano de Brabec, ‘Shipibo-Konibo Art and Healing Concepts’, 22.

56Ibid.

57Ibid., 22–3.

58Ibid., 23.

59Ibid.

60The Shipibo-Conibo accept Piro designs as good or proper because they trace them back to their own culture, claiming they taught the Piro the designs. See Gow, ‘Visual Compulsion’, 21.

61According to Gow the reason for design accomplishment or lack thereof in the region remains a mystery as neither geographic proximity, the regularity and frequency of contact or even linguistic relatedness determine the artistic accomplishment of the indigenous people of western Amazonia. The Piro, for example, speak Arawakan while the Shipibo-Conibo belong to the Panoan-speaking tribes. They are thus not part of the same linguistic family which might have explained their aesthetic affinity and prominence. And while the Shipibo-Conibo and the Piro live in roughly the same region, there are a number of tribes in much closer physical proximity that do not have an evolved or related design style, yet readily acknowledge the superiority of Shipibo-Conibo art. See Gow, ‘Visual Compulsion’, 19–20 for further details.

62I thank Michael O’Hanlon for directing my attention to this article.

63Peter Gow, ‘Could Sangama Read?’, History and Anthropology, 5 (1990), 87–103: 93.

64Ibid.

65Ibid.

66Ibid., 98.

67Peter Gow, ‘Piro Designs: Painting as Meaningful Action in an Amazonian Lived World’, The Journal of the Royal Anthropological Institute, 5(2) (1999), 229–46: 236.

68Benny Shanon disagrees with this view.

69This refers to hallucinations during ayahuasca sessions.

70Gow, ‘Sangama’, 98.

71Ibid.

72Gow talks of an ‘Ucayali design system’ that encompasses Piro, Shipibo-Conibo and Cashinahua art among others. See Gow, ‘Visual Compulsion’, 21. The Ucayali region is an inland area in Peru located in the Amazon rainforest. It derives its name from the River Ucayali, a major tributary of the Amazon. The Shipibo-Conibo communities are located in the area around the city of Pucallpa on the banks of the Ucayali. The Piro live in the Bajo Urubamba area, named after the River Urubamba that joins the River Ucayali in eastern Peru. The Cashinahua live in Brazil and Peru and are found in Peru along the Curanja river in the Ucayali region.

73Gow, ‘Sangama’, 96.

74Sarat Maharaj, ‘“Perfidious Fidelity”: The Untranslatability of the Other’, in Fisher, ed., Global Visions, 28–35: 34.

75Ibid., 29.

76Ibid.

77Rasheed Araeen, ‘New Internationalism or the Multiculturalism of Global Bantustans’, in Fisher, ed., Global Visions, 3–11: 9.

78Maharaj, ‘Perfidious Fidelity’, 29.

79Ibid.

80Ibid.

81Florian Deltgen, Gelenkte Ekstase (1993), 131 n. 7.

82Personal communication.

83Keifenheim, ‘Concepts of Perception’, 34.

84Ibid., 35.

85Ibid., 39.

86Ibid., 41.

87Ibid., 44.

88Ibid. (emphasis in original).

89Ibid., 45.

90Ibid.

91Ibid.

92Ibid.

93Ibid., 28.

94Ibid.

95Ibid., 44.

96Ibid., 28.

97Ibid. See also Joanna Overing and Alan Passes, eds., The Anthropology of Love and Anger (2000).

98Keifenheim, ‘Concepts of Perception’, 29.

99Ibid.

100Els Lagrou, ‘Homesickness and the Cashinahua Self: A Reflection on the Embodied Condition of Relatedness’, in Overing and Passes, eds., Love and Anger, 152–69: 163.

101Ibid.

102Ibid., 165.

103Guattari, Chaosmosis, 21.

104Overing and Passes, eds., Love and Anger, XII.

105Ibid., 1.

106Ibid.

107Ibid.

108Ibid.

109Ibid., 12 (emphasis in the original).

110Ibid.

111Ibid., 14 (emphasis in the original).

112Ibid., 19.

113Ibid., (emphasis in the original).

114Ibid.

115Ibid., 24.

116Ibid., 6.

117Ibid.

118Ibid. (emphasis in the original).

119Ibid., 7.

120Ibid., 9.

121Ibid.

122Ibid.

123Guattari, Chaosmosis, 37.

124Ibid., 92–3.

125Ibid., 91.

126Ibid., 90.

127Ibid.

Faction 3 Itinerant Thoughts – London, Paris, Peru and Elsewhere

1French curator Yves Aupetitallot selected Corbusier’s ‘Unité d’Habitation’, a monumental block of low-income apartments built in the 1960s near the small town of Firminy in Central France, as a site for an art project. The building had been envisaged as a social experiment in communal housing, but stood half empty when the project was proposed. The artists were asked to assume the role of inhabitants and to reflect upon collective living within the machinery of Corbusier’s social architecture. See Joshua Decter and Olivier Zahm, ‘Back to Babel’, Artforum, 91–2 (Nov. 1993), 131, 138.

2Renée Green, ‘Scenes from a Group Show: Project Unité’, in Coles, ed., Site- Specificity, 114–37: 116.

3Decter and Zahm, ‘Back to Babel’.

4Green, ‘Project Unité’, 128.

5Ibid., 117.

6Sarah Turnbull, Almost French. A New Life in Paris (2003).

7Turnbull, Almost French, vii–viii.

8Decter and Zahm, ‘Back to Babel’, 131.

9Green, ‘Project Unité’, 124–25.

10Ibid., 127.

11Ibid., 116.

12Ibid.

13Italo Calvino, Invisible Cities (1974), 69.

14Ibid., 135.

15Ibid., 98.

16Ibid., 60.

17Ibid., 86.

18Oster, ‘Phosphenes’, 83.

19Claudia Müller-Ebeling, ‘Ayahuasca-Visionen und Kunstreflexionen’, in Arno Adelaars, Christian Rätsch and Claudia Müller-Ebeling, eds., Ayahuasca. Rituale, Zaubertraenke und visionaere Kunst aus Amazonien (2010), 83–166: 116. Translation by R. Dohmen.

20Shanon, Antipodes of the Mind, 304.

21Reichel-Dolmatoff, ‘Banisteriopis Caapi’, 110.

22Shanon, ‘Altered States’, 129.

23Shanon, Antipodes of the Mind, 88.

24See Ibid., 278.

25Ibid., 277–78.

26Ibid., 350.

27Ibid., 351.

28Ibid., 376.

29Latour refers to the conceptual separation between culture and nature, that is human and non-human spheres as the Internal Great Divide which for him also represents the fault line between Western and non-Western cultures. See Bruno Latour, We Have Never Been Modern (1991), 97ff. and 104ff.

30Ibid., 105.

31Ibid.

32Gebhart-Sayer, Die Spitze des Bewußtseins, 188.

33Gow thinks that the events described in the story took place around 1912.

34Gow, ‘Sangama’, 92.

35Alain de Botton, The Art of Travel (2002), 57.

36Calvino, Invisible Cities, 103.

37Ibid., 103–04.

38Henri Bergson, Creative Evolution (1911), 46.

39Ibid., 318.

40Ibid., 58.

41Henri Bergson, Matter and Memory (1913), 276.

42Ibid., 276–77.

43Bergson, Creative Evolution, 62.

44Ibid., 63–4.

45See Latour, We Have Never Been Modern, 97ff. and 104ff.

46Bergson, Matter and Memory, quoted in Keith Ansell Pearson and John Mullarkey, eds., Henri Bergson. Key Writings (2002), 97.

47Ibid., 99.

48Bergson, Creative Evolution, 63.

49The ‘brain gives us the means of “choosing” that which corresponds to our needs in the object; introducing an interval between received and executed movement, […] it leaves us to choose between several possible reactions’. Deleuze, Bergsonism, 52–3.

50Bergson, Creative Evolution, 62.

51Ibid., 63.

52For Bergson this is a crucial point. Whereas in prevalent human-centric conceptions, human perception is singled out as unique and separate from nature’s processes, and would always fall under the rubric of difference in kind, for Bergson the notion of difference of degree allows for a ‘natures-cultures’ stance, for the body’s insertion and participation in the processes of nature. There ‘is for images merely a difference of degree, and not of kind, between being and being consciously perceived’. Bergson, Matter and Memory, quoted from Pearson and Mullarkey, eds., Henri Bergson, 99; see also 120.

53Quoted in Pearson and Mullarkey, eds., Henri Bergson, 96.

54Pearson and Mullarkey, eds., Henri Bergson, 109.

55Ibid., 108.

56Ibid.

57Ibid., 109.

58Latour curiously posits the anthropologist as a female figure.

59Latour, We Have Never Been Modern, 102.

60Ibid., 106.

61Bergson, Matter and Memory, 208–09.

62Ibid.

63Gebhart-Sayer, ‘Geometric Designs’, 161.

64Gilles Deleuze, The Logic of Sense (1990), 262.

65Shohat and Stam, Narrativizing Visual Culture.

66Henri Bergson, Matter and Memory, (1991), 69.

67Gilles Deleuze, Cinema 1 (1992), 64.

68Ibid., 184.

69Ibid., 79.

70Ibid., 80.

71Ibid.

72Ibid., 81.

73Ibid.

74Ibid.

75Deleuze, Bergsonism, 22.

76Ibid., 101.

77Deleuze and Guattari, Thousand Plateaus, 294.

78Ibid., 236.

79Ibid., 237.

80Ibid.

81Ibid.

82Ibid., 238.

83Ibid., 248.

84Castaneda claimed to have met a Yaqui shaman named Don Juan Matus in 1960 who trained him in the traditional shamanism of the Yaqui Indians indigenous to parts of Central Mexico. His alleged experiences with Don Juan inspired 12 books. He also authored several academic articles detailing his experiences. His first three books, The Teachings of Don Juan: A Yaqui Way of Knowledge, A Separate Reality and Journey to Ixtlan, were written while Castaneda was an anthropology student at UCLA. He was awarded his bachelors and doctoral degrees for this work. His work is critiqued by academics who argue it does not constitute genuine anthropological fieldwork.

85Deleuze and Guattari, Thousand Plateaus, 162.

86Ibid., 139.

87Ibid.

88Ibid.

89Ibid., 248–49.

90Ibid., 227.

91Gow, ‘Sangama’, 98.

92Deleuze and Guattari, Thousand Plateaus, 282.

93Marcia E. Verocq, ‘Identity Crisis – 1993 Venice Biennale’, Art in America, 81(9) (1993), 100.

94Gilles Deleuze and Félix Guattari, What is Philosophy? (1994), 28.

95The quoted passages are slightly edited versions of Bruno Illius’s fieldwork account translated into English by R. Dohmen. See Illius, Ani-Shinan.

96Illius, Ani-Shinan, 173. Luis is one of Illius’ informants.

97Deleuze and Guattari, Thousand Plateaus, 249.

98Illius, Ani-Shinan, 173. Translated into English by R. Dohmen. Rafael is one of Illius’s informants.

99Deleuze and Guattari, Thousand Plateaus, 76.

100Illius, Ani-Shinan, 32. Translated into English by R. Dohmen.

101José Santos is a powerful shaman and one of the main informants of Illius. His song was recorded by Illius in 1985. This is an excerpt from Illius’ German translation of the lyrics. See Illius, Ani-Shinan, 328–29. Translated into English by R. Dohmen.

102Maharaj, ‘Perfidious Fidelity’, 28.

103Ibid., 29.

104Ibid., 31.

105Ibid., 32.

106Maharaj borrows the term from Gayatri Spivak. See Maharaj, ‘Perfidious Fidelity’, 29.

107Quoted in R. Fitzpatrick, ed., Universal Experience. Art, Life and the Tourist Eye (2005), 23.

108A gopura is a monumental, highly ornate tower that tops the gateways of South Indian temples.

5 Voices: Dossier of Texts on Tamil Threshold Designs

1Ralph M. Steinmann, ‘Kōlam: Form, Technique, and Application of a Changing Ritual Folk Art of Tamil Nadu’, in Anna Libera Dallapiccola, ed., Shastric Traditions in Indian Arts (1989), 475–91: 475–80.

2Anna Laine, ‘In Conversation with the Kolam Practice. Auspiciousness and Artistic Experiences among Women in Tamil Nadu, South India’ (PhD thesis, University of Gothenburg, 2009), 1–2.

3Renate Dohmen, ‘The Home and the World: Women, Designs and Performative Relations in Contemporary Tamil Nadu, S. India’, Ecumene, A Journal of Cultural Geographies, 11(1) (2004), 7–25: 8–10.

4Holly Baker Reynolds, ‘To keep the Tali strong: Women’s Rituals in Tamil Nadu, India’ (PhD thesis, University of Wisconsin-Madison, 1978), 246–47, 249–51, 251–53.

5Akila Kannadasan, ‘Connect the Lines’, The Hindu (Friday Review ‘Art’, 2 July 2013).

6See Shastri Archana’s The Language of Symbols. A Project on South Indian Ritual Decorations of a Semi-Permanent Nature (1989), 7, 84ff., namely her propositions regarding the origins of the kōlam. Archana relates the (puļļi-k-) kōlam to the dot (Skt. bindu) and the serpent, i.e. to fertility, death, and rebirth, phenomena that have been intrinsically linked to the role of women since primordial times.

7H. Mode, ‘Zu den Alpanas’, in Indische Spruchweisheit (1973), 221–26: 223.

8An exception to this rule are the Pēțiyar. They form a small group of hermaphrodites who wear saris and long hair and who are largely regarded by society as psychically abnormal people and therefore ostracized. Nevertheless, they fulfil necessary social functions as astrologers, magicians, sex therapists, reciters of funeral hymns and also masters of the kōlam art. Moving from one village to another, they instruct young maidens in this art and in other things and are in return tolerated in the village for a few days (oral information by A. Dhamotharan) [A. Dhamotharan is the author’s Tamil teacher, introduced to the reader as ‘A. Dhamotharan, PhD Heidelberg University’].

9A. Dhamotharan, however, attests to the regular use of rice powder in the coastal regions of Chidambaram even today as the kōlam stone is not easily available in nature.

10For example, in Andhra Pradesh they are known as muggu, in Karnataka as rangavalli, in Rajasthan as mandana, in Gujarat as rangoli, in Bengal as alpana (Jayakar 1980, Rossi 1998).

11The border between these states was drawn as recently as 1956 (Stein 1998) and consequently many local practices transgress it.

12In other parts of India, there is no continuous loop tradition and designs representing conch shells, for example, are part of the traditional repertoire. This differentiation between traditional abstract loop designs and modern representational design is specific to Tamil Nadu.

13There is also a wet technique in use, which produces more permanent designs and is generally used for festivities which stretch over a longer period of time. Designs executed in the wet technique are, however, preferred when kōlams are drawn inside the house.

14The traditional medium of execution is rice flour, which is deemed too expensive for everyday use, however.

15If a doubleline is to be achieved, the middle finger is also involved in the process.

16For examples of such Indian kolams, see J. Layard, ‘Labyrinth Ritual in South India. Threshold and Tattoo Designs’, Folklore Americas, 48(2) (1937), 116–82.

17Stottira Malai (Madras: The Little Flower Company, 1960), 100.

18M. Monier-Williams, A Sanskrit–English Dictionary (1st edn, 1899, Delhi: Motilal Banarsidass, 1970), 845.

19E. Parvati Ammal, Nitya Navakraha (Mandavelippakkam, Tamil Nadu, 1972), 66.

20Guiseppe Tucci, The Theory and Practice of the Mandala (1st English edn, 1961, New York: Samuel Weiser, 1973), 23.

21Ibid., 47–8.

22Ibid., 23.

23Stottira Malai, 100.

6 Making Sense of Tamil Threshold Designs

1See for example http://www.saigan.com/heritage/alangaram/kolams/kolams.htm, http://www.activityvillage.co.uk/rangoli, http://www.ikolam.com as well as several YouTube sites, such as http://www.youtube.com/watch?v=Pexq8v3aDH0, http://www.youtube.com/watch?v=xJXD7pxGIPA, http://www.youtube.com/watch?v=Z_oVQBhlJ3I.

2See for example http://www.zazzle.com/rangoli+cards, http://fineartamerica.com/art/all/rangoli/greeting+cards.

3See for example http://www.delhigifthouse.com/handicrafts/bags/index.shtml and search for Shantiniketan bag.

4See for example http://www.cafepress.co.uk/+kolam+t-shirts .

5See for example http://kolangal.kamalascorner.com/2009/04/kolam-no164.html.

6See for example https://www.soas.ac.uk/gallery/kolam/ and https://www.soas.ac.uk/nightsatthebrunei/17may2012-nights-at-the-brunei----kolam-and-rangoli-workshop-and-live-music.html.

7See for example http://www.amazon.com/Roylco-Rangoli-Mega-Stencils-Set/dp/B0044S8MBI.

8See for example http://www.dollsofindia.com/puja-items/stickers/rangoli/

9See http://www.youtube.com/watch?v=bEMtretcyBE.

10See also Anna Laine, ‘Intervention or Inspiration’, Anthropology Today, 28(2) (2012).

11Stephen P. Huyler, Painted Prayers. Women’s Art in Village India (1994), 10. Huyler studies the decorative designs with which women across the Indian subcontinent adorn their walls and floors. The present discussion is limited to threshold drawings and does not explore women’s wall decorations.

12Ibid.

13Ibid.

14Ibid.

15The Bengali Renaissance was a nineteenth- and early twentieth-century Indian social and cultural movement in Bengal. It was initiated by cultural elites in response to their exposure to European ideas through the English education they received under colonial rule. Members of the Tagore family were centrally involved and spearheaded modern cultural forms of Indian art and literature that served as rallying points for national Indian identity and, by default, for India’s anti-colonial struggle. The movement has been compared to the sixteenth-century European Renaissance and instigated a creative surge in literature and in the arts. The Nobel Prize-winning poet Rabindranath Tagore for example was affiliated with the movement, as was his nephew Abanindranath Tagore who forged an art style that marked the beginning of modern art in India that became a rallying point for India’s struggle for independence from British rule.

16The original version was written in the Bengali vernacular in 1916. It was translated into French in 1921. See Abanindranath Tagore, L’Alpona ou les Decorations Rituelles au Bengale (1921).

17Journal of the Royal Anthropological Institute (JRAI).

18H. G. Durai, ‘Preliminary Note on Geometrical Diagrams (Kolams) from the Madras Presidency’, Man (May 1929), 77; B. Bonnerjea, ‘Note on Geometrical Ritual Design in India’, Man (October 1933), 163–64.

19Layard, ‘Labyrinth Ritual’.

20Prativa Bala Bardhan, Alimpan (1968).

21E. M. Gupta, Brata und Alpana in Bengalen (1983). In contrast to traditional Tamil loop designs, alpanas often have figurative elements that can be read motif-by-motif.

22Archana, The Language of Symbols.

23Steinmann, ‘Kolam’.

24Vijaya Rettakudi Nagarajan, ‘Hosting the Divine: the Kolam in Tamil Nadu’, in Nora Fisher, ed., Mud, Mirror and Thread: Folk Traditions of Rural India (1993), 192–203, and Vijaya Rettakudi Nagarajan, ‘(In)corporating Threshold Art: Kolam Competitions, Patronage, and Colgate’, in Dwight Hopkins, et al., eds., Religions/Globalizations: Theories and Cases (2001), 161–86.

25Renate Dohmen, ‘Happy Homes and the Indian Nation’, Journal of Design History, 14 (2) (2001), 129–39, and Dohmen, ‘The Home and the World’.

26Laine, ‘In Conversation’.

27Aurogeeta Das, ‘Exploring Traditional and Metropolitan Indian Arts Using the Muggu Tradition as a Case Study’ (PhD thesis, Westminster University, UK, 2011).

28June McDaniel, Making Virtuous Daughters and Wives: An Introduction to Women’s Brata Rituals in Bengali Folk Religion (2012).

29Marcia Ascher, ‘The Kolam Tradition: A Tradition of Figure-drawing in Southern India Expresses Mathematical Ideas and Has Attracted the Attention of Computer Science’, American Scientist, 90(1) (2002), 56–61, and G. Siromoney, ‘South Indian Kolam Patterns’, Kalakshetra Quarterly, 1 (1978), 9–15.

30The journal has around 50 pages on average and presents images of threshold designs of various styles, regional provenance and complexity, with one to three pages of editorial introductions which adopt a cross-regional perspective.

31Dohmen, ‘Happy Homes’.

32B. P. Bayiri, ‘Preface’, Rangavalli, 8, 1–5: 3.

33Ibid., 9, 3.

34Ibid., 11, 3.

35Ibid.

36Modern Indian art did appropriate folk art as part of its ‘indigenous’ primitivism, but this is another story and not what Bayiri is implying. The work of Jamini Roy is a prominent example for primitive appropriations in modern Indian art.

37Bayiri, ‘Preface’, Rangavalli, 8, 5.

38Ibid., 8, 3.

39Steinmann, Kolam, 484.

40E. L. Schieffelin, ‘Problematizing Performance’, in F. Hughes-Freeland, ed., Ritual, Performance, Media (1998), 194–207: 194.

41Ibid.

42Victor Turner, The Ritual Process. Structure and Anti-Structure (1977), vii.

43Ibid.

44Schieffelin, ‘Problematizing Performance’, 194–207, but also Edith Turner, ‘The Anthropology of Experience: The Way to Teach Religion and Healing’, in Linda Barnes and Ines Talamantez, eds., Teaching a Course on Religion and Healing (2006), 193–206.

45Turner, The Ritual Process, viii.

46E. V. Daniel, Fluid Signs. Being a Person the Tamil Way (1984). A core belief of Hinduism is that all differentiated and manifest substantial forms are evolved from a single non-manifested substance and that manifest creation is characterized by different substantial qualities, which are ranked.

47Ibid., 8.

48Ibid.

49This daily flux is, in turn, contrasted with the ultimate state of equilibrium to be achieved by pilgrimage and religious practice, where a union, or rather a reunion with the one primordial ‘substance’, can be achieved. The divine is thus associated with substantial permanence, whereas the everyday, characterized by mutability and change, is the domain of equilibrating actions.

50Daniel, Fluid Signs, 109.

51Ibid.

52Ibid., 109–10.

53Ibid., 10.

54For a more detailed discussion of these rites and their meanings, see Baker Reynolds, ‘To Keep the Tali strong’.

55Dohmen, ‘The Home and the World’.

56See Shohat and Stam, Narrativizing Visual Culture, 31 and also Garcia dos Santos, ‘How Global Art’.

57The late nineteenth and early twentieth centuries.

58See for example Geeta Kapur, ‘Contemporary Visual Practice: Some Polemical Categories’, Third Text, 90(11) (1990), 109–17: 115 and Dohmen, ‘Happy Homes’.

59For an in-depth discussion of the forming of a national conception of Indian art please refer to Partha Mitter, Art and Nationalism in Colonial India, 1850–1922: Occidental Orientations (1994); Tapati Guha Thakurta, The Making of a New ‘Indian’ Art. Artists, Aesthetics and Nationalism in Bengal, c.1850–1920 (1992), as well as Tapati Guha-Thakurta, ‘Orientalism, Nationalism and the Reconstruction of “Indian” Art in Calcutta’, in Catherine B. Asher and Thomas Metcalf, eds., Perceptions of South Asia’s Visual Past (1994), 47–65. For an analysis of the constitutedness of Indian art from the point of view of gender, please refer to Annapurna Garimella, ‘Engendering Indian Art’, in Vidya Dehejia, ed., Representing the Body. Gender Issues in Indian Art (1997), 22–41.

60For a more in-depth discussion of the continuities, complexities and ambiva- lences of ‘native’ notions of Indian art forged during the nationalist period and the perception of the tradition of drawing threshold designs see Dohmen, ‘Happy Homes’.

61In Bengal threshold designs are referred to as alpana.

62Bardhan, Alimpan, 5.

63Ibid.

64Ibid.

65Ibid.

66Ibid., 6.

67Ibid., 2.

68See Partha Mitter, ‘Decentring Modernism: Art History and Avant-Garde Art from the Periphery’, The Art Bulletin, 90(4) (2008), 531–48.

69Dinkar Kowshik, Nandalal Bose (2001), 37.

70See for example Kobena Mercer, ed., Cosmopolitan Modernisms (2005).

71Mitter, ‘Decentring Modernism’, 542.

72Ibid., 543.

73Ibid.

74Rasheed Araeen, ‘From Primitivism to Ethnic Art’, Third Text, 1(1) (1987), 6–25.

75Simon Gikandi, ‘Picasso, Africa, and the Schemata of Difference’, Modernism/modernity, 10(3) (2003), 455–80: 458.

76Ibid.

77Araeen, ‘From Primitivism to Ethnic Art’, 13.

78James Clifford, ‘Quai Branly in Process’, October, 120 (Spring 2007), 3–23.

79Stephane Martin, ‘France’s Tribute to Primitive Arts: An Interview with Stephane Martin’ (2000).

80Harding, ‘At Quai Branly’.

81Bourriaud, Relational Aesthetics, 87.

82O’Sullivan and Zepke, eds., Deleuze and Contemporary Art, 2.

83Ibid., 5.

84O’Sullivan and Zepke also mention further predicaments such as Deleuze and Guattari’s rejection of conceptual art (see O’Sullivan and Zepke, eds., Deleuze and Contemporary Art, 5) as well as what they see as contemporary art’s elusion of ‘the line Deleuze and Guattari draw between concepts and sensations’ (1). In their view these difficulties do not cause issues that cannot be overcome (5).

85Bourriaud, Relational Aesthetics, 88.

86This refers to the female rites described by Holly Baker Reynolds in ‘Kōlams in Everyday and Ritual Contexts’ (Text 4 in Chapter 5 ‘Voices’).

87Gilles Deleuze, Negotiations (Pourparlers) (1995), 111.

88Ibid.

89Ibid.

90Baker Reynolds, ‘To keep the Tali strong’, 310.

91Ibid.

92Deleuze and Guattari, Thousand Plateaus, 311.

93Ibid.

94Ibid.

95Ibid.

96Ibid.

97Ibid.

98Ibid.

99Baker Reynolds, ‘To Keep the Tali strong’, 250.

100Ibid., 251.

101Ibid., 252.

102Deleuze and Guattari, What is Philosophy?, 180–81 (emphasis in the original).

103Guattari, Three Ecologies, 27.

104Latour, We Have Never Been Modern, 97ff. and 10ff.

105Deleuze and Guattari, Thousand Plateaus, 161.

106Ibid., 162.

107Ibid.

108Deleuze, Negotiations, 93.

109Ibid., 92.

110Ibid.

111The notion of the ‘house’ must not be understood literally because even if in the context of discussing threshold designs a ‘real’ building is part of the equation, the house–home trajectory refers to a context of cosmic force(s) and qualitative differences of space.

112Deleuze and Guattari, What is Philosophy?, 164.

113Ibid., 183.

114Ibid.

115Deleuze and Guattari, Thousand Plateaus, 315.

116Ibid.

117Ibid., 317.

118Ibid., 349.

119Ibid.

120See ibid., 354–55.

121Ibid., 355.

122See ibid., 356.

123See ibid., 360.

124Ibid.

125Ibid., 361.

126Ibid., 359.

127Ibid., 316.

128Ibid., 349.

129Ibid.

130Ibid., 353.

131Deleuze and Guattari, What is Philosophy?, 179.

132Ibid., 183.

133Ibid.

134See ibid., 184.

135Ibid., 184–85.

136Ibid., 180.

137Ibid., 185.

138Ibid.

139Ibid., 186.

140Ibid., 204.

141Ibid., 203.

142Ibid.

143Ibid., 204.

144Deleuze and Guattari, Thousand Plateaus, 377.

145Ibid.

146See ibid.

147Ibid., 378.

148Ibid.

149Ibid., 379.

150See Gilles Deleuze, Francis Bacon. The Logic of Sensation (2003), 87.

151See ibid., 109.

152See ibid., 36.

153See ibid., 113 and 117.

154Deleuze and Guattari, What is Philosophy?, 183.

155Ibid., 198.

156Ibid.

157Deleuze, Francis Bacon, 103.

158Deleuze and Guattari, Thousand Plateaus, 375.

159Ibid.

160Deleuze and Guattari, What is Philosophy?, 164.

161Ibid., 167.

162Ibid.

163Ibid.

164Ibid., 181.

165Ibid., 182.

166Ibid.

167Ibid., 186.

168Ibid., 183.

169Ibid., 169 (emphasis in the original).

170Ibid., 173.

171Ibid.

172Ibid., 174.

173Ibid.

174Ibid., 171.

175Ibid.

176Ibid., 175.

177Ibid., 166.

178Ibid., 166–67.

179Ibid (emphasis in the original).

180See Deleuze and Guattari, Thousand Plateaus, 377.

181Ibid., 142.

182Jonathan Harris, ‘Introduction: The ABC of Globalization and Contemporary Art’, Third Text, 27(4) (2013), 439–41: 440.

183I am using ‘he’ here, even though Bourriaud does not specify that the homo viator is exclusively male. I am responding to Bourriaud’s masculine conception of the artist-nomad who is cast in the figure of the Baudelairean flâneur who has now been given an extended, global terrain to roam.

184Guattari, Three Ecologies, 10.

185Deleuze and Guattari, Thousand Plateaus, 142.

186Ibid., 12.

187Ibid.

188Ibid.

189Ibid.

190Ibid., 4.

191The late B. P. Bayiri, editor of the popular magazine Rangavalli, published between 1967 and 1988, was fondly known as ‘Rangoli brahma’.

192Maharaj, ‘Perfidious Fidelity’, 29.

193Ibid.

Faction 4 Itinerant Thoughts – Paris, London, Tamil Nadu and Elsewhere

1Marc Augé, Non-Places: An Introduction to Supermodernity (1995), especially 77–8.

2Botton, The Art of Travel, 9–11.

3Ibid., 35.

4Dezeuze, ‘Transfiguration of the Commonplace’, 19.

5Author’s translation from French of the following website: http://www.palaisdetokyo.com/index.php?npage=fr/prog/expo/grancher.html.

6Augé, Non-Places, 79.

7Ibid.

8Ibid., 78.

9Ibid., 44.

10Sara Ahmed, Strange Encounters. Embodied Others in Post-Coloniality (2000), 87.

11Ahmed, Strange Encounters, 88.

12Ibid.

13Ibid., 105.

14Ibid., 95–6.

15Ibid., 117.

16Ibid.

17Ibid., 118.

18Ibid.

19Ibid.

20Chanrochanakit, ‘Feeling Contemporary’, 4.

21Ibid.

22Ibid., 2–3.

23Kraynak, ‘Rirkrit Tiravanija’s Liability’, 28.

24Saltz, ‘Resident Alien’.

25Bonami, Universal Experience, 20.

26Ibid.

27Saltz, ‘Short History’, 85.

28Ahmed, Strange Encounters, 150.

29Ibid., 152.

30Ibid. (emphasis in the original).

31Guattari, Chaosmosis, 17–18.

32See for example ibid., 109.

33Ahmed, Strange Encounters, 152.

34Ibid., 143.

35Bourriaud, Relational Aesthetics, 91.

36Ibid., 98.

37Ibid.

38Ibid., 99.

39Ibid., 88.

40Ibid., 93–5.

41Ahmed, Strange Encounters, 145 (emphasis in the original).

42For a further discussion of issues of art criticism and situatedness in contemporary art see Dohmen, ‘Towards a Cosmopolitan Criticality?’

43Grant Kester, ‘The Art of Listening (and of Being Heard)’, Third Text, 47 (1999), 19–26: 23.

44Brown, ‘Rirkrit Tiravanija’.

45Koh’s International Forum for InterMedia Art engaged in projects in Malaysia, Thailand, Hong Kong, China, Cambodia, the Philippines, Bangladesh, Myanmar and Singapore. See http://www.spaced.org.au/projects/jay-koh/about-the-artist/ for more information.

46Kester, ‘The Art of Listening’, 26.

47Ibid., 19–23.

48Ibid., 26.

49Ibid.

50Ibid.

51Ibid.

52Ibid.

53Ibid., 22.

54Ibid., 24.

55Ibid.

56Ibid.

57Ibid., 25.

58Ibid.

59Ahmed, Strange Encounters, 155–56.

60Ibid., 156.

61Ibid.

62Ibid., 157.

63Ibid., 158.

64Bureau for Cultural Interconnectivity, www.artstreammyanmar.net/cultural/nica/BCI.html.

65Deleuze and Guattari, Thousand Plateaus, 23.

66Ibid., 25.

67Ibid.

68Ibid (emphasis in the original).

69Ahmed, Strange Encounters, 154.

Epilogue

1Overing and Passes, eds., Love and Anger, 24.

2Garcia dos Santos, ‘How Global Art’, 165.

3This is a fictitious character.

4For further information see http://shipibojoi.wordpress.com.

5Ibid.

6For further information see http://america.aljazeera.com/articles/2014/7/24/the-shipibo-koniboofcantagallo.html.

7Chika Okeke-Agulu, ‘Interview with Okwui Enwezor, Director of the 56th Venice Biennale’, Huffington Post (12 June 2013).