tag:blogger.com,1999:blog-1085572380540048308Tue, 04 Aug 2026 08:15:32 +0000516 ARTSNew Mexico ShowcaseAlbuquerque artiststudio visitAlbuquerqueNew Mexican artistsPeter Frankabstract paintingpaintingCAS PrizeCedra WoodInpost ArtspaceRebekah PotterThe Harwood Art CenterUniversity of New MexicoValerie Roybalinterview20 x 200AROSAaron NobleAlbuquerque painterAline HunzikerAlisa DworskyAndrea PolliArtificial SelectionBethany DelahuntChristy HengstDIYDavid KochDavid LeighEllen BabcockEnormous Tiny Art ShowEtsyEvil and Everything in BetweenISEA2012Installation shotsJessamyn LovellJill ChristianJohn Phillip AbbottLarry Bob PhillipsLaurie MarionLewAllen ContemporaryLindsey FrommLuanne RedeyeMachine WildernessMargaret FitzgeraldMariposa GalleryMark WalkerMel ChinMelanie MosesMetropolis with the ChuppersMiriam SaganMolly GeissmanNanibah ChaconNatalie SmithNettrice GaskinsOutpost Performance SpacePete Yahnke RailandSanta Fe artistSimon MehalekSuperheroes: Icons of GoodSuzi Davidoff and Rachelle ThiewesTamarind InstituteThe Happiness ProjectUNM Art MuseumWells Park Neighborhood AssociationWest Elmassemblageblokscollageencausticmuralpanel discussionsurfboard shaperwomen and creativity516 BLOGnoreply@blogger.com (Anonymous)Blogger57125tag:blogger.com,1999:blog-1085572380540048308.post-809280996738278170Thu, 24 Jan 2019 21:00:00 +00002019-01-29T10:42:43.601-07:00Public Forum: The Future of Work <div style="text-align: left;">
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<span style="font-size: 11.0pt;"> In conjunction with the
exhibition titled <span style="color: black;"><a href="; target="_blank"><i style="mso-bidi-font-style: normal;">Currency: What do you value</i>?</a></span><span style="color: black; mso-themecolor: text1;">, </span>516 ARTS presented a public
forum on January 10 at 516 ARTS examining the future of work. Moderated by <b style="mso-bidi-font-weight: normal;">Shelle Sanchez</b> (Director of Cultural Services, City of Albuquerque),
the panelists were: locals <b style="mso-bidi-font-weight: normal;">Sarita Nair</b>
(CAO, City of Albuquerque), <b>Solve Maxwell </b>(blockchain entrepreneur and
musician), and guests from Austin, Texas <b style="mso-bidi-font-weight: normal;">Steven
Tomlinson</b> (chaplain, seminarian and business mentor/coach) and <b style="mso-bidi-font-weight: normal;">Eugene Sepulveda</b> (<span style="color: black;"><a href="; target="_blank">Capital Factory</a></span>, <span style="color: black;"><a href="; target="_blank">Culturati</a></span>,
advisor to mayor of Austin). The packed audience included a mix of artists, the general public, people from the City’s Cultural Services and Economic Development Departments, and business and technology organizations that 516 ARTS invited including The BIoScience Center, CNM’s Deep Dive Coding, Cultivating Coders, FatPipeABQ, Impact & Coffee, New Mexico Technology Council and TEDxABQ, among others. The air was buzzing with all of these folks in the room together!<br /></span><br />
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<span style="font-size: 11.0pt;">What big shifts do we see
coming in how, where and why we work? Steven emphasized that automation and
globalization are almost certainly going to continue, causing mass upheavals in
employment and re-definition of work. If there is a guaranteed livable wage
what will we do? Evidence points to very socially productive
activity…spontaneous re-deployment, collaboration and engagement. The increased
value of tech-enabled “high leverage artistic talent” presents opportunities
for creative people to impact and express ideas on a larger scale, to create
those things that only humans (as opposed to A.I.) can create. These changes
present an opportunity to pursue meaningful work instead of just money.</span></div>
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<span style="font-size: 11.0pt;">Solve pointed out that this
is a time to erase borders and collaborate globally, and that innovations like
blockchain can provide intellectual property royalties to every contributor to
a project, without clumsy and expensive contracts and middlemen. Artists are
involved in constructing and communicating new realities in virtual settings.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Panelists Solve Maxwell & Steven Tomlinson</span></span></td></tr>
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<span style="font-size: 11.0pt;">Within the emerging
workplace, Eugene emphasized the value of putting the right people together in
teams, and evidence was showing that successful innovation requires artists who
see things in new ways. Stephen pointed out the challenge to artists in letting
go of the anguish of personal expression when participating in the workplace,
and instead channeling their prophetic vision in service to others. He
highlighted the work of Allison Orr (<a href="; target="_blank"><span style="color: black;"><i style="mso-bidi-font-style: normal;">Trash Dance</i></span>)</a> and her emphasis on the choreography
of labor.</span></div>
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<span style="font-size: 11.0pt;">Sarita questioned the
inevitability of these larger changes, and worried that the economic
transformations suggested by the other panelists were yet another hurdle for
those people (especially in New Mexico) left behind or disadvantaged by
previous transformations (such as industrialization and white collar
professionalization). Artisan and manual labor still play a role locally and could
be emphasized in the future.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Sarita Nair</span></span></td></tr>
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<span style="font-size: 11.0pt;">Are those with
wealth/mobility the only ones who can afford and benefit from risk? Eugene
concurred that there is reason for caution based on past inequities, but good
reason for seeing abundance of opportunity in the current direction. Concern
about risk may make us miss opportunities, especially since smart corporations
are now valuing and mandating diversity and civic engagement at all levels. On
the micro scale, Sarita wanted to see women and communities of color control
and own their own production, and sees the City of Albuquerque’s role in providing
tools to help these start-ups engage.</span></div>
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<span style="font-size: 11.0pt;">There was discussion of the
need for bold experimentation and constant testing of innovative ideas by
cities and civic institutions, and of the role of artists in developing those
ideas and providing visions of change. Power and money are seen as only magnifying
existing structures, while art, community dialogue, and personal contact are
seen as the engines that connect us to our humanity and to a sustainable
future. At the same time, Eugene pointed out that the workplace may be one of
the last truly integrated places in our lives, where we intersect with
individuals form other political, ethnic, gender, and religious groups, and
emphasized the need to program civic, cultural and arts dialogue into the work
environment.</span></div>
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<span style="font-size: 11.0pt;">Overall, panelists agreed
that within the context of technological and workplace upheaval, definitions of
success are being questioned. New emphasis is on community, connection, and the
pleasure of shared experiences, with money seen as a tool to achieve these ends
rather than an end in itself.</span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;"><br />Panelists’ Suggestions: </span></b></div>
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<div class="MsoListParagraphCxSpFirst" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Essential Reading:</span></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Sarita: <span style="color: black;"><a href="; target="_blank"><i style="mso-bidi-font-style: normal;">Secret Skin</i></a></span><b><span style="color: red;"> </span></b>Podcast
by Open Mike Eagle</span></div>
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<span style="font-size: 11.0pt;">Solve: <i style="mso-bidi-font-style: normal;">Shantaram</i> by Gregory David
Roberts,<span style="mso-spacerun: yes;"> </span><span style="color: black;"><a href="; target="_blank"><i style="mso-bidi-font-style: normal;">Off the Chain</i></a></span><span style="color: red;"> </span>Podcast</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Eugene: Kara Swisher, <span style="color: black;"><a href="; target="_blank"><i style="mso-bidi-font-style: normal;">Box</i></a></span> Podcast</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Steven: <a href="; target="_blank"><i style="mso-bidi-font-style: normal;">The Wealth of Humans</i></a><span style="color: red;"> </span>by Ryan Avent</span></div>
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<span style="font-size: 11.0pt;">Favorite Economist:</span></div>
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<span style="font-size: 11.0pt;">Sarita: Amartya Sen </span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Solve: John Mason Clark</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Eugene: Paul Krugman</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-align: justify;">
<span style="font-size: 11.0pt;">Steven: Amartya Sen, Kenneth
Boulding, Thomas Picketty</span></div>
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<span style="font-size: 11.0pt;">Favorite Artist:</span></div>
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<span style="font-size: 11.0pt;">Sarita: Wendell Berry,
Prince, Barclay Hendricks</span></div>
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<span style="font-size: 11.0pt;">Solve: Thomas Christopher
Haag</span></div>
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<span style="font-size: 11.0pt;">Eugene: Julie Speed</span></div>
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<span style="font-size: 11.0pt;">Steven: Wendell Berry<br style="mso-special-character: line-break;" />
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt;">_____________________</span></i></div>
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<span style="color: black;"><a href="; target="_blank"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11pt;">Currency: What do you value?</span></i></a><span style="font-size: 11pt;"> </span></span><span style="font-size: 11.0pt;">is on
view through February 23, 2019 at 516 ARTS</span></div>
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<span style="font-size: 11.0pt;">516 Central Ave. SW,
Albuquerque, New Mexico<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>open Tue – Sat, 12-5pm</span></div>
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<span class="MsoHyperlink"><span style="font-size: 11.0pt;"><a href=";
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<span style="font-size: 11.0pt;">Instagram: @516_arts</span><br />
<span style="font-size: 11.0pt;">Facebook: 516artsABQ </span></div>
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Video courtesy of <a href="; target="_blank">Melinda Frame/Frame + Work </a></div>
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<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="; webkitallowfullscreen="" width="670"></iframe>2019/01/notes-from-public-forum-future-of-work_24.htmlnoreply@blogger.com (claude.)2tag:blogger.com,1999:blog-1085572380540048308.post-6733741941159034559Sat, 10 Jun 2017 22:48:00 +00002019-01-23T15:12:35.061-07:00Landscapes of Life & Death<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Donna J. Wan</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><b><span style="font-size: medium;">Landscapes of Life & Death</span></b></span></div>
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<span style="font-family: "verdana" , sans-serif;">by Mary Anne Redding</span></div>
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<span style="font-family: "verdana" , sans-serif;">Guest Curator<i><br /></i></span></div>
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<span class="m_-2372983172960472573gmail-s1" style="color: #222222; font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">The exhibition, <i>Landscapes of Life & Death</i>, offers a poignant opportunity to look at life, loss, death and the fragile ecosystems we inhabit. Spanning emotionally fraught landscapes of human death as well as environmental landscapes of devastation and renewal, six contemporary photographic artists, Lynne Buchanan, Kevin Horan, Marietta Patricia Leis, Ella Sala Myers, Kevin O’Connell and Donna J. Wan, address the nuances of loss and grief, both for themselves and for the planet, by examining our intimate connections with nature. The idea of death generally makes people uncomfortable, especially when it’s the intimate experience of human death, the death of a beloved pet, or the mass destruction of life and landscape after a devastating fire. Yet many artists explore the shape of loss as a meditation, whether through contemplation of their own passing or through a more universal meditation on loss and grief. Many artists are exploring the no-longer-subtle effects of climate change on the landscape, and on those of us who inhabit altered lands. Photographs, grounded as they are in the “real”—or at least some approximation of reality given digital interventions—reveal a unique vision of the cycles of life and death, often in a public setting. How do contemporary photographic artists grapple with the nuances of loss, of death and life, on both a personal scale and the broader scope of a seared landscape or endangered wildlife inhabiting polluted waterways and lands?</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Marietta Patricia Leis</span></span></td></tr>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b style="font-size: 12.8px;">Marietta Patricia Leis</b><span style="font-size: 12.8px;"> (New Mexico) writes: “The Antarctic is a place so special, so untouched and regal in its natural beauty. The magnificence of the glaciers, mountains, icebergs and yes, storms dwarfing the ship and our ‘humanness’ were beyond anything I had ever experienced. The raw and untouched surroundings felt like being on Earth on the day of its birth.” At the apex, birth is difficult. Drawn to “the end of the earth” because of its position on the planet, Leis did not initially anticipate the dangers of navigating the Drake Passage, even in a seasoned Russian Research vessel. On a trip that took two additional harrowing days, a furious storm and, 50-foot waves pounded the sturdy boat and its sea-sick inhabitants who were lashed to their bunks for safety (even the captain later admitted he had never experienced seas so rough). The storm ended in a sunrise so heartbreaking and beautiful it struck its viewers as a precious gift: they had survived. Ever an artist, Leis managed to photograph the storm through her cabin window and record the sounds of the boat creaking as it crashed through the unrelenting waves. </span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Lynne Buchanan</span></span></td></tr>
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<b style="font-family: verdana, sans-serif; font-size: 12.8px;">Lynne Buchanan</b><span style="font-family: "verdana" , sans-serif; font-size: 12.8px;"> (Florida) creates artwork that is place specific, exploring, initially, the protected watersheds and wild riparian areas of her home state of Florida; at the same time, she acknowledges that water issues do not stop at the borderlines of municipalities or states. Instead she sees the interconnected and global nature of our environmental problems, exploring water issues across the United States, in Iceland and in Patagonia. The world’s waterways, she writes, “are treasures that are being irreparably damaged from the negative impacts of climate change, agricultural pollution, population and urban growth, and land development. The preservation of water should not be a partisan issue. It is a basic human right that we all need to work together to preserve”. In the deserts of the Southwest, where dams and water usage wars scar the landscape, Buchanan’s photographs are a call to action to preserve our natural resources for both their natural beauty and their essential role in species survival. </span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b><br />Kevin Horan </b>(Washington) began his photographic exploration of the death and metamorphosis of animals when he stumbled upon the scene of a dead deer still bleeding in the snow. Initially horrified, Horan presumed the deer had been killed by careless hunters interested only in the kill, who left without dressing the meat to use for food. Moving closer to photograph the buck, he realized it had been brought down by coyotes or wolves, and his approach had scattered them into the trees to wait, watching, until he left. Moved to ruminate on the words of a friend who was afraid of dying, Horan now seeks out the cycles of life in the natural world as a way of coming to terms with parsing his own physicality. Looking at the still animals, not seeing but sensing the microscopic life that continues, or the dark burnt trees ravished by fire yet carpeted with green soft shoots, brings to mind the poetry of e. e. cummings: </span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />… for the leaping greenly spirits of trees</span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />and a blue true dream of sky; and for everything</span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />which is natural which is infinite which is yes …<sup> 1</sup></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Kevin Horan</span></span></td></tr>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b><br /><br />Donna J. Wan</b> (California) is drawn to “suicide destinations,” those places where people suffering from profound despair will travel, often at great distances from where they live, to situate themselves in nature, in sublimely beautiful landscapes one last time before ending their lives. From her personal experience and research, Wan has found these places are frequently near water, mountains or valleys. She does not pretend to know why anyone chooses the locations they do, nor is it her intent to romanticize places of death, rather, she hopes that her elusively hazy and delicately soft-focused images, which she believes reflects the clouded state of the suicidal mind, will provide just the barest glimpse into the minds of those “that may have thought that dying in these beautiful places was a peaceful way to end their suffering.” </span></span></div>
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<span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><b><br />Kevin O’Connell </b>(Colorado) has a rare form of cancer. He has spent more time than he would like to recall in hospital rooms, in his own room, confined, enduring the process of illness and therapy. Turing to his camera, the artist seeks release from the discomfort, from the ongoing battle between the pain and his weak body, from his struggle to do something with the hours of inactivity, of waiting. Intensely personal, O’Connell’s series,100 Days (inside), 2006 was made while he was undergoing blood transfusions and other invasive cancer treatments. Seeking instant gratification, the artist aimed his Polaroid camera at the shadows and corners of his room, looking for the reward of light, color, and form that pushed past the physicality of the walls, the inescapable smells, and the scratchy sheets, to release, to creativity. </span></span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: 12.8px;">The final part of this exhibition is a tribute to the young artist, </span><b style="font-family: verdana, sans-serif; font-size: 12.8px;">Ella Sala Myers </b><span style="font-family: "verdana" , sans-serif; font-size: 12.8px;">(New Mexico)—Ella’s life ended when she died at the age of 16 in a tragic plane crash. Ella, along with two other students, Michael Sebastian Mahl and Ella Jaz Kirk, were eco-monitors for the Aldo Leopold Charter School in Silver City, New Mexico studying the effects of the newly formed burn scar created by the Signal Fire in the Gila Wilderness. The students were part of the Youth Conservation Corps, monitoring water quality on the Gila River and San Vicente Creek and researching soil and forest ecology for the US Forest Service. During a reconnaissance flight over the path of the flames, the weather changed unexpectedly and the small plane crashed as the private pilot tried to land. No one survived. The short film, cloud photographs and text—reveal a young artist on the brink of a career in the arts—honor the New Mexican landscape, clouds and water, horses and family. </span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: 12.8px;"> </span><span class="m_-2372983172960472573gmail-s1"><span style="font-family: "verdana" , sans-serif;"><br />In many ways, these are the moments that are important to each of us: the landscapes in which we live, our families, and our animal companions. The artists in <i>Landscapes of Life & Death</i> understand that the future of our individual self-preservation, the ongoing exceptionalism of Antarctica, or the beauty of Florida’s waterways are threatened not only by personal action or inaction, but also by global climate change and geopolitical competition for natural resources and other short-sited economic or political gain. We all live and we all die downstream. What are you going to do about the climate we have, personally and collectively, created? </span></span></div>
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<span class="m_-2372983172960472573gmail-s1" style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="color: #333333;">Mary Anne Redding is currently Curator at the Turchin Center. She was previously the Curator of the Marion Center for Photographic Arts and the Chair of the Photography Department at Santa Fe University of Art & Design. And before that was the Curator of Photography for the Palace of the Governors/New Mexico History Museum. She has more than tw</span><span style="color: #333333;">enty-five ye</span><span style="color: #333333;">ars experience working as a curator, archivist, librarian, educator, and arts administrator.</span></span></span></div>
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2017/06/lanscapes-of-life-death.htmlnoreply@blogger.com (Anonymous)0tag:blogger.com,1999:blog-1085572380540048308.post-3379368427504566633Tue, 02 May 2017 22:13:00 +00002019-01-23T15:19:14.200-07:00Experiments in Cinema v12.3: The Cubano Edition<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "verdana" , sans-serif;"><b>Experiments in Cinema v12.3: The Cubano Edition</b></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">Experiments in Cinema is an annual celebration of international, cinematic <i>undependence</i>. This Basement Films festival brings the global community of alternative moving image artists to New Mexico as a way of inspiring a new generation of media activists to recognize the value of their voices and to participate in shaping future trends of cultural representation. Experiments in Cinema screens approximately 100 films from over 35 countries in addition to hosting unique lectures, workshops and a regional youth program that features films made by New Mexican high school students. </span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;"><i>Expanding Video</i> is a pop-up exhibit that mirrors the mission of our festival, offering attendees a cross section of works that speak to our understanding of the depth and breadth of the current sate of the (media) art. To this end, we try to be inclusive while also challenging our own aesthetic predisposition. <i>Expanding Video</i>, and the films and programs presented at the Guild Cinema (our other festival venue), are expressions of this mission. In this exhibit of media-based installation work, not only are we featuring works that embrace new technologies, but also those that look back to embrace what we like to call dead technologies. And, at the risk of suggesting a false binary, we would like to think that we are also presenting works that study “everything in between.” </span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">The title, <i>Expanding Video</i>, is borrowed from Cuban media scholar Yainet Rodriguez. Rodriguez who is one of five Cuban scholars who Experiments in Cinema is hosting as part of our festival’s special focus on Cuban media art this year. Yainet is presenting a program that explores time-based installation work from that island country in conjunction with this pop-up exhibition. One might note that amongst the works in this exhibition is <i>Three In One Flags</i> by Cuban artist, Nestor Siré.</span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">I am often asked to define <i>undependent</i> cinema (sometimes referred to as experimental, personal or the alternative screen), which is a fair question considering the dynamic nature of the form. Unlike a Western, romantic comedy or horror movie, the parameters and tropes of cinematic <i>undependence</i> are much more slippery, as they necessarily move and oscillate in challenging and unexpected ways. Consider how, back in the 1930s, Georgia O’Keeffe experimented with paint and canvas in terms of how one might re-envision the way a landscape can be represented on a rectangular surface. Or, think about how a scientist might develop a hypothesis and then stage an experiment to explore the validity of his/her assertion. These are all illustrations that suggest possibilities for assessing and interpreting cinematic experimentation. </span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;">I consider <i>undependent</i>, cinematic practitioners to be the traveling troubadours of our day. In the most egalitarian way, these artists are invested in sharing the news of the day (literally and often metaphorically), from their perspectives and from their particular corners of the world. These are works that speak from the heart. They are not tainted by boardrooms filled with marketing executives, burdened by multi-million dollar budgets or assigned value by Saatchi & Saatchi. Too often, the moving image/cinema is thought of as something that necessarily costs millions of dollars to make. If one believes in the cultural importance of the arts, imagine if a painting necessarily cost millions of dollars to make, we would be culturally bankrupt. The moving image arts have a responsibility (like all the arts) to deliver a vital, barometric read of the human condition. To this end it is the goal of Experiments in Cinema to offer works that speak to this responsibility, while also offering opportunities for engagement and, most importantly, participation. Go make a movie (that doesn’t cost millions of dollars to craft) or a time-based installation, and then share it with EVERYONE!</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span class="m_-973122230714301071gmail-s2">—</span><span class="m_-973122230714301071gmail-s1"> <b>Bryan Konefsky</b></span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;"> Founder/Director, Experiments in Cinema</span></span></div>
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<span class="m_-973122230714301071gmail-s1"><span style="font-family: "verdana" , sans-serif;"> President, Basement Films</span></span></div>
2017/05/experiments-in-cinema-v123-cubano.htmlnoreply@blogger.com (Anonymous)0tag:blogger.com,1999:blog-1085572380540048308.post-2464091294738027849Tue, 02 May 2017 21:59:00 +00002019-01-23T15:22:19.299-07:00Decolonizing Nature<div style="background-color: white; color: #222222;">
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<b><span style="font-family: "verdana" , sans-serif;">Decolonizing Nature</span></b><br />
<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif; text-align: start;">Chloë Courtney & Lara Esther Goldmann, </span><span style="font-family: "verdana" , sans-serif; text-align: start;">Exhibition Curators</span></div>
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<span class="m_5282114876524945561gmail-s1" style="font-family: "verdana" , sans-serif;"><a href=" Nature</i> </a>brings together diverse voices to the conversation on geopolitical power structures, coloniality, and their severe impact on ecology and indigenous communities. Together the artists reveal the complexity, as well as the interconnected relationships between ecological and social injustices. Looking at the work of <b>Allora & Calzadilla</b>, addressing the military occupation and ensuing environmental and social injustices in Vieques, Puerto Rico, or the installation <i>Return of a Lake</i> by Brazilian artist <b>Maria Thereza Alves</b>, points to the continuous reproduction of hierarchical power structures. <i>Return of a Lake</i> represents both the artist’s research practice as well as her deep collaboration with the community of Xico in the Valley of Mexico, examining the impact coloniality (the continuation of the logics that made colonization possible) has had and still has on that community and its agricultural practices.</span></div>
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