s-a-t // research
STRUCTURE - ACCESS - TRANSLATION
Since i.c.a.p.’s launch and initial workgroup on Structure-Access-Translation, we continue to investigate these three pillars and their impact on international production.
STRUCTURE
Art production, collaboration, businesses, academia- almost any form of organization - relies on different structures. When speaking about structure and the economies and politics that surround it- everyone has different images in mind. Whether it is institutional, financial, or means of dissemination - the idea of structures that hold, withhold, facilitate or complicate creative art production is recurrent.
What are the avenues, challenges, needs and potentials that will foster dissemination of local work to a larger international context?
What structures are needed within international creative productions?
Do collaborations build new structures?
What are the main pillars these kinds of structure needs in order to provide the scaffolding for sustainable and ongoing collaboration based on equity and exchange?
ACCESS
Access - not only speaks about equity, but also the availability to art, culture and institutions. Access as a verb - speaks about an action, a passing through, an approaching of, but also the permission, liberty or even ability to approach or pass to and from one place to another. It includes a logic of the in and the out.
From a macro level, how does one deconstruct and reconstruct the term in order to potentially broaden the view over the topic at hand?
What stakeholders define access? What are the barriers to access?
What information / resources are currently controlled by access?
What are the rules, structures, or elements that build the frame of what needs to be passed through or approached?
Could this frame become a collaborative element within international creative art production?
TRANSLATION
In working internationally there is always an aspect of translation- from the more obvious aspect of language to more detailed cultural nuisances or politics. Even between artists, who tend to have a shared schema that defies borders, there lies a necessity to consider aspects of cultural translation and matching contexts.
Beyond language, what aspects of art production need to be “translated” when working abroad?
What are the barriers to translation? What is lost and what is gained?
How can translation as thought and practice lead to greater international understanding?
How does one create a balance in reaching diverse audiences and adapting to cultural nuisances while still maintaining authenticity to the work at hand?
