T H E J O U R N A L O F 11, no. 2 (Winter 2020) HEIDELBERG UNIVERSITY PUBLISHING TRANSCULTURAL S T U D I E S 11, no. 2 (Winter 2020) T H E J O U R N A L O F TRANSCULTURAL S T U D I E S Editorial Note Monica Juneja vi How We Work Together: Ethics, Histories, and Epistemologies of Artistic Collaboration Franziska Koch Transculturation and Contemporary Artistic Collaboration: Pushing the Boundaries of Histories, Epistemologies, and Ethics 1 Katia Olalde Stitching Critical Citizenship during Mexico’s War on Drugs 19 Haema Sivanesan “Unsettling” the Picturing of the Canadian Old-Growth Forest: Consent, Consultation, and (Re)conciliation in Leila Sujir’s Forest! 46 Theresa Deichert Contested Sites, Contested Bodies: Post-3.11 Collaborations, Agency, and Metabolic Ecologies in Japanese Art 77 Shao-Lan Hertel Deterritorializing Chinese Calligraphy: Wang Dongling and Martin Wehmer’s Visual Dialogue (2010) 113 Paul Gladston ROCI China and the Prospects of “Post-West” Contemporaneity 150 iiiThe Journal of Transcultural Studies 11, no. 2 (Winter 2020) The Journal of Transcultural Studies 11, no. 2 (Winter 2020) Guest Editor Franziska Koch, Global Art History Editors Monica Juneja, Global Art History Joachim Kurtz, Intellectual History Diamantis Panagiotopoulos, Classical Archaeology Michael Radich, Buddhist Studies Rudolf G. Wagner†, Chinese Studies Managing Editor Sophie Florence Editorial Board Christiane Brosius, Antje Fluechter, Madeleine Herren, Birgit Kellner, Axel Michaels, Barbara Mittler, Vladimir Tikhonov, and Roland Wenzlhuemer Editorial Assistants Kush Depala, Hajra Haider, Anja Lind, Mhairi Montgomery, and Alexandra Valdez The Journal of Transcultural Studies is edited at the Heidelberg Centre for Transcultural Studies (HCTS) and published by Heidelberg University Publishing. The journal is freely available at http://heiup.uni-heidelberg.de/ (open access). ISSN: 2191-6411 iv Contributors Contributors to this Issue Franziska Koch is Assistant Professor of Global Art History at Heidelberg University. She is currently working on her habilitation project “The Artist Works (Trans-)culturally: Nam June Paik and other Fluxus Artists Negotiating Collaborative Authorship.” She is co-editor of Negotiating Difference: Contemporary Chinese Art in the Global Context (Weimar: VDG, 2012) and author of Die “chinesische Avantgarde” und das Dispositiv der Ausstellung: Konstruktionen chinesischer Gegenwartskunst im Spannungsfeld der Globalisierung (Bielefeld: transcript, 2016). She jointly leads the Heidelberg branch of the Transatlantic Platform project “Worlding Public Cultures: The Arts and Social Innovation” (2019–2022). Her research interests include art histories and historiographies in transcultural perspective, contemporary artistic entanglements, exhibition studies, authorship and collaboration in the field of art, and transfer and translational processes between East Asia, Europe, and North America. Katia Olalde holds a Ph.D. in art history and works as Associate Professor at the Art History Department of the Universidad Nacional Autónoma de México, UNAM Campus Morelia. Her research focuses on the role that artistic practices and forms of cultural activism play within actions of resistance, grieving processes, and shaping of dissident memories conducted by civil society groups in contexts of violence and impunity. Her areas of interest include the sensorial and affective dimensions of political struggles, the interdependence between the exercise of citizenship and the public space, and the debates surrounding the transnational public sphere and global critical citizenship. Haema Sivanesan is a Curator at the Art Gallery of Greater Victoria, British Columbia. Her curatorial work focuses on art from South and Southeast Asia and its diasporas, with an interest in non-western, post-colonial, and transnational histories, world views, and practices. Recent exhibitions include Imagining Fusang: Exploring Chinese and Indigenous Encounters (2019), Fiona Tan: Ascent (2019), and Supernatural: Art, Technology and the Forest (2018). In 2018, she was a recipient of a Curatorial Research Fellowship (2018–2019) from the Andy Warhol Foundation for the Visual Arts, New York; and in 2016, she was a recipient of a multi-year research and exhibition development grant from the Robert H. N. Ho Family Foundation, Hong Kong, for the project “In the Present Moment: Buddhism, Contemporary Art and Social Practice” (forthcoming, 2023). Theresa Deichert is a Ph.D. candidate in the Graduate Programme for Transcultural Studies at Heidelberg University. Her research investigates the vThe Journal of Transcultural Studies 11, no. 2 (Winter 2020) collaborative strategies and practices of Japanese artists who critically engage with the ecologies of the Fukushima nuclear disaster. She holds a B.A. in cultural studies from Jacobs University Bremen and an M.A. in history of art from University College London, where she specialized in contemporary art and globalization. She has gained work experience at museums in the UK and Germany. She recently concluded a two-year curatorial traineeship at the Institut Mathildenhöhe in Darmstadt. Shao-Lan Hertel received her doctorate in East Asian art history from Freie Universität Berlin (FUB, 2017), and previously worked as Assistant Professor at the FUB Art History Institute (2012–18). Hertel’s research fields include Chinese calligraphy and ink art, with a historical focus on the late imperial, modern, and contemporary periods, and a thematic interest in transcultural encounters. She completed a postdoctoral degree program at the Academy of Arts and Design, Tsinghua University, and was appointed Postdoctoral Assistant Researcher at Tsinghua University Art Museum (2018–20). She is a recipent of the J. S. Lee Memorial Fellowship of the Bei Shan Tang Foundation, which she was awarded to realize an exhibition project. She is Visiting Professor of East Asian art history at FUB during the summer semester 2021. Forthcoming publications include chapters in the volumes Lost and Found in Translation: Citation and Early Modern Architecture, ed. Andrew Hopkins (Cambridge: Cambridge University Press) and Xianxiang [Phenomena], ed. Han Bi (Beijing: Commercial Press). Paul Gladston is the inaugural Judith Neilson Professor of Contemporary Art, University of New South Wales, Sydney. He was previously Professor of Contemporary Visual Cultures and Critical Theory, University of Nottingham, and inaugural Head of the School of International Communications and Director of the Institute of Comparative Cultural Studies, University of Nottingham Ningbo. His recent publications include Contemporary Chinese Art, Aesthetic Modernity and Zhang Peili: Towards a Critical Contemporaneity (London: Bloomsbury Publishing, 2019), and Contemporary Chinese Art: A Critical History (London: Reaktion Books, 2014). Gladston was an academic adviser to the exhibition “Art of Change: New Directions from China,” Hayward Gallery-Southbank Centre, London (2012), and has co-curated several exhibitions. He is currently an inaugural co-editor of the book series Contemporary East Asian Visual Cultures, Societies and Politics (Palgrave Macmillan), and was inaugural principal editor of the Journal of Contemporary Chinese Art (2013–2017). Gladston is a regular correspondent for the visual arts, culture, and politics journal, Brooklyn Rail.