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Category: language

  • Beatriz Santiago Muñoz – Thinking with Places and Objects, on Promise No Promises!

    Promise No Promises!, a podcast, opens a new chapter called Feminisms in the Caribbean. In this episode, curator and writer Sonia Fernández Pan talks with artist Beatriz Santiago Muñoz.

    Promise No Promises! is a podcasts series produced by the Womxn’s Center for Excellence, a research project between the Art Institute and the Instituto Susch—a joint venture with Gra?yna Kulczyk and Art Stations Foundation CH. The Womxn’s Center for Excellence is conceived as a think tank tasked to assess, develop, and propose new social languages and methods to understand the role of women in the arts, culture, science, and technology, as well as in all knowledge areas that are interconnected with the field of culture today.

    Related : Gosila, 10 – 25 November, 2018.

  • Teresita Fernández, Maelstrom

    Teresita Fernández discusses her solo exhibition Maelstrom and the key topics it unravels in relation to its central theme: the enduring violence and devastation ignited by colonization in the Caribbean. The arist invites viewers to reconsider the region and the erasure of its past in order to develop a deeper understanding of place, identity, and history. Film by Rava Films. via Lehmann Maupin.

  • The Slowdown : 505

    You Are Who I Love by Aracelis Girmay

    You cheering for the bees

    You with cats in your voice in the morning, feeding cats

    You protecting the river

    You are who I love delivering babies, nursing the sick

  • A lecture on Corners

    Anne Carson. Presented on May 10, 2018, by GC Public Programs and the Critical Theory Certificate Program.

    32:20 “Our house is our corner of the world,” Bachelard says.

    32:29 With its dialectic of inside and outside, the house is a container holding an answer to some question that is posed …

    Related : visualizing theory conference. Interview in the Paris Review, 2004. Stillness Complicated by Corners – CI.

  • in the land of NOPE

    NOPE (a manifesto) by E. Jane

    I am not an identity artist just because I am a Black artist with multiple selves.

    I am not grappling with notions of identity and representation in my art. I’m grappling with safety and futurity. We are beyond asking should we be in the room. We are in the room. We are also dying at a rapid pace and need a sustainable future. 

    We need more people, we need better environments, we need places to hide, we need Utopian demands, we need culture that loves us. 

    I am not asking who I am. I’m a Black woman and expansive in my Blackness and my queerness as Blackness and queerness are always already expansive. None of this is as simple as “identity and representation” outside of the colonial gaze. I reject the colonial gaze as the primary gaze. I am outside of it in the land of NOPE.

    via Glitch Feminism, A Manifesto by Legacy Russell.

  • Urayoán Noel and Legna Rodríguez Iglesias

    Kenning Editions presents a bilingual reading with Urayoán Noel and Legna Rodríguez Iglesias, to launch TÍTULO / TITLE, a book of poems by the Cuban poet, prose writer, and playwright Legna Rodríguez Iglesias, published for the first time in Spanish, and in English translation by Katherine M. Hedeen.

    …she doesn’t write poetry anymore, she does dishes…

  • X

    Malcolm X directed by Spike Lee, released November 18, 1992.

    Related (I think) —

    Vaughn Spann, AlmineRech; David Castillo.

    Marked man (Mitchell), 2019. Mixed media on wooden panel. 60 x 48 inches. Acquired by Pérez Art Museum Miami.

    The X is a notable and instantly recognizable letter and symbol. Spann described his own experience being stop and frisked by the police—the way his body became an X as it occurred. The X is also a target, a place to aim, to focus your attention. The series provides plenty of room for the viewer to project their own interpretations as well, given the X’s broad historical implications and associations. The first time I encountered Marked Man (Mitchell) (2019), I related it all to Spann’s personal anecdote, noting the connection between his and where my own mind took me upon encountering this work. The two are separate but the link is clear—the broader experience, the commentary on contemporary life—it comes alive for anyone paying attention to the intricacies of modern Black life. The viewer is to come forward prepared to bring with them their own world and unique purview. Spann’s paintings are not merely a reflection of his own but instead an invitation to share yours. The works function as a catalyst, allowing the viewer imaginative freedom.

    Smoke Signals, September 03 — October 10, 2020. AlmineRech, Brussels. Press Release, text by Maritza Lacayo.

  • Untitled (Thrives in full sun)

    via The Sunny Project
    via @thesunnyprjct

    I grew up here. This is a formative place, where I learned how to be, to imagine, and even how to cut a figure. I am grateful for all I was given, especially the encouragement to embrace the possible. I was placed in ideal conditions, in a bright and favorable position, that I shared with my siblings.

    I blossomed. I became who I am, grounded and raised in a tended cultural plot. I was afforded a southeasterly view, of the world!? We could not help it–we have lived in other places, have known other conditions, have learned to participate in the ecosystem that we are in, and always remembered what dreams are for.

    Here still works for me. It is a place of imaginings and comfort. It cultivates warm memories, and unfurled reflections. I prefer to thrive in full sun.

    Related:

    Balla Et Ses Balladins ?– Objectif Perfection, Editions Syliphone Conakry, 1980.

    Paulette, la confiance est un habit difficile à porter.

    LP back cover.