Knot

In this workshop, Guadalupe discussed how his work addresses how the systemic abuse of immigrants (in particular his own undocumented community) physically manifests in the body, reflecting on his own battle with cancer, which began in his gut. Maravilla’s large-scale sculptures, titled Disease Throwers, function as headdresses, instruments, and shrines through the incorporation of materials collected from sites across Central America, anatomical models, and sonic instruments such as conch shells and gongs. Guadalupe explored how these works and the most recent sound baths performances do not just try and represent healing but actually does this through healing sessions for undocumented and cancer survivor communities in attendance. Drawing upon his own experiences, he shared with the group the ways in which his work as a community organiser in New York City functions within his practice as a whole.

In this workshop, Katerina Teaiwa led a discussion with our k(not) artists of the importance of coming to understand and approach the complex genealogies that sit across kinship, blood, spiritual, relational that we both bring with us and that rest upon this landspace.

For this consultation, Indigenious academic and researcher, Paola Balla conducted  one-on-one conversations with each of our k(not) artists to discuss their projects from the perspective of sovereignty and place.

In Demian’s generous introduction to their practice, writing and, thinking, they discussed the complexity of object-making within the fight for matriarchal queer and trans inclusive sovereignty. Asking the question, what pernicious objects could first peoples and communities of colour use and remake (such as the toxic symbol of the American flag to which Demian keeps returning to in their practice) to evolve and destroy settler colonization that evolves from the nation state? Introducing their project, my ancestors will not let me forget this (2019), Demian discussed the way in which the terrible legacy of uranium mining on Diné (Navajo) lands, (such as the U.S military’s Manhattan Project, which began in 1946) has affected their community. They discussed the health dangers for cultural practitioners when delving into their community’s histories and traumas, alongside how Demian saw Indigeneity as not held fast to the past, but instead an evolving and future-orientated way of working.

Caroline discussed with our k(not) artists the importance of drawing upon the wisdom and experiences they already possess, to reframe these skills with a focus on disability and making all art more accessible to audiences and artists. She focused on the following thematics across the workshop:

Florence used object-based storytelling to talk about her practice. In a conversational manner, the session focused on continuous learning and focuessed on the way traditional practice and knowledges are the key way in which she centres her climate justice work.

What is Arts Gen’s evaluation approach? We’re attempting to promote meaningful frameworks of research and evaluation that centres arts practice to support socially engaged projects and learn about them.

In this lecture, Kim Kruger discussed colonial and indigenous history, the importance of self-determination and the history of indigenous exhibition-making on these lands. She reiterated the importance of listening, and to remember to keep coming back to the important question, whose country is this?

In this lecture, Kim Kruger discussed colonial and indigenous history, the importance of self-determination and the history of indigenous exhibition-making on these lands. She reiterated the importance of listening, and to remember to keep coming back to the important question, whose country is this?