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spamzineglasgow · 4 years

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(REVIEW) Tongues by Taylor Le Melle, Rehana Zaman and Those Institutions Should Belong to Us, by Christopher Kirubi

In this review, Rhian Williams takes a look at Tongues, a dazzling zine edited by Taylor Le Melle and Rehana Zaman (PSS, 2018), with* Christopher Kirubi’s pamphlet ‘Those Institutions Should Belong to Us’ (PSS).

*I [Rhian] use ‘with’ here in homage to Fred Moten’s use of that preposition in all that beauty (2019) to ‘denote accompaniment[]’. This pamphlet was interleaved in the review copy of Tongues that I received from PSS.

> Onions, lemons, chilli peppers, fractals, hands, patterns, palms pressing, tears, avocados, pomegranate, mouths, finger clicking, deserts. Screenshots, flyers, placards, transcripts, textures, temporalities. Tongues is an urgent gathering in, a zine-type publication that works as a space where Black and Brown women (bringing both their intersections and the tension of distinction) enact memorial, exchange, jouissance, resistance, collaboration, support, listening. Edited by Taylor Le Melle and filmmaker Rehana Zaman, whose work generates many of the dialogic responses interleaved in this collection, this ‘assembly of voices’ was brought together in this particular format in the wake of Zaman’s exhibition, Speaking Nearby, shown at the CCA in Glasgow in 2018. But, as Ainslie Roddick explains, in ‘an attempt to reckon with the trans-collaborative nature of “practice” itself’, Tongues resists academic mechanisms that fall into reiterating the violence of individualism, moving around the figure of the single author/editor to seek to capture ‘a process of thinking with and through the people we work and resist with, acknowledging and sharing the work of different people as practice’ (p. 3). As such, ‘[Tongues’] structure, design and rhythm reflect the work of all the contributors to this anthology who think with one another through various practical, poetic and pedagogical means’ (ibid.). Designed and published by PSS, this is a tactile, sensory production: its aesthetics are post-internet, collage, digi-analogue, liquid-yet-textural, with shiny paper pages that you have to gently peel apart, gleaming around a central pamphlet of matte, heavier paper in mucous-membrane pink and mauve, which itself protects the centrefold glossy mouth-open lick of ‘I kiss your ass’ between the leaves of Ziba Karbassi’s poem, ‘Writing Cells’, here in both Farsi and English (translated with Stephen Watts). Throughout, Tongues reiterates the sensuous, labouring body as political, as partisan.

> Tongues’ multivalency is capacious, nurturing, dedicated to archiving that which is fugitive yet ineluctable; so, inevitably, its overarching principle is labour, is work. The entire collection of essays, response pieces, email exchanges, WhatsApp messages, poetry, transcripts, journaling, and imaginings are testimony to effort and skill, to the determination to keep spaces open for remembrance and for noticing within the ever-creeping demands of production. It is not surprising that this valuable collection is stalked by perilous attenuation, the damage of exhaustion. It is appallingly prescient of the first week of June 2020. Moving my laptop so that I can write whilst also keeping an eye on what I’m cooking for later, setting up my child to listen to an audiobook so that I can try to open up some headspace for listening and responding, nervous about how to spread my ‘being with’ across multiple platforms (my child, my writing, the news, other voices), I am taken by Chandra Frank’s meditative response piece to Zaman’s Tell me the story Of all these things (2017) and Theresa Hak Kyung Cha’s Dictee (1982), which vibrates with ‘the potency and liberatory potential of the kitchen’ (p. 9) and movingly seeks to track and honour ‘what it means to both feel and read through a non-linear understanding of subjectivities’ (p. 10). But I only have to turn the page to realise my white safety. I am at home in my kitchen; my space may feel like it has turned into a laboratory for the reproduction of everyday life under lockdown, but it is manifest, it is seen in signed contracts, my subjectivity is grounded on recognition and citizenship. For Sarah Reed, searingly remembered by Gail Lewis in ‘More Than… Questions of Presence’, subjectivity was experienced as brutalisation, manifested posthumously in hashtags, #sayhername. (Reed was found dead in her cell at Holloway Prison in London in February 2016. In 2012 she had been violently assaulted by Metropolitan Police officer James Kiddie; the assault was captured by CCTV footage.) For the women immigrants engaged in domestic work in British homes, as documented here in Marissa Begonia’s vital journaling piece and Zaman’s discussion with Laura Guy, subjectivity is precarity and threat, their dogged labour forced into shadows. Lewis’s piece pivots around a ‘capacity of concern’ generated by ‘the political, ethical, relationship challenge posed by the presence of “the black woman”’ (p. 18), urging that such concern be of the order of care by walking a line with psychoanalysts D. A. Winnicott and Wilfred Bion in recognising that ‘in naming something we begin a journey in the unknown’ (p. 19). If that ‘unknown’ includes understanding how the British state is inimical to the self-determination and safety of Black and Brown women born within its ‘Commonwealth’ borders (#CherryGroce; #JoyGardner; #CynthiaJarrett; #BellyMujinga), and further, how its ‘hostile environment’ policies – named and pursued as such by the British Home Office under Theresa May – are designed specifically to threaten those born elsewhere, by reiterating Britain’s historical enthusiasm for enslavement of non-white labour (see the 2012 visa legislation, discussed here, that, for domestic workers, effectively put a lock on the 2016 ‘Modern Slavery Act’ review before it had even begun), then consider Tongues a demand to get informed. This is a zine about workers and working. It is imperative that we come to terms with what working life in Britain looks like (see the Public Health England report into disparities in the risk and outcomes of COVID-19 – released June 2 2020, censored to remove sections that highlighted the effect of structural racism, but nevertheless evidencing the staggering inequality in death and suffering that is linked to occupation and to citizen status, and therefore tracks race and poverty lines). It is imperative that we scrutinise how ‘popular [and, I would add, Westminster] culture perpetuates a notion of working class identity as a fantasy’ (p. 52) that literally spirits away the bodies undertaking keywork in the UK. The title of Frank’s piece here, ‘Fragmented Realities’, is exquisitely apt.

> Bookended by Roddick’s and Zaman’s radical re-orientating of the apparatus of academia – the introduction that resists assimilating each of the forthcoming pieces under one stable rubric, instead simply listing anonymously a sentence from each contributor in a process of meditative opening up, and ‘A note, before the notes. The end notes’ that counter-academically reveals weaknesses and vulnerabilities, is open to qualification and reframing, is responsive – Tongues constitutes a politics and aesthetics of ‘shift’. Collated after a staged exhibition, anticipating new bodies of work to come, and ultimately punctuated by a pamphlet that segues from reporting on an inspiring event that took place at the Women’s Art Library, Goldsmith’s University of London to imagining a second one in paper (the ‘original’ having been thwarted by bad weather), the entire collection has a productively stuttering relationship with temporality and with presence. As Shama Khanna writes about working groups and reading groups, workshops and pleasure-seeking in gallery spaces, this is the moving ground of the undercommons. It is testament to its intellectual lodestars – Sara Ahmed, Fred Moten, Stefano Harney, and, especially, the eroto-power of Audre Lorde. Along with Christopher Kirubi’s pamphlet, ‘Those Institutions Should Belong to Us’, which comprises a series of seven short ‘prose poems’ documenting the anguish of writing a dissertation from a marginalised perspective, the entire project of Tongues with Those Institutions is to upend academic practice, to recognise the ideological thrust of academic method, to stage fugitive enquiry. Kirubi’s plain sans-serif black font on white pages rehearses the anxious dialectics of interpellation and liberation (‘there is a need to see ourselves reflected in position of agency power and self determination in a world which does not really wish to see us thrive at all’ (part 3)) afforded by their academic obligations, but inarticulacy is a higher form of eloquence:

Even though I know at some point I am going to have to yield to these demands I feel I have to say now that I want to take in this dissertation a position of defending the inarticulate, defending the subjective and defending the incoherent, without having to arrive at a point of defence through theoretically determined foundations, but to feel them.

> Since its structuring principles are those of women’s work, and of Black and Brown experience, nurturing and shielding within the exhaustingly cyclical nature of toiling for recognition, respect, and protection, Tongues dances in the poetics of circles, of loops and feedback, of reciprocity and exchange. Recognising, however, that circularity is also the shape of repetitive strain, Zaman leaves us with a spiralling gesture, in homage to the Haitian spiral, ‘born out of the work of the Spiralist poets’ (p. 61). This ‘dynamic and non-linear’ form insists on the mutuality of the past and contemporary circumstances, is ‘a movement of multiplied or fractured beings, back and forth in time and space demanding accumulation, tumult, and repetition, adamant irresolution and open endedness…’. We are in that spiral now. Such demands must be heard, power must be relinquished, established forms of control – enacted in the streets and on our pages – must be terminated. Writing in early June 2020, this feels precarious; no one is exempt from giving of their strength.

Please pursue further information here. If you are able, these organisations thrive (given the paucity of state support) on donation:

Voice of Domestic Workers: https://www.thevoiceofdomesticworkers.com/

Cherry Groce foundation: https://www.cherrygroce.org/

BBZBLACKBOOK (a digital archive of emerging & established black queer artists): https://bbzblkbk.com/

Reclaim Holloway: http://reclaimholloway.mystrikingly.com/

Text: Rhian Williams

Published: 16/6/20

#review #writing #poetry #reviews #Tongues #Taylor Le Melle #Rehana Zaman #Rhian Williams

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a---z · 4 years

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TRANSMISSIONS

www.transmissions.tv

TRANSMISSIONS returns for Season 2 comprising eight episodes with contributions from BBZ TV, Juliet Jacques, Ignota Books, Lawrence Abu Hamdan, Kat Anderson, Plastique Fantastique, and many others!

All forms of community are now more important than ever, and it is vital that we find mechanisms to support each other through this precarious time. In the landscape that we have found ourselves in, many artists, writers and thinkers have had exhibitions, opportunities and subsequent fees postponed or cancelled. In response to this, we have established TRANSMISSIONS an online platform that commissions artists to share their work within a classic DIY TV show format. Episode 1 | 9 September | 9PM GMT REPLAY | 11 September | 9AM GMT Kat Anderson: Bad Man Nuh Flee Episode 2 | 16 September | 9PM GMT REPLAY | 18 September | 9AM GMT Plastique Fantastique Communiqué: Beware Mars with Earth in Ascendance W/ Plastique Fantastique / Arianne Churchman & Benedict Drew / Christopher Kirubi / Gentle Stranger Episode 3 | 23 September | 9PM GMT REPLAY | 25 September | 9AM GMT Juliet Jacques: Spectres of Socialism W/ Bill Morrison / Colin Newman / Deimantas Narkevičius / The Duvet Brothers / Erica Scourti / Igor & Gleb Aleinikov / Jasmina Cibic / John Smith / Kerry Tribe / Octavio Cortázar / Oleksiy Radynski / R W Paul / Santiago Álvarez Episode 4 | 30 September | 9PM GMT REPLAY | 2 October May | 9AM GMT Lawrence Abu Hamdan W/ Maryam Jafri / Maan Abu Taleb & Others Episode 5 | 7 October | 9PM GMT REPLAY | 9 October | 9AM GMT BBZ TV: Past, Present and Future Episode 6 | 14 October | 9PM GMT REPLAY | 16 October | 9AM GMT Ignota Books: Deep Deep Dream Episode 7 | 21 October | 9PM GMT REPLAY | 23 October | 9AM GMT Curated by Anne Duffau, Hana Noorali and Tai Shani W/ Adam Christensen / Carolyn Lazard / Hardeep Pandhal / Imran Perretta / Jordan Lord / Sung Tieu / Tabita Rezaire / Lloyd Corporation / Rehana Zaman & Others Episode 8 | 28 October | 9PM GMT REPLAY | 30 October | 9AM GMT w/ TBC

Season 2 of TRANSMISSIONS will run as eight weekly episodes screening every Wednesday at 9 pm BST and repeated on Friday at 9 am BST on Twitch. The 1st episode will air on 9th of September 2020. Each artist included in TRANSMISSIONS is paid a fee in return for their contribution. In some instances, artists have waived their fees in order to donate the money to a charity of their choice. With a sense of community, all the money used to pay artists in season 2 has been kindly donated by established art institutions and commercially stable artists.

Season 2 is funded and supported by BALTIC Centre for Contemporary Art, Chisenhale Gallery, DACS, Grazer Kunstverein, Matt's Gallery, Studio Oscar Murillo, Netwerk Aalst, Somerset House Studios and Wysing Arts Centre.

Episode 1 | 9 September | 9PM GMT REPLAY | 11 September | 9AM GMT Kat Anderson: Bad Man Nuh Flee

Kat Anderson will show a collection of audio/visual notes on oppression, Black liberation and the white imagination.

Kat Anderson is a visual artist and filmmaker, working under an artistic and research framework called ‘Episodes of Horror’, which uses the genre of horror to discuss representations of mental illness and trauma as experienced by or projected upon Black bodies in media.

Episode 2 | 16 September | 9PM GMT REPLAY | 18 September | 9AM GMT Plastique Fantastique Communiqué: Beware Mars with Earth in Ascendance W/ Plastique Fantastique / Arianne Churchman & Benedict Drew / Christopher Kirubi / Gentle Stranger

On 30 May 2020, at 3:52 pm EDT, Plastique Fantastique watched the Spacex Falcon 9 rocket carry NASA personal (for a fee) to the International Space Station and thought, as below, so above (next stop the moon, then Mars)… there is much today, down here, that needs our urgent attention… and there is much in the future, up there, to worry about too (including one million people living on Mars by 2050 as the first stage of planetary colonisation)… Earth views Mars as a planetary symbol for the cocksure warrior, and for violence, passion, assertion, and the weaponization of skill and sex… above all, Mars is the sign of competition (and Mars is a goal for commerce)… Mars is not this Mars though... That land is not that land… We know a different Mars (we have been there)… It is the hominids of Earth that have projected this image (of themselves) onto Mars… all other animals know this… Mars as ruling planet is not to be feared… it is Earth as ruling planet (Earth in Mars and the Mars in Earth) that we need to worry about… For episode two of the second series of Transmission2020, Plastique Fantastique offer moving images, stories and songs about planetary problems, below and above, with help from our friends Gentle Stranger, Christopher Kirubi and the collaboration of Arianne Churchman & Benedict Drew. The broadcast will feature clips from a film by Plastique Fantastique commissioned by Southwark Park Galleries. Plastique Fantastique is a collaboration between David Burrows, Simon O’Sullivan, Alex Marzeta and Vanessa Page and others, including Mark Jackson, Motsonian, Benedict Drew, Frankie Roberts, Harriet Skully, Ana Benlloch, Stuart Tait, Tom Clark, Simon Davenport, Joe Murray, Lawrence Leaman, Samudradaka and Aryapala. The collaboration is a performance fiction produced through comics, performances, text, music, film and assemblages, and investigates the relation of aesthetics and politics and sacred, popular and mass cultures. Recent exhibitions include Shonky: Aesthetics of Awkwardness, Hayward Touring Show 2017-18, and Mars Year Zero at Southwark Park Galleries 2019.

Episode 3 | 23 September | 9PM GMT REPLAY | 25 September | 9AM GMT Juliet Jacques: Spectres of Socialism W/ Bill Morrison / Colin Newman / Deimantas Narkevičius / The Duvet Brothers / Erica Scourti / Igor & Gleb Aleinikov / Jasmina Cibic / John Smith / Kerry Tribe / Octavio Cortázar / Oleksiy Radynski / R W Paul / Santiago Álvarez

Less than a year after the UK's traumatic General Election, after a pandemic that would surely have been far better handled if the principles of communality and solidarity had been at the heart of government, Juliet Jacques presents a selection of films that mostly look back at socialist politics and culture. Starting with comrade John Smith's film made in response to the Covid-19 crisis, and the government's chaotic communications, these films - by Jasmina Cibic, Octavia Cortázar, the Duvet Brothers, Deimantas Narkevičius, Oleksiy Radynski, Kerry Tribe and others - engage creatively with ideology and art in Yugoslavia, the USSR, Cuba, the UK and beyond.

Juliet Jacques (b. 1981) is a writer and filmmaker, based in London. She has published two books, most recently Trans: A Memoir (Verso, 2015). Her short fiction, journalism and essays have appeared in numerous publications including The Guardian, Granta, Frieze, Sight & Sound, Wire, New York Times, 3:AM, The New Inquiry, Arts of the Working Class, London Review of Books and elsewhere. Her short films have screened in galleries and festivals worldwide. She has taught art and creative writing at the Royal College of Art and other institutions, and hosts the political arts podcast Suite (212).

Episode 4 | 30 September | 9PM GMT REPLAY | 2 October May | 9AM GMT Lawrence Abu Hamdan W/ Maryam Jafri / Maan Abu Taleb & Others

Lawrence Abu Hamdan is a “Private Ear”. His interest with sound and its intersection with politics originate from his background as a touring musician and facilitator of DIY music. The artists audio investigations has been used as evidence at the UK Asylum and Immigration Tribunal and as advocacy for organisations such as Amnesty International and Defence for Children International together with fellow researchers from Forensic Architecture.

Abu Hamdan completed his PhD in 2017 from Goldmsiths College University of London and is currently a fellow at the Gray Centre for Arts and Inquiry at the University of Chicago

Abu Hamdan has exhibited his work at the 58th Venice Biennale, the 11th Gwanju Biennale, the 22nd Sydney Biennial and the 13th and 14th Sharjah Biennial, Witte De With, Rotterdam, Tate Modern Tanks, Chisenhale Gallery, Hammer Museum L.A, Portikus Frankfurt, The Showroom, London and Casco, Utrecht. His works are part of collections at MoMA, Guggenheim, Van AbbeMuseum, Centre Pompidou and Tate Modern. Abu Hamdan’s work has been awarded the 2019 Edvard Munch Art Award, the 2016 Nam June Paik Award for new media and in 2017 his film Rubber Coated Steel won the Tiger short film award at the Rotterdam International Film festival. For the 2019 Turner Prize Abu Hamdan, together with nominated artists Helen Cammock, Oscar Murillo and Tai Shani, formed a temporary collective in order to be jointly granted the award.

Episode 5 | 7 October | 9PM GMT REPLAY | 9 October | 9AM GMT BBZ TV: Past, Present and Future

BBZ present a snapshot into queer Black British archives, memes that shaped us and a re- imagined queertopia. BBZ is a Black Queer Art & DJ collective raised in London with roots in nightlife and clubbing culture, working to challenge institutionalised and post colonial behaviours. We prioritise the experiences of Black queer womxn, femmes, trans folk and non binary people in all aspects of our work, providing physical and online spaces for this specific community.

Episode 6 | 14 October | 9PM GMT REPLAY | 16 October | 9AM GMT Ignota Books: Deep Deep Dream

Deep Deep Dream is a journey through the techniques of awakening taking the hallucinogenic form of a palindrome. Unfolding through a series of experimental rituals, this encounter is an invitation to touch the dreamworld — a place where no matter how far you walk, you arrive back at your point of departure — and a meditation on these questions: What kind of world do you want to live in? What is a world?

Ignota Books is an invitation to awaken, and at the same time, dream. Founded in the last days of 2017 in the Peruvian mountains by Sarah Shin and Ben Vickers, Ignota publishes at the intersection of technology, myth-making and magic. Deriving our name from Hildegard of Bingen’s mystical Lingua Ignota, we seek to develop a language that makes possible the reimagining and reenchantment of the world around us.

Episode 7 | 21 October | 9PM GMT REPLAY | 23 October | 9AM GMT Curated by Anne Duffau, Hana Noorali and Tai Shani W/ Adam Christensen / Carolyn Lazard / Hardeep Pandhal / Imran Perretta / Jordan Lord / Sung Tieu / Tabita Rezaire / Lloyd Corporation / Rehana Zaman & Others

Episode 8

| 28 October | 9PM GMTREPLAY | 30 October | 9AM GMT

w/ TBC

Thank you to:

All contributing artists, writers, composers and thinkers; Adam Sinclair; Donald Smith; Hen Page; Lori E. Allen; Maxwell Sterling; Mika Lapid;

BALTIC Centre for Contemporary Art

Chisenhale Gallery

DACS

Grazer Kunstverein

Matt's Gallery

Studio Oscar Murillo

Netwerk Aalst

Somerset House Studios

Wysing Arts Centre

www.transmissions.tv

@transmissions2020

TRANSMISSIONS collective is composed of:

Anne Duffau

is a cultural producer, researcher, and founder of A---Z, an exploratory/nomadic curatorial platform exploring artistic practices and knowledge exchange through collaborations, presentations, soundscapes, screenings and discussions. She has collaborated with a range of projects and organisations including ArtLicks, Southwark Park Galleries, Mimosa House and Danielle Arnaud Gallery, London Please Stand By, or-bits .com, PAF Olomouc Czech Republic & Tenderflix. Anne has previously run the StudioRCA Riverlight, London programme (2016-2018) and is currently the interim curator at Wysing Arts Center, a Tutor at the School of Arts and Humanities, and is the acting Lead in Critical Practice, within the Royal College of Art’s Contemporary Art Practice Programme. She has performed live music under Alpha through a number of projects and collaborations.

Hana Noorali

is an independent curator and writer based in London. In 2019 she was selected (together with Lynton Talbot) to realise an exhibition at The David Roberts Foundation as part of their annual curator’s series. She curated Lisson Presents at Lisson Gallery, London from 2017-2018 and from 2017 -2019, produced and presented the podcast series Lisson ON AIR. In 2018 Hana edited a monograph on the work of artist and Benedictine Monk, Dom Sylvester Houédard. Its release coincided with an exhibition of his work at Lisson Gallery, New York that she co-curated with Matt O’Dell. In 2007, she co-founded a non-profit project space and curatorial collective called RUN active until 2011. In 2020 Hana and her curatorial partner Lynton Talbot will be publishing an anthology that examines the intersection of poetry and film with (p) (prototype).

Tai Shani

is an artist living and working in London. She is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. In 2019 Tai was a Max Mara prize nominee. Her work has been shown at Turner Contemporary, UK (2019); Grazer Kunst Verein, Austria (2019); Fondazione Sandretto Re Rebaudengo, Italy (2019); Glasgow International, UK (2018); Wysing Arts Centre, UK (2017); Serpentine Galleries, London (2016); Tate, London (2016); Yvonne Lambert Gallery, Berlin (2016) and Irish Museum of Modern Art, Dublin (2016).

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mybarricades · 5 years

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Nick Aikens, Elizabeth Robles (Eds.)

The Place Is Here The Work of Black Artists in 1980s Britain

Contributions by Nick Aikens, Sonia Boyce, Laura Castagnini, Deborah Cherry, Alice Correia, Chandra Frank, June Givanni, Sunil Gupta, Evan Ifekoya, Claudette Johnson, Raisa Kabir, Gail Lewis, Amna Malik, Samia Malik, Priyesh Mistry, Dorothy Price, susan pui san lok, Raju Rage, Elizabeth Robles, Ashwani Sharma, Marlene Smith, Leon Wainwright, Michelle Williams Gamaker, Rehana Zaman

The publication developed from the exhibition and research project The Place Is Here (2016–19), which traced the urgent and wide-ranging conversations taking place between black artists, writers, and thinkers in Britain during the 1980s. Within the context of Thatcherism and a racist art establishment, a new generation of black artists and intellectuals produced some of the most compelling ideas and images in recent British cultural history. Across four exhibitions, The Place Is Here brought together over one hundred works by forty artists and collectives, spanning painting, sculpture, installation, photography, video, and expanded archival displays. Richly illustrated, the book includes thematic essays, close readings of works, and a series of panel discussions bringing together key scholarly, critical, and artistic voices foundational to art in Britain in the 1980s. The result is an intergenerational dialogue around pressing intellectual, political, and aesthetic debates, highlighting the significance of the work of these artists for the present.

Sternberg Press

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avantage21 · 2 years

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x----tine · 3 years

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Nov 30, 2021 – Mar 27, 2022

ICA Miami Digital Commissions 2020–21: …what endures…

Ground Floor / Dr. Shulamit Katzman Gallery

In Spring 2020, in response to the global pandemic and the resulting shutdown of our physical galleries, ICA Miami initiated a series of digital commissions to stimulate and support artistic production in Miami and beyond. The resulting works were conceived independently by sixteen invited artists, yet this unprecedented moment provides a rich and urgent context in which to ask how we connect to the works and to one another. Collectively, these works engage with themes of identity, community, social justice, and a changing natural environment.

The first series debuted in April 2020 featuring artists Cristine Brache, Terence Price II, Faren Humes, Domingo Castillo, Aramis Gutierrez, Tara Elizabeth Long, GeoVanna Gonzalez, and Deirdre Keough for the Institute of Queer Ecology. The second series debuted in May 2021 featuring Sable Elyse Smith, Houston Cypress, Minia Biabiany, Dara Friedman, Sky Hopinka, Franky Cruz, A.S.T., and Rehana Zaman.

All videos are available now on the ICA Channel.

This exhibition is organized by ICA Miami and curated by Stephanie Seidel, Curator, and Gean Moreno, Director, Knight Foundation Art + Research Center.

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wafkarachi · 4 years

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Joint statement: Attacks on women in media in Pakistan

Vicious attacks through social media are being directed at women journalists and commentators in Pakistan, making it incredibly difficult for us to carry out our professional duties.

The target of these attacks are women with differing viewpoints and those whose reports have been critical of the Pakistan Tehreek-e-Insaf’s government, and more specifically its handling of the coronavirus pandemic.

The online attacks are instigated by government officials and then amplified by a large number of Twitter accounts, which declare their affiliation to the ruling party.

In what is certainly a well-defined and coordinated campaign, personal details of women journalists and analysts have been made public. To further discredit, frighten and intimidate us, we are referred to as peddlers of “fake news”, “enemy of the people” and accused of taking bribes (often termed as "paid" journalists or lifafas).

In some instances, our pictures and videos have also been morphed.

Women in the media are not only targeted for their work, but also their gender. Our social media timelines are then barraged with gender-based slurs, threats of sexual and physical violence. These have the potential to incite violence and lead to hate crimes, putting our physical safety at risk.

Lately, there have also been attempts to hack into the social media accounts of reporters and analysts, as well as limit our access to information. In some cases, journalists have been locked out of their social media accounts as a result of hacking attempts.

Women in the media, especially those on social media platforms, are finding it increasingly difficult to remain on these platforms and engage freely. Many now self-censor, refrain from sharing information, giving their opinion or actively engaging online.

These sustained attacks undermine public trust in journalism and go against the basic tenets of democracy. It is a public right to access accurate and reliable information, especially during a public health emergency.

We are being prevented from exercising our right to free speech and participate in public discourse. When we self-censor, others are prevented from receiving information to form their views, which is a violation of their rights under Article 19-A.

When attacks and threats are made against us, we do not enjoy the protection of the law as guaranteed under Article 4, and this is the direct result of the actions of those who hold positions in government and are affiliated with the PTI.

Last July, Shireen Mazari, the minister for human rights, promised to take notice of threats against journalists and to address the climate of abuse, bullying, fear and censorship. Ms. Mazari, we are waiting.

We demand that the government:

1) Immediately restrain its members from repeatedly targeting women in the media

2) Send out a clear message to all party members, supporters and followers, to desist from launching these attacks, whether directly or indirectly

3) Hold all such individuals within the government accountable and take action against them

We also call upon the Standing Committees on Human Rights of the upper and lower house of parliament to take notice and hold the government accountable by ensuring they acknowledge, apologize and list the actions they will now take to put an end to such a threatening environment.

Dated: 23 August 2020

Signed by:

Mehmal Sarfraz

Benazir Shah

Amber Shamsi

Zebunnisa Burki

Ramsha Jahangir

Asma Shirazi

Ayesha Bakhsh

Gharidah Farooqi

Aleena Farooq Sheikh

Coalition For Women in Journalism

Kamila Hyat

Rabia Mehmood

Reem Khurshid

Qurratulain (Annie) Zaman

Marium Chaudhry

Nosheen Abbas

The International Coalition for Women in Journalism

Ailia Zehra

Najia Ashar

Sadaf Khan

R Umaima Ahmed

Umber Khairi

Muna Khan

Kiran Nazish

Afia Salam

Lubna Jerar Naqvi

Maheen Usmani

Sana Bucha

Ailia Zahra

Naziha Syed Ali

Rehana Hakim

Aysha Raja

Nida Kirmani

Sarah Atiq

Fauzia Yazdani

Sameen Mohsin

Aisha Sarwari

Meera Ghani

Nighat Dad

Farahnaz Ispahani

Saba Ismail

Gulalai Ismail

Afshan Masab

Network of Women Journalists for Digital Rights

Women’s Action Forum, Lahore

Women’s Action Forum, Karachi

#Statement

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fionaharnett · 5 years

Text

Jo Spence

Spence (b. 1934–d. 1992) emerged as a key figure in the mid 1970s from the British photographic left, crucial in debates on photography and the critique of representation. Her work engaged with a range of photographic genres, from documentary to photo therapy, and responded to the prioritisation from the late 1970s onwards of lens-based media in art-critical discourse.

Rough edged, recycled, personal – in essence positively amateur, Spence’s work stands in direct opposition to numerous artistic givens. She proposed process over object, collaboration and collectivity over heroic authorship and, above all, generosity (to self and other) over the pursuit of any singular creative ambition. While adroit with its arguments, she swerved the academic theorisation of photography, preferring an experimental and biographical exploration of ideas. This resulted in a richly didactic yet highly idiosyncratic output, one that is playful, silly even at times, while also being capable of delivering images of excoriating intensity.

Spence held the firm belief that photography has an empowering capacity when applied to complex issues of class, power, gender, health and the body. From this perspective she rallied against all forms of hegemony, dominance and control. Her critical concerns, be they with the idea of naturalism in the documentary image or protocols within the National Health Service, became the primary productive principal for her output, drawing her into action – variably as an artist, writer, activist, community leader, adult educator and patient.

While a prevailing wind of cultural pessimism might propose Spence’s work as specifically periodic, to those who know it, and to those who – through this exhibition – will come to know it, it is clear that she has much to offer contemporary audiences. Her work is best described as energetic, one that is constantly agitating, asking awkward questions, and pushing against things. It is no wonder that Spence was never quite at ease with the title ‘artist’. Instead she had a preference – one linked both to the behavioural condition of the photographer, but also to the nature of her critical enterprise, that of ‘cultural sniper’.

On the twentieth anniversary of her death, Jo Spence Work (Part I and Part II) offers an important opportunity to experience a significant presentation of the photographer’s practice first hand. In doing so, we hope the exhibition allows for a recognition of the relevance of her work and working methods, both of which remain as sharply radical and transformative today as they were over two decades ago.

The exhibition is chronologically split across the two sites:

[space]’s presentation will focus on Spence’s work from the late 1960s to the early 1980s and will explore the explicitly social and political dimensions of her early solo and collaborative work. Studio Voltaire will present later works from the early 1980s up to the artist’s death in 1992. The latter works broadly deal with issues of health, therapy, self-empowerment and mortality.

In recent years, her practice has received attention with retrospectives of Spence’s work at MACBA, Barcelona (2005) and Camera Austria, Graz (2006), and her inclusion in Documenta 12 (2007). Her work is represented in international public collections including MACBA, Barcelona; GOMA, Glasgow; Ryerson Image Centre, Canada; Museo Nacional Centro de Arte Reina Sofia, Madrid and Victoria and Albert Museum, London.

As an integral part of the project, Studio Voltaire has launched Not Our Class. This new long-term programme of education and participatory projects takes the work of Jo Spence as a starting point for investigating the legacy and potentials of her work in relation to contemporary culture and life. Through a series of commissions, offsite projects, workshops, public events, and reading groups situated both within Studio Voltaire’s neighbourhood and contemporary art discourse the programme will explore the new turn towards education and participation within contemporary art practice. The programme will include new commissions by artists Marysia Lewandowska working with The Jo Spence Memorial Archive, and Rehana Zaman working with King’s College Hospital and Body & Soul. Additionally Mystique Holloway, Ego Ahaiwe, Louise Shelley, Gina Nembhard, Emma Hedditch, Lauren Craig and Zoe Holloway have set up the research group X Marks The Spot based at Lambeth Women’s Project.

The exhibition is chronologically split across the two sites:

Jo Spence, Work (Part II), 2012. Installation View, Studio Voltaire, London. Courtesy of the artist, The Jo Spence Memorial Archive and Studio Voltaire, London. Credit Andy Keate.

#further research #5IMAG016W #advancedmethods

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artistsmovingimageni · 5 years

Photo

Image: Devotional Cinema (2019) Steve Reinke

AMINI 19 Thursday 26th September 2019

Artists’ Moving Image Northern Ireland (AMINI) presents a day of screenings in association with the MAC and Visual Artists Ireland.

2.30pm

An AEMI touring programme curated on the occasion of ‘93% Stardust’, Vivienne Dick’s major retrospective at IMMA in 2017. A personal selection of films that inspire her internationally acclaimed experimental film work.

Delirious Rhythm

A Colour Box (1936) Len Lye, 3 minutes In The Street (1948) Helen Levitt, Janice Loeb + James Agee, 17 minutes The First Round Dance (2001) Masha Godovannaya, 3 minutes Trisha’s Song (2008) Vivienne Dick, 3 minutes Daybreak Express (1953) D A Pennebaker, 5 minutes American Dreams # 3: Life, Liberty, and the Pursuit of Happiness (2002) Moira Tierney, 5 minutes Southwark Spring (2017) Bev Zalcock & Sara Chambers, 3 minutes Backcomb (1995) Sarah Pucill, 7 minutes Saute ma ville (1968) Chantal Ackerman, 13 minutes Two Little Pigeons (1990) Vivienne Dick. 4 minutes Untitled No. 1 (2005) Masha Godovannaya, 4 minutes

4.00 pm

Peter Taylor, Director of the Berwick Film & Media Arts Festival (BFMAF), will present a special screening of contemporary works from this years Festival.

to feel the world again, trampled Devotional Cinema (2019) Steve Reinke, United States, Canada, 2min phenomenon (2019) Anya Tsyrlina & Sid Iandovka, Switzerland, Russia, 15min Vever (for Barbara) (2019) Deborah Stratman, United States, Guatemala, 12min the names have changed, including my own and truths have been altered (2019) Onyeka Igwe, UK, 26min

7.00 pm

Jarman Award Screenings

A showcase of works from artists at the forefront of experimentation in filmmaking today. This year’s nominated artists are: Cécile B. Evans, Beatrice Gibson, Mikhail Karikis, Hetain Patel, Imran Perretta and Rehana Zaman. There will be a Q and A with one of the shortlisted artists as part of the event.

Entry to AMINI 19 is free, but booking is essential. AMINI 19 tickets allow admittance to the Jarman Award screenings that evening. https://themaclive.com/event/amini-19

AMINI is an artist led initiative for the promotion and critical discussion of artists' moving image in Northern Ireland. It was founded by artists Michael Hanna and Jacqueline Holt in 2015.

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protravelagent-blog · 5 years

Photo

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rohanshivkumar · 5 years

Photo

Kochi Muziris Biennale Archive. Rehana Zaman. (at Kochi-Muziris Biennale) https://www.instagram.com/p/BtGbNomnqq-/?utm_source=ig_tumblr_share&igshid=1xlwgg2xylt94

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a---z · 5 years

Photo

A---Z presents:

Gaze to the UNKNOWN

with

Murat Adash

Vasiliki Antonopoulou

Johann Arens

Matt Carter

Joel Chan

Hans Diernberger & Will Saunders

Tobias Gremmler

Babara Hammer

Karolina Lebek

Zoë Marden

Aura Satz

Peter Spanjer

Rehana Zamann

Mathis Hang Zhang

Part 1 - Visible & Invisible - 13th of Dec. 6.30-9pm

Part 2 - Morphing and Transformation - 19th of Dec. 6.30-9pm

Gaze to the UNKNOWN focusing on Bodies and Sexualities – A---Z presents a special two evenings of screenings and performances - A Collaboration with Mimosa House to celebrate Tomaso Binga's work with contemporary practices, looking at moving image works and live performances.

The Unknown projects have unfolded in several acts, through discussions, performances, installations and screening counteracting homogenization & imperialist historicizing – how do we create a platform to question and defy the norm? What are the options, solutions & human representations we can explore for new possibilities?

The screenings are a reflection on current shared interests: in the gaze on the ‘other’ and its representation, its definition for new possibilities. The works presented explore the ideas of future bodies, the empowerment in deconstructed narratives, alternative (hi)stories.

Exploring artistic practices and knowledge exchange through presentations, screenings and discussion A---Z aims at opening up to a large audience by sharing discursive practices in order to deconstruct preconceived ideas on race, gender identities and the so-called history in terms of power relationship.

Programme (For Print only) Part 1 - Gaze to the UNKNOWN - Visible & Invisible - 13th of Dec. 6.30-9pm

Film Programme:

- Hans Diernberger and Will Saunders

- Murat Adash

- Rehana Zaman

- Aura Satz

Sound performances (15min each) reflecting on Tomaso Binga's work with:

- Matt Carter

- Peter Spanjer

- Karolina Lebek

- Vasiliki Antonopoulou

- Johann Arens

Part 2 - Gaze to the UNKNOWN - Morphing and Transformation - 19th of Dec. 6.30-9pm

- Peter Spanjer

- Joel Chan

- Vasiliki Antonopoulou

- Tobias Gremmler

- Babara Hammer

- Mathis Hang Zhang

Performances

- Mathis Hang Zhang

- Zoë Marden

www.abc-z.org

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interwovenhistories · 7 years

Audio

(Pavilion, Leeds) Tell me the story Of all these things: Rehana Zaman in conversation with Chandra Frank, 5 May 2017

#Pavilion #Leeds #projectblog #rehanazaman #martinaattille

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avantage21 · 2 years

Photo

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