It is in the garden of decay and of growth, the garden of manicured nature, that Tagny recognizes the potentialities of gestures of care, and the significance of attuning to the rhythms of nature.
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Like many Sublime images, both beauty and tragedy mark the two major emotive qualities of Koke’s landscape works, and in spite of these definitions being oppositional, there’s almost no other way to describe them.
In conversation with the artists about their relationship to object agency, Lum and Desranleau elaborated on their history with materials and their performative potential.
Rooted in ancestral knowledge, sacred materials, and traditional teachings, KC’s recent work uses materials and process to investigate the continuous transfer of knowledge throughout generations, walking in the footsteps of her ancestors.
“As I get older, my photographic practice is being challenged by a newfound sense of abject. I am still trying to explore themes of rebellion and angst but, perhaps, in a more reserved way through the use of satire.”
Movements in Place: The Community-Based Interventions of Jorge William Agudelo Muñeton & Elena Pardo
Movements in Place: The Community-Based Interventions of Jorge William Agudelo Muñeton & Elena Pardo
What brings these places, communities, and struggles together is, among other concerns, the ways in which creative practices have been mobilized in resistance to extractivist dispossession.
“If you don’t know your history, you are doomed to repeat it. We know this line… Nothing from our past will fix our current situation if we do not accept our failures. Most of what I have created is documentation of monumentalized mistakes.”
In “Three Chores,” Mierau turns the prolific messes of the human body into “fanciful concentrations.” These are not the usual taking-out-the-garbage messes but, rather, the accumulations of the dreaming eye and the overactive follicle—organic messes that gather and persist despite us.
VABF 2020 will be featuring four incredible prairie publishers: Gytha Press, Brent Morley Smith, Plug In Institute of Contemporary Art, and The New Gallery.
When I’m drawing, I find myself on the floor in my bedroom with paper and chalk; at my desk with pens and permanent markers; using my finger as a stylus on my phone’s touch screen. To be close to the body is to be urgent.