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Gulf Labor Coalition: A Boycott does not an Anti-semite Make or Unmake

October 15, 2019

We want to begin this statement by asserting that Gulf Labor Coalition (GLC) categorically refuses and resists all forms of racism and discrimination, including anti-Semitism and condemns the recent attacks on synagogues in New Zealand, the US and in Germany.

We feel compelled to write this statement in response to recent attempts to criminalize and label as anti-Semitic, the Boycott, Divestment, and Sanctions (BDS) movement and in light of the recent attempt by the German city of Aachen, to pressure the Ludwig Museum into withdrawing the Art Prize Aachen to Lebanese artist Walid Raad.

Raad, who is one of the members of GLC steering committee, is not an isolated case. The German parliament’s adoption of a non-binding resolution to condemn the BDS movement in May 2019, along with similar steps taken in France and the UK, has grave and far reaching consequences. It sends a clear statement that the rights of Palestinians in the face of well documented systemic and daily abuse by Israeli governments is of no moral concern for Germany, and that anyone who expresses support for Palestinian rights is considered an anti-Semite. The director of Berlin’s Jewish Museum Peter Schäfer, was forced to resign for sharing an article about a letter signed by 240 Israeli and Jewish scholars, condemning the Bundestag proposition on the grounds that it undermines the fight against real anti-Semitism.

More recently the city of Dortmund withdrew its award of the Nelly Sachs Prize for British-Pakistani author Kamila Shamsie over her support for BDS, even though the award citation recognized that her writing  “builds bridges between societies.” Other artists recently punished and banned for their support of BDS include Talib Kweli, Young Fathers, and Khaled Barakat. The interior minister of Berlin, Andreas Geisel, has publicly stated that he would take action to hunt supporters of the BDS, to raise “alarm bells” before the fire spreads. In parallel, the US Federal Government is “investigating” all Middle East Studies departments at American Universities. Efforts to criminalize BDS in all of the EU are underway in Brussels, and separate efforts are ongoing in France.

As members of Gulf Labor Coalition, we have been involved in a protracted struggle for the rights of migrant workers in the construction of the Guggenheim Museum and other cultural entities on Saadiyat island, Abu Dhabi, in the United Arab Emirates. When we confronted intransigence on the part of the museum and UAE authorities, we called for  a Cultural Boycott as a peaceful means of calling attention to an urgent concern and resistance. As much as we are familiar with the tactic of cultural boycott, we are also familiar with tactics to discredit it.

Boycott, Divestment, Sanctions (BDS) is a Palestinian-led movement for freedom, justice and equality. BDS upholds the simple principle that Palestinians are entitled to the same rights as the rest of humanity. Inspired by the South African anti-apartheid movement, the BDS call urges action to end international support for Israel’s oppression of Palestinians and pressure Israel to comply with international law. The BDS commitment to nonviolence is reflected in Israel’s leading newspaper Haaretz, which published Hanan Ashrawi’s op-ed “Boycott Is Our Palestinian Non-violent Resistance.”

No one participating in the boycott, divestment and sanctions movement against the systematic injustices perpetrated by the South African government in the time of apartheid could be accused of being anti-white; only those who sought to deligitimize that struggle would take such a position. Similarly, any entity who determines that the treatment of Palestinians under the authority of the state of Israel to be unjust, cannot be labeled anti-Semitic. Actions under the BDS movement are not directed toward the Jewish faith or the Jewish people. They are explicitly aimed against a government and its military that carries out systematic human rights violations against the Palestinian people. Those who attempt to stigmatize this ethical position by brandishing the false label of ‘anti-Semitism’ deliberately obfuscate and misrepresent the intentions of those who take part in the boycott, diverting focus from the demands of those boycotting and from actual incidents of anti-Semitism, such as mass shooting by white neo-nazi gunmen at synagogues in America– Pittsburgh (2018), Los Angeles (2018), and Poway (2019) and just this week in Germany in Halle (2019).

Boycott is a strategy which consists in withdrawing one’s engagement with, support of and participation in an entity or enterprise one has a grievance towards. It is usually conducted on a collective basis and is called on by an individual, a group or association, when all other paths to address a problem, or hold an entity accountable for ongoing injustice have failed to yield change.

Historically some of the most effective and peaceful means of resistance have been withdrawal, non-engagement, non-participation. In the realm of labor or corporate relations, this is referred to as a strike. When a strike is socialized to a level of a people, we know it as a general strike. Similar to the ontological matrix of a strike, the boycott assembles a collection of individuals who were previously isolated from power. A counter power is created to the dominant one..

Gulf Labor Coalition offers an example of boycott in the cultural realm. The coalition came together to address the conditions and welfare of workers who would be building the Guggenheim Museum in Abu Dhabi. Members of GLC felt that they could as artists collect signatures from other artists who shared this concern, approach the museum’s administrators, express its wishes for securing the welfare of the museum’s workers and find a solution together. GLC concluded that the conversations with the museum were not having the desired effect and therefore called for a Boycott of sales and participation with the museum until they would meet the demands. GLC has never stopped seeking new avenues for negotiation and finding resolution, but the boycott was one means for GLC to withdraw support or consent until the demands are met.

Certainly, some attempted to tarnish GLC by claiming that it has some agenda against the Guggenheim, when in fact from GLC’s perspective what was asked of the museum could only be in their best long-term interests. After all, who could respect a museum built on the backs of exploited and ill-treated workers? We were highly sensitive that our boycott not embolden those with anti-Arab or anti-Muslim agendas or perpetuate racist stereotypes. One could imagine in a similar vein that the boycott could be labelled by those who resist the changes we have advocated for as anti-Arab or having an  anti-UAE agenda when if the GLC remedies would be heeded, they could only put the UAE on the very path of nourishment and respect for the culture it has been espousing and invested heavily in.

Just as groups and individuals debated the merits of various political tactics throughout history, we can and should openly debate approaches to effecting change today. We know that boycotts, like strikes, can be difficult processes: they draw a line and clearly identify sides to be taken. As with individual  experiences, sometimes, you may find a friend taking the opposite side. Paradoxically, you may also find people on your side whose views you do not agree with, or find reprehensible. Regardless of how meticulously you clarify your views, there are no guarantees that your ethical position will not be appropriated by other agendas. We can only do the work to repeatedly call out such appropriations and stay vigilant against it. Thus, while there is no way to fully prevent someone with an anti-Semitic agenda from supporting BDS, the boycott itself does not an anti-Semite make or unmake. Nor does unconditional support for Israel exempt one from having anti-Semitic and racist attitudes. This is true both historically as well as within our contemporary politics, when some of the most xenophobic and racist politicians also claim to be defenders of the Israeli state.

Those who boycott exercise a critical democratic form of political resistance. Possessing no power or authority over a situation, they collectivize their capacity to withdraw their cooperation, participation, and engagement. They take this action in solidarity with those yet more precarious – people who have been invisiblized or whose voices often remain unheard.

There is today a very dangerous trend to enact laws which silence dissent and critique of state conduct. We write this letter to urge all cultural workers to strongly refuse such concerted attempts to stifle critique, or collective action, against any abusive state or unjust entity.

Signed,

Gulf Labor Coalition

https://gulflabor.org

Method Fund calls for financial and public support of court hearings concerning the legal definition of censorship in Ukraine

October 8, 2019

We invite everyone to support the campaign by:

  • donating any amount comfortable for you;
  • providing media support.

The gathered sum will cover expenses on legal support provided by Trust Me Law Firm (Kyiv, Ukraine).

Payment details:

Method FundIBAN:  UA283510050000026003567248000 

BENEFICIARY BANK: JSC “UKRSIBBANK”Andriivska. str. 2/12, Kyiv, Ukraine

SWIFT: KHABUA2K

PURPOSE: Charitable contribution according to the program “About establishing the fact of censorship” 

kuznetsov copy 

Detailed information about the case:

In 2013, on a day before the exhibition “Grand and Great” in Mystetsky Arsenal museum complex in Kyiv, Ukraine, was opened, a mural by Volodymyr Kuznetsov called “Koliivschyna: the Judgment Day,” created specially for this exhibition, was painted over with black paint on the order of the director of the museum complex Nataliya Zabolotna. The exhibition commemorated the 1025-th anniversary of Rus’ baptism and was accompanied by official events.

In 2015, Volodymyr Kuznetsov initiated a long series of court hearings to protect his right for freedom of expression. His last lawsuit against Mystetsky Arsenal and Nataliya Zabolotna has been concerned with establishing the facts of censorship and copyright infringement, demanding moral compensation for these violations. In February 2018, the court ordered to close the lawsuit concerning the fact of censorship.

The ban and destruction of Kuznetsov’s “Koliivschyna” is an act of censorship. This case became the foundation for numerous discussions in Ukraine’s cultural field. The right to freedom of thought and speech, to free expression of one’s opinions and beliefs, is guaranteed by Constitution of Ukraine; however, the attempt to solve the conflict in the legal field showed that the current law of Ukraine has no clear notion of censorship and no definite punishment for acts of censorship.

A lack of legal definition of censorship and refusal to acknowledge that this case was a case of censorship presents us with a risk of emergence of a prohibitive mechanism, allowing any official or a director of any cultural institution to ban or even destroy any “ambiguous” piece of art that he or she cannot understand.

_

ESTABLISHING THE FACT OF CENSORSHIP is a crowdfunding campaign initiated by Method Fund as a program of solidarity action to support the court hearings on establishing the fact of censorship, to determine the notion of censorship, and to organize an educational program enhancing creative workers’ knowledge of the law.

The Method Fund is an independent, nonprofit organization aimed at supporting and developing contemporary art and culture in Ukraine by initiating scientific, educational and exhibition projects.

If you have any questions, please contact the campaign’s coordinator Olga Kubli, methodfund@gmail.com

 

Statement Condemning the Alarming Silencing of Sexual Harassment Survivors (New Delhi, India)

October 4, 2019

Indian artist Subodh Gupta filed a civil defamation suit on 18 September 2019 against the Instagram handle @herdsceneand for allegedly “publishing false, malicious and defamatory content”. Mr. Gupta is seeking ‘token’ damages of Rs. 5 crore (Rs. 50 million). The Delhi High Court on 30 September 2019 directed that the posts referring to Mr. Gupta on @herdsceneand be taken down. Additionally, the Court directed Google to take down from its search results a list of URLs that report on the sexual harassment allegations against Subodh Gupta, and directed Instagram to provide details of the “person/entity” running the Instagram handle to the Court in a sealed cover.

Given the complex personal and professional terrains that have to be navigated in the arts and cultural sector, those who speak out against sexual harassment choose to remain anonymous due to public stigma, intimidation, fear of losing work and other forms of structural violence.

@herdsceneand is an important platform that gives voice to survivors whose accounts of sexual harassment and abuse of power have been systematically silenced in the past. The platform creates an environment of collectivity and solidarity in an otherwise hostile context. The urgent attention the platform has brought to the prevalence and normalisation of sexual harassment and abuse of power has put pressure on art institutions to revisit and strengthen their policies and mechanisms to work towards safer spaces and more equitable work environments. These are beginnings for a lot of hard work that needs to be done

yet.

This defamation suit against @herdsceneand is an outright move to silence the survivors and gag the platform that gave them a voice while protecting their identities. This is exactly what survivors have feared when choosing anonymity. This is an attempt to dissuade others from sharing further experiences of harassment and violence, and to perpetuate a culture of fear.

The survivors who have shared their painful accounts with great courage MUST be protected. Intimidation and attempts to discredit and silence their voices MUST be strongly condemned.

We ask you to condemn this defamation suit and show solidarity towards the survivors by:

– sharing news and other coverage of this case widely on social media to register protest against this attempt to silence
– archiving / documenting the posts that have been ordered to be removed by Instagram as a way to keep a record of the survivors statements

– writing to us with any information, advice, ideas for support relating to this case and/or other cases of sexual harassment. Please write to insolidaritywith.survivors@gmail.com

In solidarity,

1. Aarthi Parthasarthy/ Kadak Collective
2. Akansha Rastogi, New Delhi
3. Akhila Krishnan and Mira Malhotra, Kadak Collective, London/ Mumbai
4. Annu Palakunnathu Matthew, Providence/ Bangalore
5. Anushka Rajendran, New Delhi
6. Diwas Raja Kc, Kathmandu
7. Fiza Khatri, Karachi
8. Gopika Bashi, Bangalore
9. Jaishri Abichandani, New York
10. Laxmi Murthy, Bangalore
11. Maraa – A Media and Arts Collective, Bangalore
12. Mila Samdub, New Delhi
13. Munem Wasif, Dhaka
14. Naeem Mohaiemen, Dhaka
15. Natasha Malik, Islamabad
16. NayanTara Gurung Kakshapati, Kathmandu
17. Neha Dixit, New Delhi
18. Nishant Shah, Arnhem
19. Padmini Ray Murray, Bangalore
20. Pallavi Paul, New Delhi
21. Phalguni Desai, Mumbai
22. Priyadarshini Ohol, Mumbai
23. Rachita Taneja, Bangalore
24. Radha Mahendu, New Delhi
25. Raksha Kumar, Bangalore
26. Rattanamol Johal, New York
27. Rituparna Chatterjee, New Delhi
28. Sahej Rahal, Mumbai
29. Sandhya Menon, Bangalore
30. Sharareh Bajracharya, Kathmandu
31. Sitara Chowfla, New Delhi
32. Skye Arundhati Thomas, Mumbai
33. Sohrab Hura, New Delhi
34. Sumona Chakravarty, Kolkata
35. Tanvi Mishra, New Delhi
36. Vidisha-Fadescha, New Delhi
37. Vidyun Sabhaney, New Delhi/ Goa
38. Zarina Muhammad & Gabrielle de la Puente, White Pube, London/Liverpool

A Letter from Artists in the Whitney Biennial (New York, US)

July 19, 2019

Dear Ru and Jane,

We respectfully ask you to withdraw our work from the Whitney Biennial for the remainder of the show. This request is intended as condemnation of Warren Kanders’ continued presence as Vice Chair of the Board. We would appreciate if you presented this letter to the Board to let them know the seriousness of the situation.

We care deeply about the Whitney. Over the years, many shows at the Museum have inspired and informed our art. We were angry when we learned of Kanders’ role as CEO of Safariland, a company that manufactures tear gas and other weapons of repression. At the time, we had already accepted your invitation to participate in the Whitney Biennial and some of us were well into fabrication of major pieces for this show. We found ourselves in a difficult position: withdraw in protest or stay and abide a conflicted conscience. We decided to participate.

But the Museum’s continued failure to respond in any meaningful way to growing pressure from artists and activists has made our participation untenable. The Museum’s inertia has turned the screw, and we refuse further complicity with Kanders and his technologies of violence.

We have enormous respect for you as curators and it has been a pleasure working with you.

Yours sincerely,

Korakrit Arunanondchai

Meriem Bennani

Nicole Eisenman

Nicholas Galanin

The open letter was addressed to Rujeko Hockley and Jane Panetta, curators of the 2019 Whitney Biennial. Read more here.

UPDATE

On Saturday morning, three additional artists said they were withdrawing work in solidarity. Eddie Arroyo and Agustina Woodgate announced through their gallery, Spinello Projects, of Miami, Fla., that “the request is intended as a condemnation of Warren Kanders’ continued presence as Vice-Chair of the Board and the Museum’s continued failure to respond in any meaningful way to growing pressure from artists and activists.”

A seventh artist, Christine Sun Kim, said in an email to The New York Times on Saturday that she, too, had asked for her work to be withdrawn from the Biennial.

“As a mother to a 2-year-old daughter, it terrifies me that my work is currently part of a platform that is now strongly associated with Kanders’ teargas-producing company Safariland,” she wrote to curators. “I do not want her to grow up in a world where free and peaceful expression is countered with means that have left people injured and dead.”

The eighth to ask that work be withdrawn was Forensic Architecture, a London-based research group, which produced a 10-minute video that directly addressed the controversy over Mr. Kanders, called “Triple-Chaser.”

Eyal Weizman, the founder and director of Forensic Architecture, said in an interview that the group had written to the curators on Saturday to remove “Triple-Chaser” and accompanying films. He added that Forensic Architecture asked that those films be replaced by a statement from the group about its new investigation suggesting that bullets made by a company, Sierra Bullets — which it alleges has ties to Mr. Kanders — were used by the Israeli forces against civilian protesters in Gaza in 2018.

In a written statement on Friday, Adam D. Weinberg, the Whitney’s director, acknowledged the four artists’ letter to the curators.

“The Whitney respects the opinions of all the artists it exhibits and stands by their right to express themselves freely. While the Whitney is saddened by this decision, we will of course comply with the artists’ request.”

Warren Kanders’s Whitney Resignation Letter

On July 25th, Warren Kanders, a vice-chairman of the Whitney Museum of American Art, sent this letter to the rest of the Whitney board announcing he was stepping down following protests over his company’s sale of tear gas.

 

Academics Pen Open Letter to President Iván Duque Over Repression and Violence (Colombia)

June 12, 2019

21May 2019
Sir
Iván Duque Márquez
President of the Republic of Colombia,
Bogotá, Colombia

Open Letter

We are academics from Colombia and from all over the world and we wish to voice our concern over recent events in Colombia that include death threats, legal persecution and the assassination of social leaders, former guerrilla combatants and human and environmental rights defenders. According to the Centro de Investigación y Educación Popular, CINEP/Programa por la paz (Centre of Research and Popular Education, CINEP/Peace Program), of the cases categorized as political violence in 2018, there were 648 assassinations, 1,151 death threats, 304 people were injured, 48 people were victims of attacks, 22 forced disappearances, 3 sexual attacks, and 243 arbitrary detentions. In 2019, at least 62 social leaders have been killed so far.

Given these facts, we are outraged at the Colombian government’s failure to acknowledge the situation and we ask the government to take steps to avoid this continuous and systematic bloodshed and to prevent a repetition of deplorable events, such as the attempt on the life of Francia Márquez and other leaders from the North of Cauca that occurred on the 4th May this year. We have observed that hate and violence are encouraged from within places of power and the media and that this disrupts not only the little peace that has been achieved but as noted by Daniel Pécaut (2001), is a declaration of war against society.

As academics that conduct research on local, regional and international dynamics, we have seen how territories of geopolitical interest have been put in the spotlight and as a result have seen an escalation of conflicts linked to the expansion of the extractive industry. At the same time, we have noted that nefarious links have developed between legal and illegal forces in order to expel the local population from their territories. These types of relations have also been evidenced by Sassen (2015), Harvey (2004), Escobar (2014), and the analyst of defense, Herold (2007), among others, who have written on expulsion and dispossession as a means to make way for the large-scale accumulation of extractive projects.

In Colombia, a similar situation has been noted in relation to the country’s economic policy, a policy that promotes extractivism as a core strategy for development. This favorable policy climate is used by different sectors holding power, and which represent diverse interests, to take control of territories. As a result, there has been an escalation of assassinations against leaders who are defending the rights of local communities and peoples. Although this has been a reality for a long time, there has been an increase in cases since the signing of the agreements with the FARC – EP in 2016, in clear opposition to the hoped-for ‘territorial peace’.

We can conclude that these threats and assassinations are linked to various sectors who have a specific interest in regions in the country where there is a proposal to develop large-scale extractive projects. This also coincides with accounts given in ‘free version hearings’ at transitional justice processes and in decisions made by the Colombian Constitutional Court.

Recurring phrases in death threats like ‘finish off anyone who interferes with the development of the country’ identifies the local population as a military target, as this population, as voiced by their leaders, opposes extractive projects and wishes to avoid the negative impacts they have on ecosystems and populations. We have also noted that State bodies and the press have failed to take measures to prevent the threats, legal persecution and assassinations taking place and yet at the same time do not hesitate to signal and stigmatize social protest, the activities of social leaders and opposition to government policies.

It is also worrying that it was only when an attempt was made on the life of Francia
Márquez, a leader known internationally as the winner of the Goldman Environmental Prize, who was with other well-known leaders at the time, that you chose to make a public pronouncement. Your government has failed to communicate what efforts are being taken to respond to this crisis. We are concerned that the measures taken to date have been insufficient and appear to be limited to weak security plans for social leaders at risk and a hunt for the material authors of these crimes. However, in order to identify the intellectual authors and the sectors behind this strategy of dispossession and extermination, it is imperative to understand the wider context.

As academics, we ask that as head of state you order an investigation in order to uncover what is really behind the despicable acts of violence taking place on a daily basis. At the same time, given the lack of action by your government and the size of the problem, we feel it is urgent and necessary to invite international organizations like Human Rights Watch and Amnesty International to establish a Commission of Verification to investigate the causes of these violent acts so that we can have reliable information, prevent new cases occurring and ensure justice for the victims of the previous cases.

We hope that you recognize that this is a historic moment for Colombia and that it is possible to change the course of the national economy and of social policy to ensure that life and the environment are protected, resulting in a better life, a ‘buen vivir’, for future generations.

We invite you to share with us the measures taken and decisions made to date, to avoid more bloodshed in Colombia and ask what new actions will be taken to resolve this painful and intolerable humanitarian situation. We the undersigned continue to work towards world peace, towards territorial peace, towards a peace that is longed for in every corner of the earth and here, in Colombia, that has suffered so much.

cc: Most Holy Father Papa Francisco, Human Rights Watch and Amnesty International

Académicos Nacionales

Alberto Múnera Duque, S.J.
Profesor – Investigador
Facultad de Teología
Pontificia Universidad Javeriana, Bogotá D.C

Arturo Escobar
Profesor de Antropología, Emérito
U. de Carolina del Norte, Chapel Hill, USA

Adelaida María Gaviria Rivera
Escuela de Biociencias
Facultad de Ciencias

Adira Amaya Urquijo
Docente investigadora
Pontificia Universidad Javeriana

Adriana del Pilar García Galán
Artista catedrática universitaria, Bogotá, D.C

Alonso Correa Toro,
Profesor veterinaria y ZOOTECNIA,
Universidad Nacional de Colombia

Alix Ginneth Camacho Vargas
Profesora cátedra
Pontificia Universidad Javeriana, Bogotá, D.C

Ángela María Vásquez Correa
Profesora titular DSc.
Laboratorio de Productos Forestales LPF
Departamento de Ciencias Forestales

Andrés Villaveces
Departamento de Matemáticas
Universidad Nacional de Colombia

Aida Cecilia Gálvez Abadía (Dra.)
Profesora Titular Jubilada.
Universidad de Antioquia
Medellín (Colombia)

For full list of signatures go here.

Join us at iCI (Independent Curators International) in NYC for the launch of the ArtLeaks Gazette #5!

May 23, 2019
Event_Image_1

Image Caption: ArtLeaks, Banners, 2011-2015, “A Real Work of Art” (RAM Gallery, Oslo), 2015

Patriarchy Over & Out: Discourse Made Manifest: Corina Apostol and Jasmina Tumbas
Tuesday, June 4, 2019
6:30-8pm

ICI 401 Broadway Suite 1620
New York, NY 10013
FREE and open to the public

On June 4th join ICI for the launch of ArtLeaks Gazette #5: Patriarchy Over & Out: Discourse Made Manifest with co-editors Corina Apostol and Jasmina Tumbas will consider queer, trans, feminist, racial, and economic justice through discussion and visual exchange of related materials. Several contributors of the gazette will also be present. One of over twenty-five periodicals included in ICI’s Publishing Against the Grain, ArtLeaks is exemplary this touring exhibition that provides a space for reading, thinking, and conversing, where slowing down can become a form of intellectual resistance.

This event is free and open to the public. To attend, please RSVP to rsvp@curatorsintl.org with PATRIARCHY in the subject line.

61532937_10102552756552597_7058433375475859456_o

Poster by Jasmina Tumbas

 


Independent Curators International (ICI) is a unique arts organization that focuses on the role of the curator in contemporary art. We believe that curators create more than exhibitions — they are arts community leaders and organizers who champion artistic practice; build essential infrastructures, such as art spaces and institutions; and generate public engagement with art. Curators are, therefore, uniquely positioned to have an important impact on the artistic field, and on the communities they serve.

By connecting curators from different regions, backgrounds, and generations, and across social, political, and cultural borders, ICI provides an international framework for knowledge-sharing within which curators’ and artists’ practices can further develop.

ICI works with curators, artists, and art spaces from around the world to produce and present exhibitions, public programs, and educational initiatives for professionals. These collaborative programs promote our core values of cultural exchange, broad access to contemporary art, and building public awareness for the role of the curator. ICI engages with cultural producers who are the independent voices of the next generation of professionals in the field, and at the forefront of shaping curatorial trends and discourse.

This event is accessible to people with mobility disabilities. Please contact ICI for additional accessibility needs.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

 

ArtLeaks Gazette #5 Launch Event at S.a.L.E. Docks (Venice, Italy)

May 7, 2019

We are very happy and proud to announce the release of our latest issue of the ArtLeaks Gazette, entitled ‘Patriarchy Over & Out. Discourse Made Manifest’. 

Editors (Corina L. Apostol, Vladan Jeremic and Rena Raedle) and contributors will present the Gazette during a public discussion at S.a.L.E. Docks (Dorsoduro 265, 30123 Venice, Italy) from 3-5 PM on Friday, May 10th, 2019. 

S.a.L.E. Docks is located: Near Punta della Dogana, in Dorsoduro.

How to get there : Actv line 1 (stop: Salute), Actv lines 2, 5.1, 5,2, 6.1, 6.2, (stop: Zattere), Actv lines 5.1, 5,2 (stop: Spirito Santo). Private dock nearby.

The Gazette brings together contributions that analyze concrete practices and campaigns, and which engage theoretically and intersectionally with relevant issues related to queer, trans, feminist, first nations, racial, and economic justice. The diverse contributions in this issue – including poetry, petitions, lyrics, visual art, activism, manifestoes, and critical essays – confront nationalist discourses, colonial violences, orthodox regimes, misogynist cultural and political programs, crises of identity politics, and the remaining legacies of white supremacy, considering not only overall conditions in the artworld but also local specificities. While the contributions are diverse in their political and cultural scope, their common target remains toxic patriarchy in all its nefarious manifestations. The writers, musicians, artists, activists, filmmakers, and poets featured in this issue envision and demand a different reality and future. To summon Planningtorock’s words from All Love’s Legal (2014): ‘I don’t want to wait, patriarchal life, you’re out of date.’

The gazette includes contributions by: Planningtorock, Judith Goldman, Susanne Sachsee, Ashon Crawley, Kim Bode, Magdalena Zurawski, Nitasha Dhillon, Ana Grujić, Bridget Daria O’ Neill, Mickey Harmon, Joshua Lam, Jasmina Tumbas, Divya Victor, Scene & Heard, Nosotras Proponemos, Erika Balsom & Elena Gorfinkel, Shanté Paradigm Smalls, We are sick of it, Imani Henry, Betty Yu, Mimi Thi Nguyen, Paris Henderson, Boineelo Cassandra Mouse, Amanda Fayant, Van Tran Nguyen, Selma Banich, Nina Gojić, Ena Jurov & Tajana Josimović, Fred Moten & Corina L. Apostol, LaKisha Simmons, Matt Applegate & Andrew Culp, Shannon Woodcock, Chiara Bonfiglioli, Danai Anagnostou, Katja Kobolt & Anna Ehrenstein, Alyssa Schwendener, Tanya Loughead, Mima Simić

Editorial and layout: Corina L. Apostol, Rena&Vladan, with guest editor Jasmina Tumbas

More discussions and workshops will be announced in the near future.

This slideshow requires JavaScript.

More information about the exhibition Oceans of People at S.a.L.E Docs:

“OCEANS OF PEOPLE, The project analyzes the impact that the tourist industry has on Barcelona and Venice, pointing out common issues and facing under various points of view the different effects. The narrator’s voice belongs to the collectives, committees, and associations that are struggling to defend their environment and common goods, criticizing the prevalent model of touristic development which is threatening the survival of these two cities of heritage. Through photos, posters, videos and interactive installations, tourists and citizens are invited to think about how their behaviors and daily actions can influence these processes of cultural and urban decay. There are also other consequent alarming phenomena to deal with, such as gentrification, the impact of cruise ships and its masses of tourists, the transformation of commercial activities and the consequent loss of local traditions. The aim is to face the values of these endangered heritages, trying to empower the collective denunciation reaction and to push for the administration’s intervention.”

Connect with us:  art-leaks.org/ | Instagram @artsleaks | Facebook: @ArtLeaks | Twitter: @Art_Leaks

 

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