Category: language

Los Miamis mutables.

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Legna Rodriguez Iglesias wrote about Miami, a view of its connection to the Caribbean, in relation to thought, literature, and art, and a productive use of IG. Text is publised in Rialta.

ESTOY USANDO, POR CIERTO, LA OBRA DE UN ARTISTA, COMO APOYATURA PARA SUBRAYAR, ADEMÁS, LO QUE YA OTROS HAN DEMOSTRADO: QUE UNA POÉTICA DEL CARIBE SE PODRÍA REDEFINIR DESDE LA POÉTICA DE MIAMI. UN CARIBE MÁS REDONDO, MÁS EXPLOSIVO, MÁS COMPLETO Y POR TANTO, MÁS MEJOR.

Legna Rodríguez Iglesias
Untitled (Soundings of a cultivated landscape, cocorico) ii
2017-2019. Installation of color photographs.

It is a great honor to be included and to find kinship in fellow artist.

Feminist Art Coalition

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Feminist Art Coalition, a platform for art projects informed by feminisms*. FAC fosters collaborations between arts institutions that aim to make public their commitment to social justice and structural change. It seeks to generate cultural awareness of feminist thought, experience, and action.

Notes on Feminisms, a series of newly commissioned essays : Saidiya Hartman – The Plot of Her Undoing .

Participating Institutions, includes Pérez Art Museum Miami (PAMM) with My Body, My Rules, October 9, 2020–May 9, 2021. and Women Photographers International Congress, a symposium, November 19–20, 2020, led by Aldeide Delgado.

“Working collectively, various art museums and nonprofit institutions from across the United States will present a series of concurrent events—including commissions, exhibitions, performances, talks, and symposia—over the course of three months (September–November) in the fall of 2020, during the run-up to the next presidential election. This strategic endeavor takes feminist thought and practice as its point of departure and considers art as a catalyst for discourse and civic engagement.

Motivated by the ethical imperative to effect change and promote equality within our institutions and beyond, these collective projects will advocate for inclusive and equitable access to social, cultural, and economic resources for people of all genders, sexualities, races, ethnicities, classes, ages, and abilities. This cooperative effort stages a range of projects that together generate a cultural space for engagement, reflection, and action, while recognizing the constellation of differences and multiplicity among feminisms.“

Resources.

A Counterfeit Utopia by Robert Antoni

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On John Adolphus Etzler, social imaginings, inventions with exponential benefits, treatises with titles like The New World, or, Mechanical System, to Perform the Labours of Man and Beast by Inanimate Powers, that Cost Nothing, for Producing and Preparing the Substances of Life, and Trinidad.

A Counterfeit Utopia, Cabinet Magazine, A Quarterly of Art and Culture, Issue 51, Fall 2013, Pages 60-68 (pdf).

Mose

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The excellent exhibition at Fort Mose Historic State Park, is wonderful place to encounter Florida, Underground Railroad, colonial rivalries, fugitive alliances, piracy, the development of notions of freedom, and links to Haiti and Cuba. Fort Mose was a place where English, Spanish, and Timacua (wikipedia) would have been spoken.

“In 1738, the Spanish established the fort-town of Gracia Real de Santa Teresa de Mose as the first legal, free Black community in the United States.” via Fort Mose : colonial America’s Black fortress of freedom (1996) by Kathleen A Deagan; Darcie A MacMahon.

Fort Mose Historical Society supports the park.

Walter Rodney’s ‘Groundings’

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Via Verso, On Walter Rodney‘s concept and practice of ‘Grounding’ as Critical Pedagogy by Kevin Okoth.

“A collection of public lectures held by Rodney in Jamaica and at the Congress of Black Writers in Montréal, Groundings provides a pedagogical framework for intellectuals fighting to undo the epistemological distortions of imperialism.”

“To truly ‘ground’, Rodney believed that the revolutionary intellectual must go anywhere to reason with their people. […] ‘I was prepared to go anywhere that any group of black people were prepared to sit down and listen’, he writes. ‘It might be in a sports club, it might be in a school-room, it might be in a church, it might be in a gully […] – ‘dark dismal places with a black population who have had to seek refuge there. You will have to go there if you want to talk to them.’ […] For Rodney, the revolutionary Black intellectual cannot hide in the university and challenge the status-quo within the boundaries of academic respectability. These intellectuals, he argued, do not pose a threat to the neo-colonial elites; only when these same intellectuals break out of academic isolation and engage in the mutual exchange of knowledge with those struggling on the ground, do they begin to challenge oppressive and exploitative systems of power.”