AG2022_2110737a

AG2022_2110737a

L’imaginaire de mon lieu est relié à la réalité imaginable des lieux du monde, et tout inversement. L’archipel est cette réalité source, non pas unique, d’où sont sécrétés ces imaginaires : le schème de l’appartenance et de la relation, en même temps.

Glissant, Édouard, Philosophie de la Relation, Paris, Gallimard, 2009.

Steve McQueen, Sunshine State

Sunshine State, exhibition (31 March – 31 July 2022) at Pirelli HangarBicocca, is organized in collaboration with Tate Modern, London, where the artist had presented a first version, titled ?Steve McQueen”, in 2020.

The title of the exhibition evokes the artist’s new work, Sunshine State (2022), commissioned and produced by the International Film Festival Rotterdam (IFFR) 2022.

Catalogue extract, the essay In the Dead of the Light: Steve McQueen’s Sunshine State by Cora Gilroy-Ware.


Fig. 1
Photographer unknown, African American man picking oranges at a contest in a grove, 1952, black and
white photoprint, State Archives of Florida, Florida Memory.

[…] how do we know this man is American? With no name or record of his identity, he could be one of the thousands of men brought to Florida from the West Indies during this same era to carry out temporary
agricultural labour, most cutting sugar cane, some working in orange groves.

Related : Also, from State Archives of Florida, Florida Memory; same caption.

Kay Andrews picking oranges at contest in a grove - Orlando
Kay Andrews picking oranges at contest in a grove – Orlando. February, 1952

10000 daffodils

10000 daffodils–a will to adorn, a proclivity for the baroque.

My garden has at least 10,000 daffodils because I wanted to redeem Wordsworth. It’s a story about being forced to memorize his poem, “I Wandered Lonely as a Cloud.” So I decided that to pay homage to Wordsworth, I would plant at least 10,000 daffodils.

[…]

Sometimes, I have friends come over and we have a daffodil party, and we recite Wordsworth and drink champagne. It’s not Wordsworth’s fault that colonial education forced us to memorize a poem about a flower that we had never seen.

Jamaica Kincaid, Harvard’s Crimson. 2017. via repeatingislands.

Beauty is not a luxury; rather it is a way of creating possibility in the space of enclosure, a radical art of subsistence, an embrace of our terribleness, a transfiguration of the given. It is a will to adorn, a proclivity for the baroque, and the love of too much. 

Saidiya Hartman