Topography of Mirror Cities

Curating Topography: Methodology of Topography of Mirror Cities
Sandy Hsiu-chih Lo
The conception of “curating topography” I use here as the methodology of “Topography of Mirror Cities” can be briefly described by the graph of curating topography (see figure 1). The “beginning” in the center refers to the beginning of “cognitive mapping”, which appropriates the concept of cognitive mapping proposed by Fredric Jameson. It tries to endow individual subjectivity by intensifying a new sense of place in a global system, and creates new model of representation with complex represent dialectics, in order to enhance the self-positioning accuracy, prove the ability of understanding the world and represent the imaginative relationship between oneself and the real situation. The “beginning” is similar to the “standpoint” and “point of view” of traditional landscape painters, and is also the beginning of “curating topography”. Only by starting from this “beginning” is topographic curating able to show the representation of space with a sense of place, and to lay a real foundation for subject positioning.
Curating topography also starts from and aims at the place outside the “beginning” and the concentric circle of “sense of place”. Cognitive mapping is related to self-positioning and understanding the world, and “place” is also “a way of seeing, knowing and understand the world”. If we regard the world as a composition of different places, we can see different matters. If the “beginning” is the self-position of cognitive mapping, then “place” is the positioning anchor of one’s identification and worldview. Just as Harvey said, “The preservation or construction of a sense of place is then an active moment in the passage from memory to hope, from past to future.” The place is regarded as the foundation of resistance of politics and an important force to fight capitalist commodity flow and monetization. It activates the environment and society by combining local characteristics and recovering collective memories. However, Harvey also emphasized the dangerousness of exclusive nationalism and local fascism in particular. If, the memory of place is closely related to local conceptions, and it is difficult to share with outsiders, then insurmountable barriers, exclusive nationalism, and localism will take shape.
The sense of place expressed by art language may surpass the limits of place and acquire more universality because art language can be shared more easily. Besides, the imaginative “place” is greatly powerful, because it is removed from the present and the past, and aims at the future. Driven by utopian thoughts and desire, it plays a more important role in politics. Then, what is more appropriate than art to describe the utopian imagination? In the art reality of globalization, biennial exhibitions and art fairs, which are ubiquitous, are the mainstream art trends. They are not only the main functioning operational mechanisms in global art that increasingly converge, but also an important link of transnational capitalism economy. Curating topography ma ybe a way out to break through the mechanism that confine the power of art and wear down the creativity of art.
In my concept of curating topography, the art that stems from the beginning of cognitive mapping and the sense of place reappears some “landscapes” of place, which I name them as “being landscapes” and “becoming landscapes”. The “landscapes” of these two types interact as both cause and effect with the “sense of place”. However, “landscape” is different than “place”; the former, in general, combines physical landscape (object of being seen) and viewpoint (way of seeing). Most viewers are outside the landscape; on the contrary, they are in it as far as “place” is concerned. Both of “being landscapes” and “becoming landscapes” stem from and are shaped by the “beginning” of cognitive mapping, in which viewers are exposed to both outside and inside of the landscape by imagination, and afford the cognitive mapping of place—“sense of place”. If there is a deeper connection between “being landscapes” and “imaginative and conceptual place” with a sense of past and present, then “becoming landscapes” is more closely connected with the place in the real world with a sense of present and future. Eventually, “being landscapes” and “becoming landscapes” that stem from the “sense of place” will become new elements of it and jointly compose the huge collage of the place.
Topography of Mirror Cites
Urbanization and the rise of mega-cities began with the Industrial Revolution, starting around 1750, and more than 50% of the Earth’s population is expected to be living in cities by 2050. However, through the process of globalization and the development of capitalism, cities around the world are becoming more and more alike; "places" are gradually losing their uniqueness, and day by day the residents of cities are becoming alienated from local traditions, lifestyles, and even their own self-identity. In addition, the problems of pollution, global warming, migration, urban sanitation, residential justice, religious conflict, the wealth gap, and the conflict between human beings and other species are common in cities. More importantly, city space has changed in its economic structure, social structure, and spatial structure due to urbanization. Indeed, space has become the most intense battleground for all kinds of power.
As a result, the "mirror" of the "mirror cities" reflects toward others and reflects on itself, and each city becomes a "mirror image" of another city. "Topography of Mirror Cities" intends to construct the "places" into "becoming art fields" by regarding the cities as "places" through the practice of art.
If we believe that contemporary art must be implemented and tested in every particular context and we believe in the autonomy of art and the aesthetic perception that art will promise a better future world, then I think it is crucial to understand that the real "place" involves a "specific context." As for the contradiction between "ethics" and "aesthetics," I think that "ethics" is like the ultimate good of "promising a better future world" and "aesthetics" is the insistence on the “autonomy of art." "A better future world" and “autonomy of art" should be based on a specific context that is “an inclusive and non-exclusive place.”” Topography of Mirror Cities” is a curatorial practice based on the methodology of “curating topography”.
Sandy Hsiu-chih Lo
The conception of “curating topography” I use here as the methodology of “Topography of Mirror Cities” can be briefly described by the graph of curating topography (see figure 1). The “beginning” in the center refers to the beginning of “cognitive mapping”, which appropriates the concept of cognitive mapping proposed by Fredric Jameson. It tries to endow individual subjectivity by intensifying a new sense of place in a global system, and creates new model of representation with complex represent dialectics, in order to enhance the self-positioning accuracy, prove the ability of understanding the world and represent the imaginative relationship between oneself and the real situation. The “beginning” is similar to the “standpoint” and “point of view” of traditional landscape painters, and is also the beginning of “curating topography”. Only by starting from this “beginning” is topographic curating able to show the representation of space with a sense of place, and to lay a real foundation for subject positioning.
Curating topography also starts from and aims at the place outside the “beginning” and the concentric circle of “sense of place”. Cognitive mapping is related to self-positioning and understanding the world, and “place” is also “a way of seeing, knowing and understand the world”. If we regard the world as a composition of different places, we can see different matters. If the “beginning” is the self-position of cognitive mapping, then “place” is the positioning anchor of one’s identification and worldview. Just as Harvey said, “The preservation or construction of a sense of place is then an active moment in the passage from memory to hope, from past to future.” The place is regarded as the foundation of resistance of politics and an important force to fight capitalist commodity flow and monetization. It activates the environment and society by combining local characteristics and recovering collective memories. However, Harvey also emphasized the dangerousness of exclusive nationalism and local fascism in particular. If, the memory of place is closely related to local conceptions, and it is difficult to share with outsiders, then insurmountable barriers, exclusive nationalism, and localism will take shape.
The sense of place expressed by art language may surpass the limits of place and acquire more universality because art language can be shared more easily. Besides, the imaginative “place” is greatly powerful, because it is removed from the present and the past, and aims at the future. Driven by utopian thoughts and desire, it plays a more important role in politics. Then, what is more appropriate than art to describe the utopian imagination? In the art reality of globalization, biennial exhibitions and art fairs, which are ubiquitous, are the mainstream art trends. They are not only the main functioning operational mechanisms in global art that increasingly converge, but also an important link of transnational capitalism economy. Curating topography ma ybe a way out to break through the mechanism that confine the power of art and wear down the creativity of art.
In my concept of curating topography, the art that stems from the beginning of cognitive mapping and the sense of place reappears some “landscapes” of place, which I name them as “being landscapes” and “becoming landscapes”. The “landscapes” of these two types interact as both cause and effect with the “sense of place”. However, “landscape” is different than “place”; the former, in general, combines physical landscape (object of being seen) and viewpoint (way of seeing). Most viewers are outside the landscape; on the contrary, they are in it as far as “place” is concerned. Both of “being landscapes” and “becoming landscapes” stem from and are shaped by the “beginning” of cognitive mapping, in which viewers are exposed to both outside and inside of the landscape by imagination, and afford the cognitive mapping of place—“sense of place”. If there is a deeper connection between “being landscapes” and “imaginative and conceptual place” with a sense of past and present, then “becoming landscapes” is more closely connected with the place in the real world with a sense of present and future. Eventually, “being landscapes” and “becoming landscapes” that stem from the “sense of place” will become new elements of it and jointly compose the huge collage of the place.
Topography of Mirror Cites
Urbanization and the rise of mega-cities began with the Industrial Revolution, starting around 1750, and more than 50% of the Earth’s population is expected to be living in cities by 2050. However, through the process of globalization and the development of capitalism, cities around the world are becoming more and more alike; "places" are gradually losing their uniqueness, and day by day the residents of cities are becoming alienated from local traditions, lifestyles, and even their own self-identity. In addition, the problems of pollution, global warming, migration, urban sanitation, residential justice, religious conflict, the wealth gap, and the conflict between human beings and other species are common in cities. More importantly, city space has changed in its economic structure, social structure, and spatial structure due to urbanization. Indeed, space has become the most intense battleground for all kinds of power.
As a result, the "mirror" of the "mirror cities" reflects toward others and reflects on itself, and each city becomes a "mirror image" of another city. "Topography of Mirror Cities" intends to construct the "places" into "becoming art fields" by regarding the cities as "places" through the practice of art.
If we believe that contemporary art must be implemented and tested in every particular context and we believe in the autonomy of art and the aesthetic perception that art will promise a better future world, then I think it is crucial to understand that the real "place" involves a "specific context." As for the contradiction between "ethics" and "aesthetics," I think that "ethics" is like the ultimate good of "promising a better future world" and "aesthetics" is the insistence on the “autonomy of art." "A better future world" and “autonomy of art" should be based on a specific context that is “an inclusive and non-exclusive place.”” Topography of Mirror Cities” is a curatorial practice based on the methodology of “curating topography”.
chief curator
Sandy Hsiu-chih Lo |
Urban space is the space for contemporary art practice to write a new script for art. |
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