From the abstract: Translocality: studying the local through global contemporary art practices Global contemporary art practices have developed since the late 1980’s mainly through the appearance of international mega exhibitions and increased circulation of artists and curators. A consequence of this development is ‘the translocal’ (Andreas Broeckmann); to be grounded locally and connected globally. The term is mostly used to define the condition of artistic practices and networked communities, but this usage overlooks the impact exhibition practices have on shaping the translocal. Based on the assumption that global contemporary exhibition practices and artistic practices are strongly interconnected in developing the translocal this paper investigates the translocal through two different art practices; the Indian artists’ collective Raq’s Media Collective and the Medellín Biennial in Colombia. Using multi-sited ethnography (George Marcus) and site-specificity (Miwon Kwon) I show that translocal practices are to be analysed in relation to a multiple of sites that each have a local grounding. The analysis reveals that the The Raq’s Media Collective is an example of a nomadic practice that return to a local place, whereas the Medellín Biennial is an example of a local place that invites artists, curators and academics from abroad to analyse, comment and better a local situation. I therefore propose that the local is emphasised and scrutinised in its condition of being globally connected and that translocal art practices contribute to constantly modifying our idea of the local. Final reflections will consider the influence of translocal art practices on the production of cultural memory.