Martine Gutierrez, Masking, Starpepper Mask, 2018
C-print, dimensions variable. From Indigenous Woman, 2018.
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Kimowan Metchewais, “Cold Lake Fishing”, 2004/06
Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print
(Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound)
Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.
From the museum-
“The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star
Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.
Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.
Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.
Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.
This exhibition closes 12/1/23.
Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints
Photos by Rebecca Belmore and Installation by Marianne Nicolson
Marianne Nicolson’s installation detail
Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints
Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood
Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints
Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print
One of Kimowan Metchewais’ polaroids from the slide show
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"You need a break from social media."
-Martine Gutierrez
Sebastián Silva's Rotting in the Sun captures how we engage with digital spaces better than anything I've ever seen. It might be because it doesn't need to teach us about TikTok or Instagram and instead uses a hyper shorthand to show how visually ugly, meaningless and embarrassing these videos and images register to its viewer. Also, how dumb we all look as we passively and vacantly bathe in its glow. The characters in Silva's film, and Silva himself especially, know the humor doesn't come from what they scroll through but from the ways this scrolling prevents actual meaning from being shared, the misunderstandings and, erm, falls that result.
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* — ARNIE ESTRADA + CHAD MEEKS-MARTIN
❝ congratulations. you are still alive. most people are so ungrateful to be alive. but not you. not anymore... ❞
— saw (2004)
`special mention to my scream oc fc twin, @nolanhollogay
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gif credit : [ x , x , moi ]
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I can't believe the Dakar is over already. I started out being mostly interested in the bikes, so they have a special place in my heart. And I am a KTM girlie, so this year's Honda domination made me real sad. Although the results of all the other categories that I follow make up for that.
I might be the biggest Martin Macik fan and I feel like out of all the winners, he (and his team of course) deserves it the most. It's his 12th Dakar and I'm so happy everything's finally worked out for him. With 2 hours ahead of the 2nd.
Also I was really rooting for Carlos Sainz and Audi in general. Audi had a three year programm with a hybrid car and this was their last Dakar (for now) and I really wanted them to get a win. Preferably with Carlos. Audi is a great example for team work as well. I'm so happy for them. And the fact that Carlos Jr. flew in to see his dad win makes me so happy.
But I've got to admit that a little part of me was rooting for Sebastien Loeb as well. Dude's won so many championships and stages, but never the Dakar itself. He's been on the podium so many times and he was so close to Carlos for the better part of the race. But honestly after those mechanical problems, I'm just glad he's still on the podium.
And probably the biggest of them all. Christina Gutierrez ladies and gentlemen. The second woman to ever win the Dakar, after Jutta Kleinschmidt, the queen of motorsports, but in a different category. I hope Christina gets to drive in the Ultimate category soon, so she can kick some ass there alongside Laia Sanz, my queen.
And speaking of women in the Dakar, can we talk about Anja Van Loon and her team? A girls team in the trucks? How cool is that? And they're 13th overall😭
Not to forget the mission 1000. I've been a fan of the hydrogen truck since it was first presented at Dakar and I love that more and more people test their alternatively powered vehicles there.
Last but not least probably my favorite part about this year's Dakar (alongside Martin, Carlos and Christina winning). The best friendship in the bivouac: Daniel Sanders and Matthias Walkner. Matthias couldn't compete this year because of a very bad injury (get well soon, my guy) and at first Daniel just posted things about how he'll miss his camper buddy, but when he got there, he stuffed one of Matthias' racing suits and acted like he was talking to him. And he posted a video doing that every single fucking day😭😭😭😭
Really these two are so cute.
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