"What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation."Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via tofunkey)
The video is a visual metaphor of existential freedom, predominance of essence over existence, and conditionality of boundaries it also has a sculptural dimension related to the evolution of form. The space as a black absolute presented as an allegory of authentic freedom as well as the narrative links to the discourse of how the consciousness and existence are related to each other.*
Steve McQueen - Deadpan (1997)
Turner Prize-winning artist Steve McQueen—now best known for his feature films, Hunger, Shame, and 12 Years a Slave—put himself in the line of fire in Deadpan (1997), a restaging of Buster Keaton’s falling house gag from Steamboat Bill Jr. McQueen does more than remake the stunt; his presence as a black man transforms the work into a commentary on race relations and the precariousness of the black experience.
—"Damage Control: How Artists Destroy to Create Art"
My Mother Explains the Ballet to Me : The New Yorker
Evolució by Onionlab / Mapping Festival 2013
From the mailbox, a projection-mapping project:Hello!
I am contacting you to present Onionlab’s most recent piece, EvolucióYou will also find some high-resolution pictures here:And here is a brief description of the project:EvolucióOnionlab presents Evolució, a piece that revolves around the graphic and sound abstraction of the concept it is named after: evolution. It is construed as transformation, construction and alteration of reality through time; evolution as a discontinuous creation process as well.Created with 3D projection mapping techniques, this time, Evolució was projected onto the façade of the Musées d’art et d’histoire de Genève, though the piece takes the evolution concept even further: It was conceived as an open transformation process so that it can also be adapted to different façades and projection surfaces, and so that Evolució can continue its transformation process.