Abstract Ecological change at the hands of humans is strikingly evident in Tierra del Fuego, so too human transformation at the mercy of geography. This mirroring between the human and the ecological is what captured my attention when I first visited in early 2010, and it has been the driving force for my curatorial practice ever since. What does it mean for the work of a curator to be motivated by an archipelago? How does it transform the definition of curatorial practice? What does curating for an archipelago entail? To answer these questions, I explore the relationship between myself and my subject of study in a literary manner. In what could be called a fictocritical (Stephen Muecke, ‘What is fictocritism?', in The Mother's Day Protest and other Fictocritical Essays, Rowman and Littlefield International, London, 2016, p xiii) style I address Tierra del Fuego as an ‘actant' (in the Latourian sense of non-human entities that have agency as explained in Bruno Latour, ‘On Actor-network Theory: A Few Clarifications', Soziale Welt 47, no 4, 1996, pp 369-381) or as a hyperobject (this term refers to objects so massively distributed in time and space as to transcend localisation, such as climate change, Styrofoam, and the wind. I classify the archipelago of Tierra del Fuego within this category of hyperobjects as defined by Timothy Morton, Hyperobjects: Philosophy and Ecology after the End of the World, University of Minnesota Press, London, 2013) and tell it stories. By revealing how I came to know my subject rather than what I know about it I aim to enact a practice of transversal ecological address (this article is one of a series of multi-versed approaches to writing on Tierra del Fuego. In other essays, I adopt different tones of voice when addressing different ‘characters’. These tones of voices are not just metaphorical, but performative for each essay and are forged through dramatised rehearsals of past or possible encounters).

中文翻译：

---

致卡鲁金卡

摘要 人类手中的生态变化在火地岛非常明显，人类的转变也受地理影响。2010年初我第一次访问时，正是这种人与生态之间的镜像引起了我的注意，从那时起，它一直是我策展实践的动力。策展人的工作受到群岛的激励意味着什么？它如何改变策展实践的定义？为一个群岛进行策展意味着什么？为了回答这些问题，我以文学的方式探索了我自己和我的研究对象之间的关系。在什么可以称为虚构批评（Stephen Muecke，“什么是虚构批评？”，在母亲节抗议和其他虚构批评论文中，Rowman 和 Littlefield International，伦敦，2016 年，