Exterritory Project deploys different media for theoretical and practical investigations of extraterritorial phenomena and an extraterritorial logic of representation. Consisting of the creation of artworks, transdisciplinary collaborations, techno-aesthetic interventions, and publications, the project explores the potential of extending the concept of extraterritoriality to other objects and spheres of activity such as regimes of representation and information affected by advanced technologies.
Within the framework of Exterritory, the work we produce often confronts cases in which images of critical evidentiary value are created, only to go missing – images produced despite the knowledge that they will later be expropriated and barred from public view. At times our practice experiments with (or invents) situations and representations that evoke the absence of images and gaps in visual data. Often, these gaps are preserved through certain relationships between law, representation, and space which the phenomenon of extraterritoriality both produces and represents. By investigating the notion of extraterritoriality, we hope to contribute toward a greater comprehension of these relationships.
This art project was conceived when we decided to screen a video compilation of works by Middle-Eastern artists onto the sails of boats navigating in the extraterritorial waters of the Mediterranean, as a response to the ongoing Israeli-Palestinian conflict. In 2010 we initiated a meeting in the extraterritorial waters of the Mediterranean, to which we openly invited people from diverse disciplines to offer their interpretation of the concept of extraterritoriality, and to project artworks onto the sails of the participating boats. Extraterritorial waters seemed to us a meeting space that could offer the suspension of the region’s national border regimes, and enable encounters among artists from conflict areas which the region’s national cross-border restrictions usually outlaw. Having faced the urgency of adopting an extraterritorial prism, we subsequently expanded the project, which has since been devoted to examination of extraterritoriality to consider also how it may produce an effective critique on attempts to regulate visual fields in ways that limit our culture of sense-making.