You've got to dig to dig it, you dig?
Garden’s of Delight at Pulp, Holyoke, MA.
“… in the 1970s, [Harmony] Hammond was an organizer of lesbian group exhibitions and a founder of the feminist gallery A.I.R as well as Heresies magazine” – Johanna Fateman on Whitney Biennial in 4columns.
Kesner Pharel, one of Haiti’s leading economists, […] wants to talk about what will happen after the crisis ends, and how Haitians living in South Florida and elsewhere can help the country rebuild.
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Haitians abroad, he says, account for nearly $4 billion in remittances sent to Haiti. That’s more than the country’s current budget for this fiscal year, which stands at about $2.5 billion. It is also more than what the international community provides the government, which is less than $1 billion.
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Pharel acknowledges that most of the money being sent by Haitians living abroad ends up paying for food, schooling, medical care and funerals. Still, amid the sacrifices many are making to ensure there’s a social safety net in the country, there are those with disposable income who can invest.
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Among those in attendance will be representatives of Haiti-based firms looking for an injection of cash as well as the representative of the country’s only investment bank, Profin.
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As part of this year’s theme, “Haiti: Engaging the Progress, migration and remittances,” there will also be a look at the country’s relationship with the neighboring Dominican Republic, which exports about $1.4 billion in food and other goods to Haiti that Haitians often purchase with remittances. Haitians also accounted for some of the $10 billion in remittances the Dominican Republic received last year, according to its central bank. “Some of them have their kids going to school over there, or their family is over there because they cannot come to the States. So they are sending them money also,” said Pharel. The Dominican Republic “is benefiting quite a lot, not only from exporting goods to Haiti but also from Haitian families living over there and that is the reason I said, ‘Hey’ we’ve got to have a conversation with the diaspora.”
Miami Herald, Jacqueline Charles, 040624.
Adam Shatz in LRB on Jean-Pierre Melville (2019) via Shatz’s Writers and Missionaries: Essays on the Radical Imagination.
A friend, Melville said, is someone you can call in the middle of the night to “tell him, ‘Be nice, find your revolver and come immediately,’ and to hear him respond, ‘OK, I’m coming.’ Who does that for anyone?”
Artists use of LLCs. Example–Christo, also Radiohead, incorporate each project in a LLC; LLC allows investors to support a project.
NASA’s Scientific Visualization Studio released maps for the Eclipse, March 8, 2023, updated April 2, 2024. via NPR with safe eclipse viewing tips.
Hua Hsu in NewYorker on Nirvana’s Nevermind.
“The album would eventually go diamond, selling more than ten million copies in the U.S. alone.”
Nirvana – MTV Unplugged in New York, 1994.
Haiti Inter, 033124.
Cecilia Vicuña, What Is Poetry to You? 1980 or 1990(?)(22:30). 23 minutes. Courtesy of Electronic Arts Intermix (EAI), New York. via e-flux
The fullness of the earth made her well.
The Heaven & Earth Grocery Store: A Novel, James McBride
Serra’s career remains marked by the controversy surrounding Tilted Arc (1981). Since its dismantling by the authorities in 1989 following a lengthy court battle, Tilted Arc has become the defining instance of site specificity, the example given of this category in seminar rooms and art history lectures across the West. But in mentioning this work it is also worth noting its difficulty. Too frequently site specificity is envisaged as artworks made and almost tidily housed in a particular spatial context, akin to how a hand may perfectly fit a tailor-made glove. Tilted Arc was more obdurate and antagonistic than that; it worked to barricade, divide and unsettle an urban space that was ostensibly ‘public’. The trial unintentionally had the consequence of highlighting the intersubjective difficulties site-specific artworks might expose and bear witness to.
Matthew Bowman 28 March 2024 artreview.com
No by Anne Boyer (2017)
“History is full of people who just didn’t. They said no thank you, turned away, ran away
[…]Of all the poems of no, Venezuelan poet Miguel James’s Against the Police, as translated by Guillermo Parra, refuses most elegantly
[…]It’s stealthy, portable, and unslouching. It presides over the logic of my art, and even when it is uttered erringly there is something admirable in its articulation. But even the greatest refusialists of the poets might be a somewhat ironic deployers of that refusal, for what is refused often amplifies what is not. The no of a poet is so often a yes in the carapace of no. The no of a poet is sometimes but rarely a no to a poem itself, but more usually a no to all dismal aggregations and landscapes outside of the poem. It’s a no to chemical banalities and wars, a no to employment and legalisms, a no to the wretched arrangements of history and the tattered and Bannon-laminated earth.
[…]Transpositions and upendings refuse and then reorder the world.
[…]There is a lot of meaning-space inside a “no” spoken in the tremendous logic of a refused order of the world. Poetry’s no can protect a potential yes—or more precisely, poetry’s no is the one that can protect the hell yeah, or every hell yeah’s multiple variations. In this way, a poem against the police is also and always a guardian of love for the world.