Miwon Kwon's Comments on Nomadism

From Miwon Kwon's "The Wrong Place." Art Journal > Vol. 59, No. 1 (Spring, 2000), pp. 32-43.

It occurred to me some time ago that among many of my art and academic friends, the success and viability of one's work is now measured in proportion to the accumulation of frequent flyer miles. The more we travel for work, the more we are called upon to provide institutions in other parts of the country and the world with our presence and services; the more we give into the logic of nomadism, one could say, as pressured by a mobilized capitalist economy, the more we are made to feel wanted, needed, validated, and relevant. It seems our very sense of self-worth is predicated more and more on our suffering through the of always traversing through elsewheres. Whether we enjoy it or not, we are culturally and economically rewarded for enduring the "wrong" place. It seems we're out of place all too often.

But what is a "wrong" place? How does one recognize it as such, as opposed to a "right" place? What do we really mean by these qualifying adjectives? Is being in the wrong place the same thing as being out of place? And what are the effects of such mis/displacements for art, subjectivity, and locational identities? In light of the intensified mobilization of bodies, information, images, and commodities on the one hand, and the greater and greater homogenization and standardization of places on the other (which, by the way, facilitates the smooth, unimpeded mobilization and circulation of these bodies, information, images, and commodities), I continue to wonder about the impact, both positive and negative, of the spatial and temporal experiences that such conditions engender not only in terms of cultural practice but more basically for our psyches, our sense of self, our sense of well-being, our sense of belonging to a place and a culture.

Finally to work on the expat book. Post your comments soon if you'd like to be included. See my Friday, July 20, 2007 post for more info.

Letters to a Young Diplomat: Plea for Participation

Picture of Eugenie Moore Anderson
In October 1949 President Truman appointed Anderson United States Ambassador to Denmark; she was the first American woman to serve as the chief of a mission abroad.

Ok, "plea" for participation sounds a bit desperate, but here's the deal: in times when our foreign policy is constantly questioned by other countries (and often rightly so), an art project highlighting a more human side to our activities overseas seems critical. Why art? At its best, art whittles down matters to powerful visual and forms that have residence. I leave you with one of my favorite art quotes.

There are moments in our lives, there are moments in our days, when we seem to see beyond the usual. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. If one could but recall his vision by some sort of sign. It was in this hope that the arts were invented. Signposts on the way to what may be. Signposts toward greater knowledge.

Letters to a Young Diplomat: Letters Sealed

Having stuffed envelopes for far too long today, the letters to our current female US ambassadors are sealed and ready for delivery. Admittedly, I am terrified that none of them will participate--I realize that they have hectic lives--but I'm hopeful so that their voices might be gathered in one spot rather than scattered in a handful of publish and unpublished memoires.

The value of artworks is that they develop ideas / critical thoughts / momentous events into powerful forms. Inshallah, my piece for the fall show, resulting from these letters, will be one such form.

More to follow...

Letters to a Young Diplomat

Websites for inspiration:
guide2womenleaders.com/index.html
artonpaper.com/LTYA/
www.sfgoth.com/~immanis/rilke/letter1.html

Florida State University gave me a 2007 summer grant to continue work on my Female Expat Project. In preparation for an exhibition this fall, I'm emailing and sending letters to all of the current female U.S. Ambassadors a letter by a fictional, inspiring young diplomat. I'll also post that letter here. Modelled after Rainer Maria Rilke's "Letters to a Young Poet" and Art on Paper's "Letters to a Young Artist, the project documents what role women play in the power structures of the 21st century. Please email me at jdietrick@gmail.com or simply post to the blog if you have a response. These responses will be used to create glowing plexi pieces housed in furniture with the possible addition of sound. I'm so excited.

As I wrote in the letter of introduction to our ambassadors, I hope that you will consider participating to help document our shifting definitions of place for future generations of women overseas to enjoy the recent, huge shifts in these definitions.

Thanks,
Joelle

Dear Ambassador:

I am writing you as a young woman interested in the Foreign Service. Although I was raised in a small city and have only traveled throughout the United States, other cultures have always fascinated me. Coupled with my interest in international relations and a commitment to community service, this interest in a life overseas inspired me to research careers in the Foreign Service. During this research, I encountered your name.

At the prompt of our teacher's assignment, I am writing to you in the hope that you can find the time to write a letter in response. I'm specifically interested in the joys and challenges of a life overseas, and if you would do anything differently. Although regret is a useless emotion for an individual, when clarified for a future generations, it is informative. I hope you are able to find time in your busy schedule to send a few words of wisdom.

First, I have a few questions about gender. If the people with the greatest amount of power in the 20th and especially the 21st centuries are those people who can thoroughly understand and gracefully navigate the global scene, what role are women playing in these high-powered roles? Have you found any challenges in the Foreign Service because you are a woman? Do you notice any difference in how your male and female colleagues manage their work and personal lives? Is there a glass ceiling? Are you always taken as seriously as your male counterparts in other countries?

Lastly, with anti-American sentiment on the increase, does you position in the Foreign Service ever make you uncomfortable? Friends of my parents, who have lived overseas, say that people in other countries often clarify their anti-American sentiment by explaining that they dislike the government, not Americans. As a representative of our government, can you clarify how this sentiment affects your work and sense of self?

In contrast to the politically correct statements made my most government officials, I hope you can speak candidly in your response since such honestly will helps guide me to make important decisions. I tried to look up memoirs of diplomats and other books related to the Foreign Service. Not a single one was written by a woman. Please let me know if there are any that you can recommend.

I look forward to your response. Thank you for your time.

Sincerely,


Joelle Dietrick