Abstract
This essay is a love letter to the contemporary migrants whose mobilities are stigmatized by nation-states. Mobilities that threaten national borders posed by refugees, the movement of capital, and advanced technology, aggravate state violence manifested in surveillance. These same mobilities, in the realm of culture, reinforce global citizens’ desire for a transnational sensibility, which I model as Third Skin. This method for embodying border-crossing experiences draws upon theories investigating the intersections of art, politics, and senses. This sensory journey is demonstrated with three art works: visual artists Young-Hae Chang Heavy Industries’ multimedia sculpture The Gates of Hell(2004); Lee Su-Feh’s ritualistic dance of remembrance The Things I Carry(2016); Nathalie Anguezomo Mba Bikoro’s performance memorial to the lost indigenous cultures After Sundance(2015). The process of witnessing these artworks is articulated by the writer, a migrant body straddling two far apart places: Seoul, Korea and unceded Coast Salish Territories, now called Vancouver, Canada. Third Skin tangiblizes the weight of our interrelations in globalization as creative resistance.
Details
Presentation Type
Theme
KEYWORDS
Borders Mobility Art
Digital Media
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