curated exhibition

Talking Bodies

CA+T commissioned six Filipino American and Asian American emerging poets and writers to create an audiovisual document of them reading their work.
 
We asked our participants the broad question, How do poets and writers write, think, and visualize bodies, the body, their body? The answers to this question—addressing colonialism, gender, geography, the everyday, the unknown and more—are the foundation for Talking Bodies. As you see, each video captures the creativity of the poets and writers and pushes them to reconcile “voice” and “body” as they focus on the digital screen. 
 
Talking Bodies means literally and doubly.  The contributors are “talking bodies”—bodies who speak—as they record themselves digitally.  And Talking Bodies also “talks [about] bodies.” As these authors write about bodies, they connect theirs to others and to the global and historical processes that have constituted these bodies. These bodies are corporeal, psychic, and epistemic. 
 
This virtual exhibition captures writers as visual artists, especially in the ways they produce themselves speaking their work for the digital screen. 
 
Contributors’ works are published in staggered waves from early June to early July 2016, and the whole exhibition is archived permanently on CA+T’s website.
 
Co-curated by Jan Christian Bernabe and Alex Ratanapratum.
 
Contributors include Kimberly Alidio, Jason Bayan, Rachelle Cruz, Kenji C. Liu, Angela Peñaredondo, and Melissa R. Sipin 
 
Special thanks to the Andy Warhol Foundation and the California Institute of Contemporary Arts for fiscal support.
 
Summer 2016
 

Before This Was Texas (screen capture)

Kimberly Alidio

2011 Screen capture of video performance Courtesy of the artist. Visual Arts Center (Austin, TX)

contributor

X

Kimberly Alidio

b. 1971
image description
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Kimberly Alidio wrote After projects the resound (Black Radish, 2016) and The Sky Forever (Writ Large/ The Accomplices, 2019). She received a doctorate from the University of Michigan, held and left a tenure-track position at the University of Texas’ History Department/ Center for Asian American Studies, and won residencies and fellowships from the National Academy of Education/ Spencer Foundation, the University of Illinois’ Asian American Studies Program, Kundiman, VONA/ Voices, Naropa’s Summer Writing Program, and the Center for Art and Thought. Most recently from East Austin, Texas, she lives and writes in Tucson, Arizona.

location

X
  • Born: Baltimore, MD, USA
  • Based: Tucson, AZ, USA

comments

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Before This Was Texas

Kimberly Alidio

2011 Digital video recording Duration: 1m 3s Courtesy of the artist Visual Arts Center (Austin, TX)

contributor

X

Kimberly Alidio

b. 1971
image description
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Kimberly Alidio wrote After projects the resound (Black Radish, 2016) and The Sky Forever (Writ Large/ The Accomplices, 2019). She received a doctorate from the University of Michigan, held and left a tenure-track position at the University of Texas’ History Department/ Center for Asian American Studies, and won residencies and fellowships from the National Academy of Education/ Spencer Foundation, the University of Illinois’ Asian American Studies Program, Kundiman, VONA/ Voices, Naropa’s Summer Writing Program, and the Center for Art and Thought. Most recently from East Austin, Texas, she lives and writes in Tucson, Arizona.

location

X
  • Born: Baltimore, MD, USA
  • Based: Tucson, AZ, USA

comments

X

No Soothing Mother (screen capture)

Kimberly Alidio

2011 Screen capture of video performance Courtesy of the artist. Visual Arts Center (Austin, TX)

contributor

X

Kimberly Alidio

b. 1971
image description
  • See All Works

Kimberly Alidio wrote After projects the resound (Black Radish, 2016) and The Sky Forever (Writ Large/ The Accomplices, 2019). She received a doctorate from the University of Michigan, held and left a tenure-track position at the University of Texas’ History Department/ Center for Asian American Studies, and won residencies and fellowships from the National Academy of Education/ Spencer Foundation, the University of Illinois’ Asian American Studies Program, Kundiman, VONA/ Voices, Naropa’s Summer Writing Program, and the Center for Art and Thought. Most recently from East Austin, Texas, she lives and writes in Tucson, Arizona.

location

X
  • Born: Baltimore, MD, USA
  • Based: Tucson, AZ, USA

comments

X

No Soothing Mother

Kimberly Alidio

2011 Digital video recording Duration: 45s Courtesy of the artist Visual Arts Center (Austin, TX)

contributor

X

Kimberly Alidio

b. 1971
image description
  • See All Works

Kimberly Alidio wrote After projects the resound (Black Radish, 2016) and The Sky Forever (Writ Large/ The Accomplices, 2019). She received a doctorate from the University of Michigan, held and left a tenure-track position at the University of Texas’ History Department/ Center for Asian American Studies, and won residencies and fellowships from the National Academy of Education/ Spencer Foundation, the University of Illinois’ Asian American Studies Program, Kundiman, VONA/ Voices, Naropa’s Summer Writing Program, and the Center for Art and Thought. Most recently from East Austin, Texas, she lives and writes in Tucson, Arizona.

location

X
  • Born: Baltimore, MD, USA
  • Based: Tucson, AZ, USA

comments

X

To My Unknown Daughter (screen capture)

Melissa R. Sipin

2016 Screen capture of video performance Courtesy of the artist

contributor

X

Melissa R. Sipin

b. 1988
image description
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Nicknamed "small but terrible" by her lola, MELISSA R. SIPIN was born and raised in Carson, CA. She co-edited Kuwento: Lost Things (Carayan Press 2014) and is Editor-in-Chief of TAYO Literary Magazine. Her work is in Prairie Schooner, Salon, Guernica Magazine, and Black Warrior Review, among others. Her fiction has won Glimmer Train's Fiction Open and the Washington Square Review's Flash Fiction Prize, as well as scholarships/fellowships from The MacDowell Colony, Poets & Writers Inc., Kundiman, VONA/Voices Writers'
Workshop, Squaw Valley’s Community of Writers, and Sewanee Writers’ Conference. She was recently shortlisted for the 2017 Rona Jaffe Writer's Award. She is hard at work on a novel. More at msipin.com.

Here is an essay I wrote about the Pinay body: “To My Unknown Daughter,” which was published in Glimmer Train back in 2014. I thought reading this essay for CA+T’s “Talking Bodies” exhibit was appropriate but also star-aligning, because I wanted to do something more with it, something visual, something multimedia. I decided against using footage of me reading this essay, or any footage of me really, and instead used this vintage, archival footage of my family in Mandaluyong, Metro Manila, Philippines, in 1967, during the Marcos regime. There’s so much lovely irony in this archival, fragmentary footage ... My father's in there with his older brothers; him the youngest, the most hungry. He’s about five years old, such a ripe and innocent age, a persona of my father I’ve never met or seen before, and he is seen riding a bike or longing for his eldest brother, my Uncle Dennis, the chosen patriarch of my family after my grandfather died. The men first seen in the beginning, in the first clip, is my Uncle Geony and my Uncle Eddie—both of whom fled to the East Coast right around the time my grandfather passed, almost in defiance, in irrelevance to my Uncle Dennis. All the kids dancing are my familia—my aunts, my uncles, my cousins, my bloodline.

Let me go deeper, and tell you the backstory behind the footage: my white uncle, who filmed this footage, met my Auntie Lodie near Clark Air Base (she was a prostitute), and they married; before he left for America (and subsequently took her, which allowed my whole family to immigrate), he would visit the family home in Manila and bring gifts, like this camera. In this essay, I talk a bit about how this complication, this nuance, this chance meeting between my white uncle and prostitute aunt is a consequence of U.S. Imperialism, and how all of this—this kind of colonial inheritance—affects the ways I write about the Pinay body. Although I wanted to film new material, these archival, old family videos made by my white uncle—who, ironically, is the only one archiving and recording our family histories, our family tree, and salvaging mementos from our past—obsessed me. This footage always damages me in a slow, pregnant way; it marks the infancy of my familia, it marks the moment when we were once together, before we broke apart. I decided to loop the video in hopes of producing a kind of fragmentary remembrance.

 

location

X
  • Born: Torrance, CA, USA
  • Based: Los Angeles, CA, USA

comments

X

To My Unknown Daughter

Melissa R. Sipin

2016 Digital video recording Duration: 18m 46s Courtesy of the artist

contributor

X

Melissa R. Sipin

b. 1988
image description
  • See All Works
  • facebook
  • visit website

Nicknamed "small but terrible" by her lola, MELISSA R. SIPIN was born and raised in Carson, CA. She co-edited Kuwento: Lost Things (Carayan Press 2014) and is Editor-in-Chief of TAYO Literary Magazine. Her work is in Prairie Schooner, Salon, Guernica Magazine, and Black Warrior Review, among others. Her fiction has won Glimmer Train's Fiction Open and the Washington Square Review's Flash Fiction Prize, as well as scholarships/fellowships from The MacDowell Colony, Poets & Writers Inc., Kundiman, VONA/Voices Writers'
Workshop, Squaw Valley’s Community of Writers, and Sewanee Writers’ Conference. She was recently shortlisted for the 2017 Rona Jaffe Writer's Award. She is hard at work on a novel. More at msipin.com.

Here is an essay I wrote about the Pinay body: “To My Unknown Daughter,” which was published in Glimmer Train back in 2014. I thought reading this essay for CA+T’s “Talking Bodies” exhibit was appropriate but also star-aligning, because I wanted to do something more with it, something visual, something multimedia. I decided against using footage of me reading this essay, or any footage of me really, and instead used this vintage, archival footage of my family in Mandaluyong, Metro Manila, Philippines, in 1967, during the Marcos regime. There’s so much lovely irony in this archival, fragmentary footage ... My father's in there with his older brothers; him the youngest, the most hungry. He’s about five years old, such a ripe and innocent age, a persona of my father I’ve never met or seen before, and he is seen riding a bike or longing for his eldest brother, my Uncle Dennis, the chosen patriarch of my family after my grandfather died. The men first seen in the beginning, in the first clip, is my Uncle Geony and my Uncle Eddie—both of whom fled to the East Coast right around the time my grandfather passed, almost in defiance, in irrelevance to my Uncle Dennis. All the kids dancing are my familia—my aunts, my uncles, my cousins, my bloodline.

Let me go deeper, and tell you the backstory behind the footage: my white uncle, who filmed this footage, met my Auntie Lodie near Clark Air Base (she was a prostitute), and they married; before he left for America (and subsequently took her, which allowed my whole family to immigrate), he would visit the family home in Manila and bring gifts, like this camera. In this essay, I talk a bit about how this complication, this nuance, this chance meeting between my white uncle and prostitute aunt is a consequence of U.S. Imperialism, and how all of this—this kind of colonial inheritance—affects the ways I write about the Pinay body. Although I wanted to film new material, these archival, old family videos made by my white uncle—who, ironically, is the only one archiving and recording our family histories, our family tree, and salvaging mementos from our past—obsessed me. This footage always damages me in a slow, pregnant way; it marks the infancy of my familia, it marks the moment when we were once together, before we broke apart. I decided to loop the video in hopes of producing a kind of fragmentary remembrance.

 

location

X
  • Born: Torrance, CA, USA
  • Based: Los Angeles, CA, USA

comments

X

To Become Darna

Rachelle Cruz

2016 Digital video recording Duration: 1m 39s Courtesy of the artist

contributor

X

Rachelle Cruz

b. 1985

Rachelle Cruz is from Hayward, California. She is the author of the chapbook SelfPortrait as Rumor and Blood ( Dancing Girl Press, 2012) and coeditor with Melissa Sipin of Kuwento: Lost Things, An Anthology of Philippine Myths (Carayan Press, 2015). Her work has appeared in As/Us , New California Writing 2013 (Heyday Books), the Los Angeles Review of Books , Yellow Medicine Review, Jet Fuel Review, The Lit Pub, The Bakery, Stone Highway, The Collagist, Bone Bouquet, PANK Magazine, Muzzle Magazine, Splinter Generation, KCET's Departures Series, and Inlandia: A Literary Journey, among others. She hosts The BloodJet Writing Hour on Blog Talk Radio, and is the Podcast Editor at The Collagist. She is a recent recipient of the Manuel G. Flores Scholarship from the Philippine American Writers and Arists, Inc (PAWA). An Emerging Voices Fellow, a Kundiman Fellow and a VONA writer, she lives, writes, and teaches in Southern California.

location

X
  • Born: San Francisco, CA, USA
  • Based: Brea, CA, USA

comments

X

To Become Darna (screen capture)

Rachelle Cruz

2016 Screen capture of video performance Courtesy of the artist

contributor

X

Rachelle Cruz

b. 1985

Rachelle Cruz is from Hayward, California. She is the author of the chapbook SelfPortrait as Rumor and Blood ( Dancing Girl Press, 2012) and coeditor with Melissa Sipin of Kuwento: Lost Things, An Anthology of Philippine Myths (Carayan Press, 2015). Her work has appeared in As/Us , New California Writing 2013 (Heyday Books), the Los Angeles Review of Books , Yellow Medicine Review, Jet Fuel Review, The Lit Pub, The Bakery, Stone Highway, The Collagist, Bone Bouquet, PANK Magazine, Muzzle Magazine, Splinter Generation, KCET's Departures Series, and Inlandia: A Literary Journey, among others. She hosts The BloodJet Writing Hour on Blog Talk Radio, and is the Podcast Editor at The Collagist. She is a recent recipient of the Manuel G. Flores Scholarship from the Philippine American Writers and Arists, Inc (PAWA). An Emerging Voices Fellow, a Kundiman Fellow and a VONA writer, she lives, writes, and teaches in Southern California.

location

X
  • Born: San Francisco, CA, USA
  • Based: Brea, CA, USA

comments

X