ENGAGING INDECENCIA
WITH NICOLÁS DUMIT ESTÉVEZ RAFUL ESPEJO OVALLES, curator.
WITH NICOLÁS DUMIT ESTÉVEZ RAFUL ESPEJO OVALLES, curator.
INDENCENCIA is the current exhibition at the Leslie Lohman Museum of Art, it incorporates deep-listening, embodied writings and videos in the show. Curator Estevez made a very good presentation and explanation of Central and Latin American art, education, catholicism, and dominance within colonialism. The first workshop excercise was to describe an art work to another cohort alone. The last workshop task, was to write a curatorial description of any work we chose.
The most interesting video to me was "Reconocimiento", Cuba. by Carlos Martiel
For the workshop task I wrote:
Reconocimiento" Carlos Martiel. 1989, Habana,. Cuba. Lives and works in Washington Heights, New York. Video, 4:06 min.
The performance I envisioned was to place myself as a native person encased in a coffin like concrete box. Once people place the casing above my body' Two other people start braking one side with large hammers. They chose the side of the large rectangular concert box were my feet were. At the end of the performance I evolve slowly out of the concrete feet first until my whole naked body comes out. And I stood up next to the box free at last
The conceptual performance is a recent activist movement among many Latin American countries who decided to take down conqueror's statues. In some counties images were destroyed as in Mexico city the statue of Cristobal colon in 2019. In Lima Peru in 2000 the large bronze sculpture of Francisco Pizarro in a horse was moved out of the main plaza de armas to a small neighborhood park.
A second reading of the iconography would mean that the colored aboriginal races resurrect their heroes and gods from the dead. As in the theory of liberation for a new race in the Americas.
Carlos Martiel. Reconocimiento. Video 4:06 min
Anarcho-Collectivist Education. ADELITA HUSNI-BEY
Histórical materialism Workshop
STUDIO VISIT WITH ADELITA HUSNI-BEY
Adelita Husni-Bey is an artist and pedagogue invested in anarcho-collectivism, theater, and critical legal studies. She organizes workshops and produces publications, broadcasts, and exhibition work using noncompetitive pedagogical models through the framework of contemporary art.
Anarchy-collectivist embodied pedagogies through contemporary art (practice that does not use words to convey say dependency or say power) In the workshop Adelita mention and described the following theories:
Ferrer - the modern school
Steiner school
Modern school School, founded in 1914. NYC
Peter kropotkon 1899
Freedmen's schools
Paulo Freiré popular education
Freedom schools 1954. Theology of liberation Mississippi
Lycee. Auto Gerda de Paris 1982
Missionary schools. 1962
Open schools. 1970 East Hill
Experiential education
Bio education.
Embodied education
Conscientization
Codification
Augusto Boal/-
Embodied pedagogy
Teatro del oprimido
School children's role play in a war situation and protests against the king. Paris
A MASS OF CYBORGS
AT THE CENTER FOR ART, RESEARCH AND ALLIANCES (CARA)
AT THE CENTER FOR ART, RESEARCH AND ALLIANCES (CARA)
A Mass of Cyborgs, the first solo exhibition by Neo Muyanga, a South African artist and composer. The exhibition has Muyanga’s exploration of how protest songs, sound, and voice can invoke memory, empowerment, and be used as an activist radical action against the oppression.
The first gallery was a 3-dimensional digital portrait of South African singer, activist Miriam Makiba. The second floor gallery, had several wall projections. And the third gallery had recorded sounds with vocals with microphones and projected images of collaged maps and slave trade ships.
Neo Muyanga's video installation about colonialism
USING THE ARCHIVE
AT ASIA ART ARCHIVE IN AMERICA
AT ASIA ART ARCHIVE IN AMERICA
Using the Archive is a workshop for both new and returning researchers on how to navigate Asia Art Archive in America’s physical and digital resources. The main archive is in Hong Kong.
Directors of the archive explained how to find books of art in their system.
WHAT KNOTS KNOT KNOTS
"What Knots Knot Knots" is an invitation to think about the ways in which knotting and unknotting are active practices that build and shape creative research, revealing attachments between/with materiality, epistemologies, ecologies and socio-political affinities and tensions. Thinking about Andean khipus (lengths of knotted fibre) as a record keeping device and a form of writing, we will consider knots as keepers of memory, points of contact and entanglement, and sites for the thickening of attachments towards world-building. Through talks, reading, performance, video, discussion and sound contributions, participants will consider Haraway's entreaty that "it matters...what knots knot knots."
Transart
"What Knots Knot Knots" Dr. Alli Geremia presented many artists in this symposium. Suzie Quillinan discussed Andean kipus and Jessie Harrod, showed her macrame and fiber artworks And writer/reader Mirene Arsanios talked from five languages that she speaks. Artist/film maker Zachary Favbri, edited a black-and-white art film. 3 D digital artist Coleman Collins, presented digital relief prints of his DNA/ancestral heritage. At the end the DJ musician Zeerak Ahmed sang Indian rag based vocalizations to manipulated sounds.
Mutability and Mutualism, Nicolas Baird
SHARING PRACTICE: REFLEXIVITY AND RECIPROCITY
WITH DR. ALLISON GEREMIA
WITH DR. ALLISON GEREMIA
Chinatown, NYC
In this exercise, Dr. Geremia asked all of us to present two artworks within 4 minutes. The rest of us, had to write comments in flash cards and at the end hand it to the presenter. I found this experiment to be very beneficial to me, as it encouraged opened "blind" criticism.
This is a space in which to be vulnerable, where we support one another, where we humbly recognize different outcomes for each individual practitioner. This space is to challenge you to share work that maybe you’re still uncomfortable interpreting. Come with an open mind, with the rigor of an academic researcher, and with a willingness to share with your community of peers.
While we have different goals for our visual practices and, sometimes, for our degree programs, we have valuable experiences to share and methods of reimagining.
ALLISON GEREMIA
Estar y No Estar. 500 watercolors installation proposal LUM. Lima Peru.
Cohorts' blind response.