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{"id":164374,"date":"2016-01-15T19:40:00","date_gmt":"2016-01-16T00:40:00","guid":{"rendered":"https:\/\/esse.ca\/paradis-fiscaux-et-espace-extraterritorial\/"},"modified":"2022-06-10T07:54:48","modified_gmt":"2022-06-10T12:54:48","slug":"paradis-fiscaux-et-espace-extraterritorial","status":"publish","type":"post","link":"https:\/\/staging.esse.ca\/en\/paradis-fiscaux-et-espace-extraterritorial\/","title":{"rendered":"Offshore Havens and Supra-Jurisdictional Space"},"content":{"rendered":"\n<p>The theory and design collective Metahaven has produced much of its work around data: their transparency or lack thereof, their ownership, their use by states and corporations, and their power. In its two-part article \u201cCaptives of the Cloud\u201d (2012), Metahaven uses the term \u201csupra-jurisdiction\u201d to describe how, under the Patriot Act, the United States government has the authority to access information hosted by any data centre owned by a company registered in the <span style=\"white-space: nowrap;\">U.S.<a class=\"fn-link\" id=\"fn-ref-1\" href=\"#footnote-1\"><sup>1<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-1\"><a href=\"#fn-ref-1\"> 1 <\/a> - Metahaven, \u201cCaptives of the Cloud: Part 2,\u201d <em>e-flux Journal<\/em> 38 (October 2012), http:\/\/www.e-flux.com\/journal\/captives-of-the-cloud-part-ii\/.<\/span> The Patriot Act extends the government\u2019s authority beyond its own territory and citizens, granting it power over some of the largest search engines in the world, including Google. In a similar vein, Benjamin Bratton describes how conventional models of map and territory have been reworked on a planetary scale, and he calls this new political formation a stack: a \u201cvast software\/hardware formation, a proto-megastructure of both bits and atoms, literally circumscribing the planet, which, as said, not only perforates and distorts Westphalian models of State territory, it also produces new spaces in its own image: clouds, networks, zones, social graphs, ecologies, megacities, formal and informal violences, weird theologies, each superimposed on the <span style=\"white-space: nowrap;\">other.\u201d<a class=\"fn-link\" id=\"fn-ref-2\" href=\"#footnote-2\"><sup>2<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-2\"><a href=\"#fn-ref-2\"> 2 <\/a> - Benjamin Bratton, \u201cOn the Nomos of the Cloud: The Stack, Deep Address, Integral Geography\u201d (2011), bratton.info\/projects\/talks\/on-the-nomos-of-the-cloud-the-stack-deep-address-integral-geography\/.<\/span> The stack structure of physical and telecommunications infrastructures folds every transnational corporation into a tangled web of jurisdictional entities. It would not be doing the power dynamics justice to place the power solely in the hands of the United States, as Metahaven implies. Indeed, representing it as such risks negating many crucial bodies that are implicated in this vast infrastructure, as well as glossing over the pivotal understanding that this formation shifts depending on the other jurisdictional and corporate interests with which it overlaps. For example, if the United States wanted to shut down a data centre outside of its borders, it would require the consent of the government of the nation in which these data centres are located, and of the various corporate and private stakeholders involved. Therefore, although the United States may exert a significant pressure point, it does not have sole discretion in the matter.<\/p>\n\n\n\n<div class=\"wp-block-columns alignfull is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1440\" src=\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Lackey_Elephant-in-Cairo-scaled.jpg\" alt=\"86_DO04_Lynch_Lackey_Elephant in Cairo\" class=\"wp-image-164194\" srcset=\"https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Lackey_Elephant-in-Cairo-scaled.jpg 1920w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Lackey_Elephant-in-Cairo-300x225.jpg 300w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Lackey_Elephant-in-Cairo-600x450.jpg 600w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Lackey_Elephant-in-Cairo-768x576.jpg 768w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Lackey_Elephant-in-Cairo-1536x1152.jpg 1536w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Lackey_Elephant-in-Cairo-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><figcaption><strong>Meredith Lackey<\/strong><br><em>Elephant in Cairo<\/em>, video still, 2015.<br>Photo\u2009: courtesy of the artist<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p>The usual critique aimed at the state as the culprit, or at capital as the overarching nemesis, cannot be easily applied to telecommunications, because of both the sublime scope of telecommunications and its increasingly intricate and personalized use in everyday life. Telecommunications encourages an \u201cit\u2019s all about me\u201d attitude in users who demand personalized creativity and freedom\u200a\u2014\u200aan attitude that implies boundarylessness, individual autonomy, and convenience for the user. No Apple commercial is complete without the call to realize one\u2019s personal freedom, potential, and creativity. Such mentalities certainly do not impede the expansion, mobility, and \u201csupra-jurisdictional\u201d nature of communications. Indeed, it is these qualities of libertarianism that fuelled Richard Barbrook and Andy Cameron\u2019s 1995 critique of \u201cCalifornian Ideology.\u201d Barbrook and Cameron stated that the idealistic views of early telecommunications orchestrators made telecommunications a perfect pairing for the market expansion demands of the right, and helped to advance the free market and neolib\u00aderal <span style=\"white-space: nowrap;\">economics.<a class=\"fn-link\" id=\"fn-ref-3\" href=\"#footnote-3\"><sup>3<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-3\"><a href=\"#fn-ref-3\"> 3 <\/a> - Richard Barbrook and Andy Cameron, \u201cThe Californian Ideology,\u201d [1995] <em>Mute<\/em> (October 2008), http:\/\/www.metamute.org\/editorial\/articles\/californian-ideology.<\/span><\/p>\n\n\n\n<div class=\"wp-block-columns alignfull is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1601\" height=\"1252\" src=\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-2.jpg\" alt=\"86_DO04_Lynch_GuggenheinCruises_Captureecran 2\" class=\"wp-image-164190\" srcset=\"https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-2.jpg 1601w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-2-300x235.jpg 300w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-2-600x469.jpg 600w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-2-768x601.jpg 768w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-2-1536x1201.jpg 1536w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\" \/><figcaption><strong>Guggenheim Cruises<\/strong> <br>Screenshots of the website, 2015.<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<p>The inability to pinpoint one culprit, or even one locale, for the vast telecommunications network is only one of the many difficulties in its representation and theorization. In response to the problem with tackling the nebulous nature of data and Web 2.0, many cultural practitioners have attempted to map the actual material of submarine cables in order to track their geopolitical lives. Nicole Starosielski\u2019s book <em>The Undersea Network <\/em>contains a mass of research on this topic, demonstrating the wealth of knowledge that can be generated from the study of these <span style=\"white-space: nowrap;\">cables.<a class=\"fn-link\" id=\"fn-ref-4\" href=\"#footnote-4\"><sup>4<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-4\"><a href=\"#fn-ref-4\"> 4 <\/a> - Nicole Starosielski, <em>The Undersea Network<\/em> (Durham, NC: Duke University Press, 2015).<\/span> However, as artist Meredith Lackey\u200a\u2014\u200awhose latest work documents and maps the laying of cables in Africa\u200a\u2014\u200a\u00adstates, observing these cables does not equate to understanding their massive and, at times, incomprehensible histories, consequences, and <span style=\"white-space: nowrap;\">effects.<a class=\"fn-link\" id=\"fn-ref-5\" href=\"#footnote-5\"><sup>5<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-5\"><a href=\"#fn-ref-5\"> 5 <\/a> - Meredith Lackey, speaking at \u201cOffshoring and Virtual Infrastructures,\u201d conference by offshoreart.co, April 2015, http:\/\/offshoreart.co\/online.html#event-1.<\/span> In essence, one cannot immediately resolve the grey status of telecommunications by focusing on and referencing the cables that provide its material support.<\/p>\n\n\n\n<div class=\"wp-block-columns alignfull colored floating-legend-container is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Observing the slippery politics of telecommunications in relation to finance, financial anthropologist Bill Maurer has noted that the laying of submarine cables in relation to trade has played a significant role in the development of offshore subsidiaries in the Caribbean, Singapore, Bermuda, and other <span style=\"white-space: nowrap;\">locations.<a class=\"fn-link\" id=\"fn-ref-6\" href=\"#footnote-6\"><sup>6<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-6\"><a href=\"#fn-ref-6\"> 6 <\/a> - Bill Maurer, \u201cIslands in the Net: Rewiring Technological and Financial Circuits in the \u2018Offshore\u2019 Caribbean,\u201d in <em>Non-Sovereign Futures: French Caribbean Politics in the Wake of Disenchantment<\/em>, ed. Yarimar Bonilla (Chicago: University of Chicago Press, 2015), 461\u200a\u2014\u200a501.<\/span> Due to their position as significant trade nodes, these locations\u2019 communications infrastructures were more extensively developed than were others\u2019. Consequently, they have become zones through which capital can move rapidly. Offshore havens are often portrayed as murky geopolitical regions, where jurisdictional lines are supposedly skewed to reroute or hide capital. However, contrary to their historical status as shady zones and the frequent portrayal of them as illegal and unknown holes\u200a\u2014\u200adue to increasing awareness of offshore tactics and, at times, states\u2019 acceptance of them\u200a\u2014\u200amany offshore bodies not only are very legible in legal terms, but are actually quite transparent.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1603\" height=\"1262\" src=\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran.jpg\" alt=\"86_DO04_Lynch_GuggenheinCruises_Captureecran\" class=\"wp-image-164192\" srcset=\"https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran.jpg 1603w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-300x236.jpg 300w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-600x472.jpg 600w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-768x605.jpg 768w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_GuggenheinCruises_Captureecran-1536x1209.jpg 1536w\" sizes=\"auto, (max-width: 1603px) 100vw, 1603px\" \/><figcaption><strong>Guggenheim Cruises<\/strong> <br><em>Screenshots of the website<\/em>, 2015.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p>Art, on the other hand, due to its own insistence on resisting ties to capital, has left itself with fairly lax market regulations and pricing and has formed its own internal hierarchies and <span style=\"white-space: nowrap;\">codes.<a class=\"fn-link\" id=\"fn-ref-7\" href=\"#footnote-7\"><sup>7<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-7\"><a href=\"#fn-ref-7\"> 7 <\/a> - For an apt summary of some of these characteristics in art\u2019s mobile nature and its internal codes in relation to finance, see Suhail Malik and Andrea Phillips, \u201cTainted Love: Art\u2019s Ethos and Capitalization,\u201d in <em>Contemporary Art and its Commercial Markets: A Report on Current Conditions and Future Scenarios<\/em>, ed. Maria Lind and Olav Velthuis (Berlin: Sternberg Press, 2012), 209\u200a\u2014\u200a40, http:\/\/bnarchives.yorku.ca\/327\/2\/20120000_malik_phillips_tainted_love.pdf.<\/span> This is not to say that art resists all ties to capital such as taxes and economic fluxes. Rather, it is to say that art\u2019s financial transactions do not rely on a fixed pricing system, are often not recorded where they can be accessed, and therefore can frequently be manipulated for selling or collecting tactics such as <span style=\"white-space: nowrap;\">upselling.<a class=\"fn-link\" id=\"fn-ref-8\" href=\"#footnote-8\"><sup>8<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-8\"><a href=\"#fn-ref-8\"> 8 <\/a> - Ibid. Using references to Noah Horowitz\u2019s work, Malik and Phillips give more concrete examples of how pricing and markets within the art world are manipulated by dealers, collectors, and other internal members.<\/span> In addition, such transactions are shaded by codes and beliefs internal to the art world, such as a love of art or belief in its global <span style=\"white-space: nowrap;\">status.<a class=\"fn-link\" id=\"fn-ref-9\" href=\"#footnote-9\"><sup>9<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-9\"><a href=\"#fn-ref-9\"> 9 <\/a> - Ibid.<\/span> Often sharing libertarian attitudes toward telecommunications, art\u2019s individualized pricing, speculation, and mobility make it very well attuned to the free market. This has enabled art to become an investment for offshore subsidiaries and money laundering, as it is loosely regulated and able to pass smoothly through various geopolitical zones by its very virtue as art\u200a\u2014\u200aa \u201cglobal\u201d and boundaryless medium. New York-based lawyer Nathan Newman goes one step further to call art the new offshore haven and an investment gold <span style=\"white-space: nowrap;\">mine.<a class=\"fn-link\" id=\"fn-ref-10\" href=\"#footnote-10\"><sup>10<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-10\"><a href=\"#fn-ref-10\"> 10 <\/a> - Nathan Newman, speaking at \u201cIncorporating Offshore: The Stakes of Going Offshore for Art,\u201d conference by offshoreart.co, April, 2015, http:\/\/offshoreart.co\/online.html#event-2.<\/span> A concrete example of this new trade can be found in the Singapore FreePort, where it is estimated that millions of assets held in art are stored in a jurisdictional \u201cfree zone\u201d\u200a\u2014\u200aout of reach of law and tax. The FreePort was recently described by artist Hito Steyerl as one of the \u201cprime spaces for contemporary art,\u201d functioning as an \u201coff\u00adshore or extraterritorial <span style=\"white-space: nowrap;\">museum.\u201d<a class=\"fn-link\" id=\"fn-ref-11\" href=\"#footnote-11\"><sup>11<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-11\"><a href=\"#fn-ref-11\"> 11 <\/a> - Hito Steyerl, \u201cDuty-Free Art,\u201d <em>e-flux Journal<\/em> 63 (March 2015), http:\/\/www.e-flux.com\/journal\/duty-free-art\/.<\/span> Indeed, the rapid mobility of contemporary art, as well as its dependence on wealth and power, make it a good match for offshore strategies such as <span style=\"white-space: nowrap;\">\u201croundtripping.\u201d<a class=\"fn-link\" id=\"fn-ref-12\" href=\"#footnote-12\"><sup>12<\/sup><\/a><\/span><span class=\"fn\" id=\"footnote-12\"><a href=\"#fn-ref-12\"> 12 <\/a> - Roundtripping is a financial strategy in which capital goes from a central source to a foreign jurisdiction and then returns to the originating country in order to distort statistics on investment economies. See Bill Maurer, \u201cJurisdiction in dialect: Sovereignty Games in the British Virgin Islands,\u201d In <em>European Integration and Postcolonial Sovereignty Games: The EU Overseas Countries and Territories<\/em>, ed. Rebecca Alder-Nissen and Ulrik Pram Gad (New York: Routledge, 2013), 130\u200a\u2014\u200a44.<\/span> Coincidentally, the Singapore FreePort also happens to be located at a significant landing point for the country\u2019s telecommunications cables.<\/p>\n\n\n\n<div class=\"wp-block-columns alignfull is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"952\" src=\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Metahaven_Captives-of-the-Cloud-scaled.jpg\" alt=\"86_DO04_Lynch_Metahaven_Captives of the Cloud\" class=\"wp-image-164196\" srcset=\"https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Metahaven_Captives-of-the-Cloud-scaled.jpg 1920w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Metahaven_Captives-of-the-Cloud-300x149.jpg 300w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Metahaven_Captives-of-the-Cloud-600x298.jpg 600w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Metahaven_Captives-of-the-Cloud-768x381.jpg 768w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Metahaven_Captives-of-the-Cloud-1536x762.jpg 1536w, https:\/\/staging.esse.ca\/wp-content\/uploads\/2022\/05\/86_DO04_Lynch_Metahaven_Captives-of-the-Cloud-2048x1016.jpg 2048w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><figcaption><strong>Metahaven<\/strong><br><em>Captives of the Cloud &#8211; Scanlation<\/em>, 2013.<br>Photo\u2009: \u00a9 Metahaven<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p>I bring these two points together\u200a\u2014\u200athe difficulty of representing geopolitics in huge infrastructures such as telecommunications, and art\u2019s nebulous relationship with finance and global trade\u200a\u2014\u200ain hopes of encouraging future research into art\u2019s jurisdictional status. In essence, there is a need for art to examine its own geopolitical function as a \u201csupra-jurisdiction,\u201d and this ties into its own calls for boundarylessness and anti-statism. The frequent insistence on freedom from fixed pricing\u200a\u2014\u200athe regulation of art in a financial sense\u200a\u2014\u200ais similar to the free market\u2019s insistence on boundarylessness. If we associate the desire of those who control the circulation of art to protect art from regulation with art\u2019s own attraction to global movement, we can see that art is a very fast-moving grey matter that is difficult to represent and pinpoint. These are some of the same qualities that made submarine cables ideal for large financial institutions and trading in areas such as the Cayman Islands. Like the cables, the material status of art proves to be another point that\u200a\u2014\u200athough rich in history and information\u200a\u2014\u200adoes not provide a resolution or a concrete mapping of this geopolitical movement, as so much of art\u2019s evaluation and market is not contingent on any material basis.<\/p>\n\n\n\n<p>Indeed, if art has become a \u201cstack\u201d formation, a mapping or understanding of how it is being utilized is necessary in order to comprehend what possibilities and consequences this new configuration opens up. Furthermore, research and projects by cultural practitioners are a vital step in re-investigating what grounds, if any, remain for critique of capital in art, especially as it would seem that art is currently just as implicated as are the large power structures that it critiques.<\/p>\n<div style='display: none;'>Guggenheim Cruises, Meredith Lackey, Metahaven, Robin Lynch, TeleGeography<\/div>","protected":false},"excerpt":{"rendered":"The representation of geopolitics is a site of theoretical and artistic tension and, at times, contradiction. There are numerous parallels between the debate around the murky ownership and power of telecommunications and debates around the unregulated circulation of art. In this essay, I consider the entanglement of art and telecommunications in order to pose some vital questions about art\u2019s struggle with its own use as a tool for manipulation on a geopolitical scale. By observing the emergence of supra-jurisdictional zones that bypass exclusive regulation and control by state power, including offshore havens for art, I will attend to the embeddedness of art\u200a\u2014\u200aa largely unregulated sphere\u200a\u2014\u200ain a broader geopolitical process.<\/br>","protected":false},"author":1303,"featured_media":164198,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[882],"tags":[],"numeros":[6517],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[2868],"artistes":[2869,2870,2871,2872],"thematiques":[],"type_post":[319],"class_list":["post-164374","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-post","numeros-86-geopolitics-en","auteurs-robin-lynch-en","artistes-guggenheim-cruises-en","artistes-meredith-lackey-en","artistes-metahaven-en","artistes-telegeography-en","type_post-principal"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/posts\/164374","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/users\/1303"}],"replies":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/comments?post=164374"}],"version-history":[{"count":0,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/posts\/164374\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media\/164198"}],"wp:attachment":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media?parent=164374"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/categories?post=164374"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/tags?post=164374"},{"taxonomy":"numeros","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/numeros?post=164374"},{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/disciplines?post=164374"},{"taxonomy":"statuts","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/statuts?post=164374"},{"taxonomy":"checklist","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/checklist?post=164374"},{"taxonomy":"auteurs","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/auteurs?post=164374"},{"taxonomy":"artistes","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/artistes?post=164374"},{"taxonomy":"thematiques","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/thematiques?post=164374"},{"taxonomy":"type_post","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/type_post?post=164374"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}