“I have been thinking about nuclear culture through the lens of contemporary art and curatorial practice for over five years, becoming particularly interested in what they (art and the curatorial) can offer up in terms of ways to provide insight into or further understand the slow, violent, leaky, messy, amorphous, ubiquitous and ongoing stories of the nuclear.”
Articles
“My freeze-frame process slowed down the images, and recreating them as paintings drew it out ever longer. These impressionistic renderings started to lend to your story an archetypal quality, at least for me. […] For now, Ed, your memory might last a little longer.”
“Relational Making is the skillful production of objects, new media, or performances by an Indigenous person that infuses Indigenous epistemologies such as relational, locational, spiritual, communal, and holistic understanding.”
“Rather than a singular, verifiable truth, we understand the production of knowledge as occurring through a series of encounters. For this issue, we extended an open invitation to seven contributors to respond to the themes of art, archives and the environment.”
“Although many Indigenous artists use positionality to ground their work within a cultural and geographical context, Manuel Axel Strain takes this to another level, immersing us in a reality beyond oppressive structures.”
“Meyer concocted a kind of Stampede inversion: “an equine-focussed spectacle, but with the humans performing for the horses, while sharing space.” […] the evidence of what transgressed is shared very minimally in DEEP HORSE TEXTS—appearing only in reference or grainy disposable-cam contact sheets.”
“DIY spaces exist as vital but fleeting moments in time to create new creative networks, learn and engage with cultural production. […] Because let’s be honest, the most important thing about DIY space is the community you can create around it.”
“Her breadth of temporality, technique and geography allow her work to be rendered as capacious and palpable to many, yet deeply distinct and tethered to particular places and times. In Clark’s visual grammar, the metaphoric and literal are quilted, and quotidian material is alchemized into perfect memory of the personal historical.”
“Ishaq’s multidisciplinary practice considers time as a spiritual, multi-dimensional and abundant realm wherein personal and collective expansion is possible […] In her work, Blackness is never static; it is a galaxy.”
“What’s left when an individual is undervalued, underpaid, unsupported and unappreciated? When there is high turnover in talent, what happens to the arts, and how can we fix this damaging colonial structure?”
We are so grateful for the generous support of EQ Bank in developing a three-part publishing and event series dedicated to digital disability justice during the Fall of 2023.
Part THREE – Saturday November 18th
This online panel explores Black, Indigenous, and Crip technoscience and how intersectional disability justice lends itself to innovation.
Co-presented with Inter/Access
Coordinated by Belinda Kwan