Summer 2022
Office Landscaping—A Genealogy of Corporate Critique
Ultimately, corporate critique has a genealogy, one that is cyclical and resilient, and that allows artists to engage aesthetics of control, desire, and regulation which corporate capitalist structures aim to produce.
BREYER P-ORRIDGE: We Are But One
Simone Leigh: Sovereignty
“The work is a gateway, one that bridges extracted projections of African aesthetic realities by refocusing upon the origins of Black exterior expression. Those spaces—just like bodies—hold stories, memories, and dreams. The transformation of this pavilion foreshadowed how this experience would find me in a house of discourses. But this time, there could be a more nuanced conversation about the interiority of Black female consciousness.”
Living Worth Repeating—
On the Xenogenesis of the Otolith Group
What’s Love Got to Do with It? What Is Left Unspoken, Love
Refusing the Here—Now: An Afrofuturist Period Room and Black Fugitivity in the Undercommons
By mixing the historical and the contemporary, the analogue and the digital, the obsolete and the futuristic, the concrete and the speculative, the installation proposes a malleable reality, an undercommons existing not in the here-now but for, and toward, the future.
Broken Hum(or)
Dinah Ryan explores the functions and possibilities of humor and its intersections with power, pain, vulnerability, and humanity.
On the National Mall
and we were dancing
Remote Access parties and Levani’s 127.1 BPM represent new, expansive ideas of the commons where queer, trans, immigrant, and disabled communities have gathered, and will gather, transgressively.