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From the advent of early colonial photography in the 19th century to contemporary 'white savior' social-media images, photography continues to play an integral role in the maintenance of white sovereignty. As various scholars have shown, the technology of the camera is not innocent, and neither are the images it produces. The invention and continuation of the 'white(...)
The image of whiteness: Contemporary photography and racialization
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From the advent of early colonial photography in the 19th century to contemporary 'white savior' social-media images, photography continues to play an integral role in the maintenance of white sovereignty. As various scholars have shown, the technology of the camera is not innocent, and neither are the images it produces. The invention and continuation of the 'white race' is not just a political, social and legal phenomenon; it is also a complexly visual one. What does whiteness look like, and how might we begin to trace an antiracist history of artistic resistance that works against it? ''The image of whiteness'' seeks to introduce its reader to some important extracts from the troubling story of whiteness, to describe its falsehoods, its paradoxes and its oppressive nature, and to highlight some of the crucial work photographic artists have done to subvert and critique its image.
Theory of Photography
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''The Mountain Speaks to the Sea'' delves into Tekla Aslanishvili’s experimental film trilogy, which investigates regimes of infrastructural governance by examining how ports, railways, and smart city projects act as technologies of citizenship and sovereignty. Images of distant geographies are connected with future orientations, revealing the disruptive impacts of(...)
Tekla Aslanishvili: The Mountain Speaks to the Sea
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''The Mountain Speaks to the Sea'' delves into Tekla Aslanishvili’s experimental film trilogy, which investigates regimes of infrastructural governance by examining how ports, railways, and smart city projects act as technologies of citizenship and sovereignty. Images of distant geographies are connected with future orientations, revealing the disruptive impacts of large-scale energy and transportation projects on the ecologies of the South Caucasus. The publication focuses on the potentiality of moving images in the making and unmaking of infrastructures. By zooming in and out on the grand narratives of infrastructural development, it assembles fragmented (hi)stories of people who live and work around sites of transit and extraction, sabotaging their material systems to challenge violent practices of statecraft. Positioned between an artist’s book and a reader, ''The Mountain Speaks to the Sea'' features contributions from writers and scholars in visual culture, political science and critical geography, and experiments with ways of translating film into printed matter.
Art Theory
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For this 63rd issue, The Funambulist teamed-up with Tunisian anthropologist and visual artist Myriam Amri and invites you to "Follow the money." In it, the issue enters the crevices of a capitalist system and trace it back to its central nodes: property, land, capital, and class. It reads how money is central to colonial and imperial projects, but also how sovereignty and(...)
The Funambulist n.63 : follow the money
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For this 63rd issue, The Funambulist teamed-up with Tunisian anthropologist and visual artist Myriam Amri and invites you to "Follow the money." In it, the issue enters the crevices of a capitalist system and trace it back to its central nodes: property, land, capital, and class. It reads how money is central to colonial and imperial projects, but also how sovereignty and the liberation of our monetary imaginary can be tools of emancipation. From the CFA franc (Ndongo Samba Sylla, Moses März) to the US dollar (Lily H. Chumley) or the Palestinian Pound (Hicham Safieddine), The Funambulist navigates monetary politics around the world, and more specifically in Sudan (Nisrin Elamin & Laleh Khalili), Puerto Rico (Roque Salas Rivera) or Brazil (Cho). The issue also contains a board game entitled "You’ve Got Yourselves a Revolution, Now What?" imagined by the issue editors Myriam Amri and Léopold Lambert and designed by Aude Abou Nasr. As for the cover, it features an artwork by Adriana Martínez Barón.
Magazines
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This edition of Perspecta, the oldest and most distinguished student-edited architectural journal in America, investigates the transformation of capital cities in the era of globalization. This redevelopment, renewal, and recycling of the urban landscape--termed by the editors as "Re_Urbanism"--takes place as capital cities try both to cater to an influx of global capital(...)
Perspecta 39 Re_urbanism : Transforming capitals
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This edition of Perspecta, the oldest and most distinguished student-edited architectural journal in America, investigates the transformation of capital cities in the era of globalization. This redevelopment, renewal, and recycling of the urban landscape--termed by the editors as "Re_Urbanism"--takes place as capital cities try both to cater to an influx of global capital and to reassert their roles as symbols of national sovereignty. Re_Urbanism investigates this process from an architectural perspective. The contributors explore the various ways capital cities struggle to assert their vitality and continuing relevance, examining capitals that compete internally with their own global counterparts (Abu Dhabi vs. Dubai), capitals that must be rebuilt after periods of destruction (Belgrade and Baghdad), and capital cities that are responding to hyperbolic development (Beijing, New Delhi, Kuwait City). Some cities are examined for their impact on border politics (Washington D.C.) while others reveal mythologies parallel to their modernist origins (Brasilia).
Magazines
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
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“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of(...)
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
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“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of interconnectivity, this book, which accompanies a joint exhibition of the same name of Kunsthalle Wien and Wiener Festwochen, seeks to create a collective dialogue around unequal distribution of power, sovereignty, and social and ecological justice. The exhibited works and written contributions reflect on the rationale of exploitation, the fast-paced mining of raw materials, and environmental destruction as a colonial legacy. They deconstruct Western anthropocentric models and enduring colonial and racist discourses, trace the stories of indigenous struggles for collective survival, and celebrate encounters defined by solidarity in their resistance to capitalist extraction, misogyny, imperialist violence, and dispossession.
Art Theory
This house is not a home
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After a hunting trip one fall, a family in the far reaches of so-called Canada’s north return to nothing but an empty space where their home once stood. Finding themselves suddenly homeless, they have no choice but to assimilate into settler-colonial society in a mining town that has encroached on their freedom.This intergenerational coming-of-age novel follows Ko`, a(...)
This house is not a home
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After a hunting trip one fall, a family in the far reaches of so-called Canada’s north return to nothing but an empty space where their home once stood. Finding themselves suddenly homeless, they have no choice but to assimilate into settler-colonial society in a mining town that has encroached on their freedom.This intergenerational coming-of-age novel follows Ko`, a Dene man who grew up entirely on the land before being taken to residential school. When he finally returns home, he struggles to connect with his family: his younger brother whom he has never met, his mother because he has lost his language, and an absent father whose disappearance he is too afraid to question. The third book from acclaimed Dene, Cree and Metis writer Katlià, this is a fictional story based on true events, presenting a clear trajectory of how settlers dispossessed Indigenous Peoples of their land — and how Indigenous communities, with dignity and resilience, continue to live and honour their culture, values, inherent knowledge systems, and Indigenous rights towards re-establishing sovereignty.
indigenous
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In "Enduring innocence", Keller Easterling tells the stories of outlaw "spatial products" -resorts, information technology campuses, retail chains, golf courses, ports, and other hybrid spaces that exist outside normal constituencies and jurisdictions, in difficult political situations around the world. These spaces -familiar commercial formulas of retail, business, and(...)
Architectural Theory
October 2007, Cambridge (MA), London
Enduring innocence : global archtitecture and its political masquerades
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In "Enduring innocence", Keller Easterling tells the stories of outlaw "spatial products" -resorts, information technology campuses, retail chains, golf courses, ports, and other hybrid spaces that exist outside normal constituencies and jurisdictions, in difficult political situations around the world. These spaces -familiar commercial formulas of retail, business, and trade - aspire to be worlds unto themselves, self-reflexive and innocent of politics. But as Easterling shows, these enclaves can become political pawns and objects of contention. Jurisdictionally ambiguous, they are imbued with myths, desires, and symbolic capital. Their hilarious and dangerous masquerades often mix quite easily with the cunning of political platforms. Easterling argues that the study of such "real estate cocktails" provides vivid evidence of the market's weakness, resilience, or violence. These regimes of nonnational sovereignty, she writes, "move around the world like weather fronts"; Easterling focuses not on their blending - their global connectivity - but on their segregation and the cultural collisions that ensue. "Enduring innocence" resists the dream of one globally legible world found in many architectural discourses on globalization. Instead, Easterling's consideration of these segregated worlds provides new tools for practitioners sensitive to the political composition of urban landscapes.
Architectural Theory
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In 2016, a small protest encampment at the Standing Rock reservation in North Dakota, initially established to block construction of the Dakota Access oil pipeline, grew to be the largest Indigenous protest movement in the twenty-first century, attracting tens of thousands of Indigenous and non-Native allies from around the world. Its slogan ''Mni Wiconi''—Water is(...)
Our history is the future: Standing Rock versus the Dakota Access Pipeline, and the long tradition of indigenous resistance
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In 2016, a small protest encampment at the Standing Rock reservation in North Dakota, initially established to block construction of the Dakota Access oil pipeline, grew to be the largest Indigenous protest movement in the twenty-first century, attracting tens of thousands of Indigenous and non-Native allies from around the world. Its slogan ''Mni Wiconi''—Water is Life—was about more than just a pipeline. Water Protectors knew this battle for Native sovereignty had already been fought many times before, and that, even after the encampment was gone, their anti-colonial struggle would continue. In ''Our history is the future'', Nick Estes traces traditions of Indigenous resistance leading to the #NoDAPL movement from the days of the Missouri River trading forts through the Indian Wars, the Pick-Sloan dams, the American Indian Movement, and the campaign for Indigenous rights at the United Nations. While a historian by trade, Estes also draws on observations from the encampments and from growing up as a citizen of the Oceti Sakowin (the Nation of the Seven Council Fires), making Our History is the Future at once a work of history, a personal story, and a manifesto.
indigenous
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In the guise of diva Miss Chief Eagle Testikle, Kenneth Monkman takes camp aesthetics to new extremes of political disturbance. Setting queer against straight, and both these against his dual identity as a Canadian of Cree descent, Monkman aka Miss Chief revisits the way key events in North American history have been represented. Recent performances and installations(...)
Interpellations: three essays on Kent Monkman
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In the guise of diva Miss Chief Eagle Testikle, Kenneth Monkman takes camp aesthetics to new extremes of political disturbance. Setting queer against straight, and both these against his dual identity as a Canadian of Cree descent, Monkman aka Miss Chief revisits the way key events in North American history have been represented. Recent performances and installations featured outlandish versions of objects like Indian moccasins in museum displays, videos with tragicomic takes on Indians' as the other to colonists, and Monkman's own extraordinary paintings. Based on masterpieces of landscape and history art, these expose the repressions and fantasies grounding narratives of the winning of the West. Interpellations will be of exceptional interest to art historians and all those concerned with North American aboriginal civilization. Essays from acclaimed art historians Richard Hill, Jonathan Katz, and Todd Porterfield address issues central to Monkman's activity: among others, absurdist tactics, alternative models of time and history, the interplay of identity, sexuality, and sovereignty. A camp design with gilt-edge pages and ultra-rich color illustrations makes this book an ideal vehicle for presenting Miss Chief's rampages through art history.
Canadian art
Mapping Malcolm
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"For Harlem is where he worked and where he struggled and fought—his home of homes, where his heart was, and where his people are." Nearly sixty years since the martyrdom of Malcolm X, these words from Ossie Davis’s eulogy remind us that Malcolm’s political and religious beliefs and conceptions of culture have profoundly shaped and been shaped by Harlem. "Mapping Malcolm"(...)
Mapping Malcolm
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"For Harlem is where he worked and where he struggled and fought—his home of homes, where his heart was, and where his people are." Nearly sixty years since the martyrdom of Malcolm X, these words from Ossie Davis’s eulogy remind us that Malcolm’s political and religious beliefs and conceptions of culture have profoundly shaped and been shaped by Harlem. "Mapping Malcolm" continues the project of reinscribing Malcolm X’s memory and legacy in the present by exploring his commitment to community building and his articulation of a global power analysis as it continues to manifest across New York City today. More specifically, the book explores the limits and possibilities of the archive, the political, material, and philosophical legacy of the Black radical tradition, the Black diaspora, and the state. Oriented toward sovereignty and liberation, ''Mapping Malcolm'' brings together artists, community organizers, and scholars to consider the politics of Black space-making in Harlem through a range of historical, cultural, and anti-imperialist worldviews designed to offer new, reparatory pedagogical possibilities. Together, they reconfigure how we understand, employ, and carry forward Malcolm X’s sociopolitical, cross-cultural analyses of justice and power as an everyday praxis in the built environment and beyond.
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