“Celebrating the female experience, achugar’s work focuses on the sensuality – not sexuality – and pleasure of movement and the body. Her development of feminine expression aims to channel energies and cultivate communal vibrations.
achugar draws on the use of ritualized sound and movement to encourage a social bond between the audience and the performers. Patterned and repetitive sequences strengthen and clarify the dancers’ emotional intent, and empower the audience to actively engage with the performance. Recurring sounds construct an otherworldly, meditative space in which the choreography comes to life.”
via luciana achugar: Cultivating Communal Vibrations — The Green Room — Walker Art Center.
“Straightjacketed into the manipulative politics of names, of divide and conquer, their futures were used as collateral for loans the government brokered with the IMF and foreign commercial banks to feed the growing appetites of the new ruling class that emerged after the war, hands bloodied, drunk on power, ready to sell out its people in a heartbeat if it meant sidling up a step closer to the one percent of more developed capitalist democracies.”
via The War, in a Footnote | Mass Review.
“Finding photographs can be a strange phenomenon. I am not so much disturbed (if that is the right word) by encountering images of strangers, but think it might have something to do with finding other people’s valuable property. Value which in my mind potentially increases with the age of the object.
So it has happened that in Third Ward, I have found several photographs and even whole albums of photographs. This experience often places me in an emotional quandary. From my perspective it is obviously it is a great find, but simultaneously there is a sense of loss which takes place on numerous levels: the first being the loss of the object, the second being the loss of life, or property which precludes the discarding of such items, and the last being the loss of memory, or experiential evidence for the owner, or the ones they left behind.”
via Unity Foto Bank.
“Words and materials: The two always exist in a felt relation to each other. They are two sides of the same coin. A word has its own particular feeling on the tongue. Like a line in a palm, it is its own experience. The difference between the tactile experience of words and the tactile experience of things like cloth and clay is a space we are always straddling. Listening is one kind of experience. Reading silently another. Reading alone or reading together, or reading out loud, yet another; or reading with a pencil in your hand. Seeing words on a page copied out by your own hand, still another.”
via ann hamilton – artforum.com / 500 words.
“As the starting point Ziman had six Zimbabwean artists use traditional African beads and wire to manufacture several hundred beaded AK-47s; replicas of an iconic weapon which has come to be revered and grossly fetishized in Africa. Once completed, the beaded guns were the subject of a photo shoot in downtown Johannesburg, resulting in a series of images that are vivid, unsettling, and strangely beautiful.”
via ‘Ghosts’ by Ralph Ziman | The Truth about the Arms Trade.
“DADA was like Punk, but without the Rock. It was subversive, dangerous and revolutionary. European DADA was originally created as a protest movement against war. It was formed by a small group of immigrants from Germany (Hugo Ball, Emmy Hennings, Richard Hülsenbeck), Romania (Marcel Janco, Tristan Tzara), and Austria (Walter Serner). These individuals were politically motivated, and wanted to express an new kind of mentality, a ‘destructive agitation against everything.’”
via Dangerous Minds | NOTHING, NOTHING, NOTHING: DADA, a ‘destructive agitation against everything’.