Artnet on Vo’s market.
Greg.org on Vo.
Vo spends an awful lot of time shopping. It’s probably the main part of his practice, besides chopping.
Category: Uncategorized
NGAISL
The touch, the finish — everything about this Nigeria goal was absolutely GORGEOUS. ? pic.twitter.com/hfTMJGnbzs
— FOX Sports (@FOXSports) June 22, 2018
Quilombo
A quilombo (Portuguese pronunciation: [ki?lõbu]; from the Kimbundu word kilombo, “campsite, slave hut”)[1] is a Brazilian hinterland settlement founded by people of African origin including the Quilombolas, or Maroons. Most of the inhabitants of quilombos (called quilombolas) were escaped slaves. However, the documentation on runaway slave communities typically uses the term mocambo, an Ambundu word meaning “hideout”, to describe the settlements. A mocambo is typically much smaller than a quilombo. Quilombo was not used until the 1670s and then primarily in more southerly parts of Brazil.
A similar settlement exists in the Spanish-speaking countries of Latin America, and is called a palenque. Its inhabitants are palenqueros who speak various Spanish–African-based creole languages.
Quilombos are identified as one of three basic forms of active resistance by slaves. The other two are attempts to seize power and armed insurrections for amelioration.[2] Typically, quilombos are a “pre-19th century phenomenon”. The prevalence of the last two increased in the first half of 19th-century Brazil, which was undergoing both political transition and increased slave trade at the time.
1988 Constitution: Article 68
The national black movement and the black rural communities in the northern regions of Pará and Maranhão gathered political momentum throughout the 1980s and succeeded in having quilombola land rights introduced into the 1988 Constitution in the form of Article 68. Regional and national organisations working to fight racial discrimination formed an alliance in 1986 that played an important role in the grassroots political action that resulted in Article 68. Black militants across Brazil demanded reparation and the recognition of the detrimental effects of slavery, including preventing black communities from accessing land.[3] The Black Movement explicitly decided to make land central to their political agenda during the constitutional debates. They capitalised on the perception that there were very few quilombos and that it would thus be mainly a symbolic gesture in order to get it into the Constitution.[4] It was assumed that any community would have to prove its direct descent from a runaway slave settlement.
Quilombolas are mentioned in this article about Inhotim and Paz’s exploitative business practices.
Sancho: An Act of Remembrance
Sancho: An Act of Remembrance
written, conceived and performed by Paterson Joseph. Co-Directed by Simon Godwin.
April 18 – May 6, 2018
The Classical Theatre of Harlem (Ty Jones, Producing Artistic Director), Pemberley Productions and Dr. Barbara Ann Teer’s National Black Theatre are proud to present Sancho: An Act of Remembrance. This timely theater production celebrates the extraordinary life of Charles Ignatius Sancho, an African man who was born on a slave ship and rose to prominence as a noted abolitionist, composer, social satirist and man of refinement in 18th century English society. Sancho makes his mark in history by becoming the first British-African to cast a vote in England in 1774.
Production Team: Ben Park (Music & Sound), Michael Vale (Design), Lucrecia Briceño (Lighting).
… He was born on a slave ship but never a slave. He was immortalized by the great English painter Thomas Gainsborough, and in 1774 became the first British-African to vote. In this revealing and humorous one-man show, celebrated Royal Shakespeare Company actor Paterson Joseph (NBC’s Timeless and HBO’s The Leftovers) inhabits the curious, daringly determined Charles “Sancho” Ignatius—composer, social satirist, general man of refinement—while shining light on the often misunderstood narratives of African-British experience.
BAM – Study guide.
Central Park
Passing Through Eden: Photographs of Central Park by Tod Papageorge, 2007.
Pilson, John. Aperture, Fall2011
Antonio M. Xoubanova – Casa de Campo, 2013.
PARK LIFE. BELL, ADAM, Afterimage. May/Jun2013, Vol. 40 Issue 6, p36-37. 2p.
New York: Sentimental Journeys by Joan Didion NYBooks
Seneca Village, between 82nd and 89th streets, east of Central Park West. NPR.
The Central Park Five, Directors: Ken Burns, Sarah Burns, David McMahon. Bianculli-NPR. Kenneth Turan-NPR.
Margot Adler‘s beat. NPR.
Tang (1967), Plan B (1970) by Chester Himes.
Palabras ajenas (The Words of Others)
PAMM presents The Words of Others.
…live reading of artist Leon Ferrari’s seminal 1967 publication Palabras ajenas (The Words of Others)—an important Vietnam-era anti-war piece written in the form of a dramatic script that explorers the language of authoritarianism. Palabras ajenas was Ferrari’s first literary collage, composed as an extensive dialogue among various characters, including President Lyndon B. Johnson, Adolf Hitler, Pope Paul VI, and God. The resulting chorus will be read over the course of eight hours by local community figures, artists, and actors and will take place in conjunction with the exhibition opening of The Words of Others: León Ferrari and Rhetoric in Times of War.?
Performance view: León Ferrari, Operativo: “Pacem in Terris,” 1972
Adriana Banti Archive, Buenos Aires.
Perfomance and show was at REDCAT, as part of Pacific Standard Time: LA/LA.
Exhibition catalogue and an additional book via X Artists Books.
Sharp
To accompany LACMA’s Found in Translation. PR.
[Press Release] Adler Guerrier: Deployed, Conditional, & Limited Utopia
Adler Guerrier: Deployed, Conditional, and Limited Utopia
September 28 – November 21, 2017
Opening Reception, Thursday, September 28th, 6 – 9 PMDavid Castillo Gallery presents Deployed, Conditional, and Limited Utopia, a solo exhibition by Adler Guerrier.
Deployed, Conditional, and Limited Utopia builds a visual topography of the urban, subtropical conditions of Miami, reflecting upon these distinct environments as evidence of the cultural and political landscapes of the city. Human activity, and the turns of economic booms and busts, are insinuated throughout the works as artifacts-semi-manicured yards, chain link fences, power lines, pavement-hidden among rich vegetation; subjects that are treated as background. Guerrier, in many ways, plays the role of cultural cartographer, and the images themselves, physically folded, unfolded, and then displayed on the wall, have the look of maps laid out with landmarks noted in painted squares.
The architectures of Guerrier’s images are weighted with the politics of place and the conditions which bear that space’s values and outcomes. Impasse becomes an evocative theme within this selection of works on paper and photographs, where barriers hinder movement and subjects are captured through the blurred foregrounds of covering leaves. A flowering plant growing up and over a wall trespasses upon the photographer’s space, and ideas of things hidden, and things breaking through, build upon a narrative of transformation, both urban and social. For Guerrier, these concepts are seeded by the ideologies of the American Civil Rights Movement, where Martin Luther King Jr. and Malcolm X reflected upon the possibilities of the present as a catalyst towards building better outcomes. In a public debate at the Oxford Student Union in 1964, Malcom X famously commented: “…I, for one, will join in with anyone-I don’t care what color you are-as long as you want to change this miserable condition that exists on this earth.”
To deploy Utopia is to bring it into effective action. And in this body of work Guerrier treats the Utopian impulse as an extension of both built and natural environments. These notions are reflected in the writings of French philosopher Henri Lefebvre, who imagined space as socially co-created alongside its physical construction, and imprinted upon by the populations which share in its development. Architecture, in the context of Lefebvre’s work, is an intrinsically political apparatus, and Guerrier treats these sites as ideological spaces that can be socially reimagined and recontextualized in the same vein.
The act of seeing, or acknowledging, can be revolutionary and transgressive; and in Deployed, Conditional, and Limited Utopia we see Guerrier’s gaze, how he witnesses and reinterprets Miami, home, and Utopia as the interconnected components in his personal concept of place. To look is everything; to see the possibility of these everyday, and sometimes degraded, sceneries is a first step in deploying action.
Adler Guerrier was born in Port-au-Prince, Haiti and lives and works in Miami, FL where he received his BFA from New World School of the Arts. Current exhibitions of the artist’s work include Pacific Standard Time’s “Relational Undercurrents: Contemporary Art of the Caribbean Archipelago,” at MOLAA, Long Beach, CA. Recent exhibitions include Fondation Clement, Martinique, France; History Miami Museum; and Barnes Foundation “Person of the Crowd: Contemporary Art of Flanerie” among others. He was a 2015 recipient of an Andy Warhol Foundation grant through its re-granting program. Guerrier’s solo exhibitions include PAMM Miami (2015). He has exhibited work at Vizcaya Museum and Gardens, Miami, FL; The Bass Museum, Miami Beach, FL; Harn Museum of Art, Gainseville, FL; and the 2008 Whitney Biennial among many other exhibitions. His works can be found in public collections including ICA Miami, PAMM Miami, and the Studio Museum in Harlem among others.
About David Castillo Gallery
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David Castillo Gallery
info@davidcastillogallery.com
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