William Kentridge, The Old Gods Have Retired, 2022
Photogravure, sugarlift aquatint, direct gravure, drypoint and chine collé with found ledger encyclopedia paper and various other papers with handpainting on Hahnemühle Natural, White, 300gsm. 63 4/5 × 78 7/10 in | 162 × 200 cm. Edition of 20.
Published by Jillian Ross Print and David Krut Projects. Collaborating Master Printer: Jillian Ross.
Jacqueline Charles and Jay Weaver reports in the Miami Herald.
Investigative Judge Walther Wesser Voltaire, has sent his 122-page indictment, in the assassination of Haiti’s President Jovenel Moïse. He has charged Martine Moïse and nearly 50 others in the assassination conspiracy.
In addition to Martine Moïse, the judge indicted [former Prime Minister Claude] Joseph and ex-Police Chief Léon Charles. Both were in office when Moïse was gunned down inside his home in the middle of the night. They are among 10 former government officials or allies of the president who, according to Voltaire, had “an active participation” in the events leading up to his shocking death.
L’ordonnance [PDF] du juge de l’instruction directement d’une source impliquée dans le dossier.
44 personnes sont arrêtées en Haïti dans le cadre de ce dossier. Des onze suspects se retrouvant devant la justice américaine, cinq ont déjà plaidé coupables. –Widlore Mérancourt et Jérome Wendy Norestyl pour Ayibopost.
The former chief of Haiti’s National Police, Léon Charles, who was police chief when Moïse was killed and now serves as Haiti’s permanent representative to the Organization of the American States, faces the most serious charges: murder; attempted murder; possession and illegal carrying of weapons; conspiracy against the internal security of the state; and criminal association. NPR.
“such silence
still divine presence
echoes immortal migrants
[…]
a cardinal framed in the glass
red light
calling away despair
eternal promise
everything changes and ends”
8., bell hooks
“each morning you said yes, then stepped into the consequence.”
“The clarity of a physical emotional response.”
-(KA)
We are thrilled to announce our forthcoming exhibition “A landscape longed for: The garden as disturbance” curated by Laura Novoa and Adler Guerrier. The exhibition, which opens to the public on Friday, March 1 at 5pm, features work by 15 artists, each of whom explores the motif of the garden in its relation to the cultivation and expression of beauty and knowledge.
Each of the participating artists, including Laura Castro, Carolina Casusol, Sandi Haber Fifield, David Hartt, Jim Hodges, Mark Fleuridor, Candice Lin, Cathy Lu, Lee Mary Manning, Ana Mendieta, Reginald O’Neal, Ebony Patterson, Ema Ri, Onajide Shabaka and Kandis Williams, consider the intricacies of the garden as a metaphor for the larger world, using it as a framework to consider cultural, social, political, geographical, and historical issues.
“A landscape longed for: The garden as disturbance” builds on the exhibit’s first iteration, showcased at Locust Projects in Miami in 2021. There, works were displayed with dialogues addressing notions of fragility, remembrance, ornamentation, beauty, and affective traces in the landscape. At CEAM, the show’s themes extend to ecological interdependence, homage, reverence, refuge, renewal, and time emphatically spent on the creation and nourishment of our inner lives.
Laura Novoa is a curator and arts administrator based in Miami, FL, where she works as Assistant Director of Programs and Community Engagement at the Bakehouse Art Complex. She has curated exhibitions for the Miami Design District, Locust Projects, Oolite Arts, and YoungArts, among others. Adler Guerrier is an artist based in Miami who has presented his works in exhibitions at the Samuel P. Harn Museum of Art, Orlando Museum of Art, Pérez Art Museum Miami, NSU Art Museum Fort Lauderdale, and CEAM.
“perhaps the muse was always a critic, always a builder of stacks of things “interesting to look at”
“always a mind in relation to another.”
“Inside every critic is a coach or, to use Isabelle Graw’s image, “a sort of amplifier.””
“deferential, wry, combative. Humorous. Detached. At sea.”
Art’s stupidity, Mayer suggests, is the reason for its persistence in her memory: it is too dumbfounded to move.
But what first punched art in the face? Probably life. Or, as Mayer says, “fucked up time.””
“They are, at their best, avenues of grace within fucked-up time, languages of perpetual inquiry and curiosity, poses of submission and dominance and everything in between, a practice of turn-taking in a world that runs on theft and greed.”
Anahid Nersessian. Originally published in Mousse 86.
Again, as always, when the shadows fall,
[…]
I leave the present
And seek the dim past where
I dream a … far-off dream,
And think old thoughts and live old scenes anew,
Till suddenly I reach the heart of
[…]
Memory thwarting Time and Space and Death!
after/for/with (J R Fauset, Douce Souvenance)