unidentified fist, soil from Haiti and adhesive, 2015. artist: Jasmine Murrell.
From the exhibition, Diaspora Calling! curated by Ms. Lauryn Hill at Kings Theatre, Brooklyn, NY in partnership with MoCADA Museum, Haiti Cultural Exchange and Nader Haitian Art. Concert tour in association with TIDAL.
Reposted from #tanialaure.
Image: DC Productions, Harlem Rising, 2015, Black and white photograph on silver gelatin © DC Productions.
NEXT WEEK! 4/21 @ La Maison d'Art | curated for Harlem Arts Festival
Free w/RSVP
When someone asks you where you're from … do you sometimes not know how to answer? Writer Taiye Selasi speaks on behalf of "multi-local" people, who feel at home in the town where they grew up, the city they live now and maybe another place or two. "How can I come from a country?" she asks. "How can a human being come from a concept?"
Chicago, 2014 | Cap-Haïtien, 2015 | Half way between Brooklyn and Manhattan, 2014 | Captured with iPhone
sibyl #4, acrylic, sequins, rhinestones, pearls, seashells and starfish on wood, 2016
“In late antiquity and the early common era, sibyls mourned aryan destruction of the civilization of the dark mother, covering the known world with their lamentations —-libyan sibyl of Africa, delphic sibyl of Greece, cimmerian sibyl of Italy, erythraean sibyl (Cassandra) of Babylon, sibyl of Samos, Greece, cumean sibyl of Magna Graecia (south Italy and Sicily), hellespontic sibyl of Troy, phrygian sibyl of Asia, canaanite sibyl in Sicily, and the tiburtine sibyl of Rome. Eurocentric historians would later refer only to sibyls of Ephesus in Asia, Samos in Gree, and Cumae near Naples in Italy, omitting the african sibyl of Libya an omission that may mark the beginning of historical obliteration of the african origins of world civilizations. ”
sibyl #4 + me. #latergram #almostdonegram #whyyoustallinggram #tanialaure
"Women’s bodies are experienced in shared ways and women’s bodies are scrutinized in shared ways. I was really interested in exploring this sharing of social experiences, both positive and negative. Wearing my own hair natural and giving birth to my daughter spurred me to reflect on the ways in which her experiences with her hair may or may not parallel mine. That brought my photo work to contextualize hair from the standpoint of a black girl/woman. So much is packed into hair, which makes it a viable site for resistance. It’s regulated along so many gazes. Whether a woman is choosing to grow hair on her underarms and legs to reject patriarchal standards or she is loc’ing her hair to reject Eurocentric standards, there’s agency in connecting our own body to our protest."
“And it is clear that in the colonial countries the peasants alone are revolutionary, for they have nothing to lose and everything to gain.
+Frantz Fanon, The Wretched of the Earth”