Incorporating Offshore: The stakes of going offshore for art

April 30, 2015 from 3:00 pm - 5:00 pm
CCS Bard Video Gallery and on-line

As part of the 2015 CCS Bard Graduate Thesis exhibitions, is pleased to present a pair of discussion groups that bring together artists, theorists, and a lawyer to elaborate upon the relationship of the offshore and the art world. The two panels which take place next week will be screened in the CCS Bard Video Gallery and streamed through the website

Event 2:
The offshore is a concept that underpins the institutional life of exchange in our current era of globalism. Often defined as strategy of maintaining autonomy and growing personal wealth, it is a concept that represents expanded cycles of capital flows often held to traverse the practices of state sovereignty.

Mired in a sense of the geopolitical sublime, the offshore is a complex, overwhelming, and inter-connective tissue to be teased out and worked through in order to find nodes, sources, and products. As more artists increasingly represent the offshore through engaging its strategies and devices and more art organizations increasingly go offshore for long-term sustainability as international entities, how do we take stock and make sense of the offshore culturally and aesthetically? How effective are strategies and narratives based on creating obscurity or clarity in revealing or complicating the structures of power, control, and autonomy that the offshore enables? Does art and culture, in modeling these flows of exchange, provide an analogy or case study for apprehending the offshore? 

This panel brings together artists, theorists, and specialists invested in studying offshore systems of finance to understand the stakes of the offshore as a term, paradigm, and culture, as it applies to the art world and its discourses.


Angus Cameron is a Senior Lecturer in Spatial Organisations at the University of Leicester.  His primary research interests address the broad themes of spatiality, representation, and performance. He has a particular focus on the construction of ‘xenospaces’ – fictional but functional spaces of exteriority, ambiguity, and indeterminacy.  Empirically this embraces topics of money, offshore finance, boundaries, taxation, cartography, discourses of inclusion/exclusion/exception, and visual semiotics. Since 2008, Cameron has extended his academic work by acting as ‘spokesperson’ for Swedish performance artists goldin+senneby on their ongoing project Headless and through collaborations with other artists and curators. As part of the panel, Cameron will represent the goldin+senneby and their project Headless.

Marianne Heier is an artist that lives and works in Oslo. In her projects, Heier often explores specific institutions ‘from the inside’. Her projects can be seen as situated within an institution-critical artistic praxis; but Heier’s critique from the inside is more often the result of personal engagement, motivated by personal, lived experience.  She will be discussing her project Surplus, shown at Bergen Kunsthall in 2012. Surplus is particularly invested in overlaps and incompatibilities between financial and cultural capital.

Nathan Newman is a New York based lawyer and trustee of the Bronx Museum. Newman will speak to offshore structures and their utility for the individual and art organization. His work has been published in Forbes, Bloomberg, and Politix.

Nick Srnicek is the author of Inventing the Future (Verso, 2015 with Alex Williams) and the author of Postcapitalist Technologies (Polity, 2016). As part of the panel, he will present Seeing Global Markets. In an age of increased complexity and expanding global finance, this talk will look at a variety of ways in which these invisible entities are rendered visible and manipulable in practice.

Organized by CCS Bard Graduate students Robin Lynch and Kathleen Ditzig, is a platform that thinks through offshore economies as a way of understanding global infrastructures and the narratives that support them. Defined by movement, relocation and concealment, the offshore is an articulated pattern in contemporary economic, social and political life. Often used with respect to foreign banks, corporations, investments and deposits, the offshore is frequently a privileged structure of ‘otherness’, it can speak to an independent legal, political zone or outlying subsidiary of the state that addresses deficiencies in centers of power.

In its first iteration, within the frame of the CCS Bard graduate program, identifies the art world and curatorial discourse generally as one such ‘offshore economy’. This first iteration of the project includes this website, discussion groups andRoundtripping, a project at CCS Bard.


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