topic

Genders and sexualities

In “The Filipina's Breast: Savagery, Docility and the Erotics of the American Empire,” Nerissa Balce powerfully argues that “the bare brown bosoms of indigenous women were markers of savagery, colonial desire, and a justification for Western imperial rule. A foundational project of European and American imperialisms was the creation of an archive of images of the non-Western other whose inferiority was marked by female nakedness” (Social Text 24.2 [Summer 2006], 89).


These gendered, sexualized, racialized images conflated women and land as imperial possessions and legitimated US (and previously Spanish and Japanese) civilizing missions. Nor was this representation limited to women: Filipino men—albeit according to different tropes—were also archived by empire as gendered, sexualized and racialized objects.


In taking “genders and sexualities” as a topic, we gesture towards not only the complications of contemporary negotiations and constructions of “masculinity,” “femininity,” “heterosexuality,” “homosexuality” and their many local and global iterations but also to their inevitable entanglement with the histories of colonialism, imperialism, militarization, globalization and capitalism.

GENERAL DYNAMICS 2.0

Zavé Martohardjono

Apr 2017 Video documentation of GENERAL DYNAMICS 2.0 performed at Gibney Dance Company Duration: 21 min. 22 sec. Courtesy of Zavé Martohardjono

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Zavé Martohardjono

b. 1984
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Zavé Martohardjono is an interdisciplinary artist interested in geopolitics, social justice, queer glam, and embodied healing. They were born in Canada and call New York City and Indonesia home. They received their B.A. in International Relations from Brown University (2006) and M.F.A. in Media Arts Production from the City College of New York (2009). They’ve performed at BAAD!, Boston Center for the Arts, Center for Performance Research, Gibney Dance, Issue Project Room, Leonard & Bina Ellen Art Gallery, Movement Research at Judson Church, Panoply Performance Laboratory, Recess, and the Wild Project. Zavé is currently a dance artist in residence at the Bronx Museum of the Arts through the BxMA Co-Lab residency. Previously, Zavé was a Gibney Dance Work Up 3.0 artist (2017); had residencies at The Shandaken Project at Storm King (2016), La MaMa (2016), Chez Bushwick (2015); and was a Lambda Literary Fellow (2015). They recently contributed to Dancer-Citizen Issue 4 and MXRS Commons' February 2017 Commons. When not performing, they work at the ACLU, organize with artists of color in NYC, and are a Third Wave Fund advisory board member.

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  • Born: Montreal, Quebec, Canada
  • Based: Brooklyn, NY, USA

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GENERAL DYNAMICS 2.0

Zavé Martohardjono

Apr 2017 Photodocumentation of GENERAL DYNAMICS 2.0 performed at Gibney Dance Company Courtesy of Zavé Martohardjono Photograph by Scott Shaw

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Zavé Martohardjono

b. 1984
image description
  • See All Works
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  • visit website

Zavé Martohardjono is an interdisciplinary artist interested in geopolitics, social justice, queer glam, and embodied healing. They were born in Canada and call New York City and Indonesia home. They received their B.A. in International Relations from Brown University (2006) and M.F.A. in Media Arts Production from the City College of New York (2009). They’ve performed at BAAD!, Boston Center for the Arts, Center for Performance Research, Gibney Dance, Issue Project Room, Leonard & Bina Ellen Art Gallery, Movement Research at Judson Church, Panoply Performance Laboratory, Recess, and the Wild Project. Zavé is currently a dance artist in residence at the Bronx Museum of the Arts through the BxMA Co-Lab residency. Previously, Zavé was a Gibney Dance Work Up 3.0 artist (2017); had residencies at The Shandaken Project at Storm King (2016), La MaMa (2016), Chez Bushwick (2015); and was a Lambda Literary Fellow (2015). They recently contributed to Dancer-Citizen Issue 4 and MXRS Commons' February 2017 Commons. When not performing, they work at the ACLU, organize with artists of color in NYC, and are a Third Wave Fund advisory board member.

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  • Born: Montreal, Quebec, Canada
  • Based: Brooklyn, NY, USA

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GENERAL DYNAMICS 2.0

Zavé Martohardjono

Apr 2017 Photodocumentation of GENERAL DYNAMICS 2.0 performed at Gibney Dance Company Courtesy of Zavé Martohardjono Photograph by Scott Shaw

contributor

X

Zavé Martohardjono

b. 1984
image description
  • See All Works
  • facebook
  • visit website

Zavé Martohardjono is an interdisciplinary artist interested in geopolitics, social justice, queer glam, and embodied healing. They were born in Canada and call New York City and Indonesia home. They received their B.A. in International Relations from Brown University (2006) and M.F.A. in Media Arts Production from the City College of New York (2009). They’ve performed at BAAD!, Boston Center for the Arts, Center for Performance Research, Gibney Dance, Issue Project Room, Leonard & Bina Ellen Art Gallery, Movement Research at Judson Church, Panoply Performance Laboratory, Recess, and the Wild Project. Zavé is currently a dance artist in residence at the Bronx Museum of the Arts through the BxMA Co-Lab residency. Previously, Zavé was a Gibney Dance Work Up 3.0 artist (2017); had residencies at The Shandaken Project at Storm King (2016), La MaMa (2016), Chez Bushwick (2015); and was a Lambda Literary Fellow (2015). They recently contributed to Dancer-Citizen Issue 4 and MXRS Commons' February 2017 Commons. When not performing, they work at the ACLU, organize with artists of color in NYC, and are a Third Wave Fund advisory board member.

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  • Born: Montreal, Quebec, Canada
  • Based: Brooklyn, NY, USA

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GENERAL DYNAMICS 2.0

Zavé Martohardjono

Apr 2017 Photodocumentation of GENERAL DYNAMICS 2.0 performed at Gibney Dance Company Courtesy of Zavé Martohardjono Photograph by Scott Shaw

contributor

X

Zavé Martohardjono

b. 1984
image description
  • See All Works
  • facebook
  • visit website

Zavé Martohardjono is an interdisciplinary artist interested in geopolitics, social justice, queer glam, and embodied healing. They were born in Canada and call New York City and Indonesia home. They received their B.A. in International Relations from Brown University (2006) and M.F.A. in Media Arts Production from the City College of New York (2009). They’ve performed at BAAD!, Boston Center for the Arts, Center for Performance Research, Gibney Dance, Issue Project Room, Leonard & Bina Ellen Art Gallery, Movement Research at Judson Church, Panoply Performance Laboratory, Recess, and the Wild Project. Zavé is currently a dance artist in residence at the Bronx Museum of the Arts through the BxMA Co-Lab residency. Previously, Zavé was a Gibney Dance Work Up 3.0 artist (2017); had residencies at The Shandaken Project at Storm King (2016), La MaMa (2016), Chez Bushwick (2015); and was a Lambda Literary Fellow (2015). They recently contributed to Dancer-Citizen Issue 4 and MXRS Commons' February 2017 Commons. When not performing, they work at the ACLU, organize with artists of color in NYC, and are a Third Wave Fund advisory board member.

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  • Born: Montreal, Quebec, Canada
  • Based: Brooklyn, NY, USA

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The Red Chador: Threshold

Anida Yoeu Ali

2016 Archival Ink Jet Print Courtesy of Studio Revolt Photographer: Les Talusan

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Anida Yoeu Ali

b. 1974

Anida Yoeu Ali is an artist, educator and global agitator. Ali’s practice spans performance, installation, videos, images, public encounters, and political agitation. Utilizing an interdisciplinary approach to art-making, her installation and performance works investigate the artistic, spiritual, and political collisions of a hybrid transnational identity. In 2015, Ali won the top prize of the Sovereign Art Prize, Hong Kong. Her work is exhibited internationally, most notably with the Smithsonian Asian Pacific American Center, 5th Fukuoka Asian Art Triennial, Lyon Museum of Contemporary Art, Palais de Tokyo, and the Asia Pacific Triennial 8. She is a collaborative partner with Studio Revolt, a trans-nomadic artist-run media lab whose controversial works on deportation have caused White House interns to be fired. Ali earned her B.F.A. from University of Illinois (Urbana-Champaign) and an M.F.A. from School of the Art Institute Chicago. She is currently the Artist-in-Residence at the University of Washington, Bothell where she teaches art, performance, and global studies courses. Ali resides in Tacoma and spends much of her time working between the Asia-Pacific region and the US!

My artistic vision requires an element of risk and belief that performance art, humor, and religion can fuse conceptually and aesthetically. Through an interdisciplinary approach, my work maps new political and spiritual landscapes. Often meters and meters of textile act as skin, as a way for the surface of my body to extend into public spaces, and as a metaphorical device for stories to spread across an expanse.

In The Red Chador: Threshold, performed in Washington, DC, I pose the question: Can we accept a Muslim woman as an American patriot? The Red Chador: Threshold was a commissioned performance for Crosslines Culture Lab and hosted by the Smithsonian Asian Pacific American Center. Covered from head to toe in a red sequined chador, I sat, stood, and walked silently around for eight hours over three days during Memorial weekend. For me, The Red Chador embodies how the mere existence of a Muslim woman can be misinterpreted in an era of heightened Islamophobia. For two days, I was installed in the building’s rotunda, where the Statue of America stood over a century ago at the Smithsonian Arts and Industries Building. Ninety-nine American flags as well as ninety-nine white flags printed with Salaam—Arabic for peace—surrounded me, challenging the idea that my Muslim and American identities are at odds. On Memorial Day, I took The Red Chador out to the streets of [Washington,] DC, walking amongst the everyday people at famous historical sites and memorials. Concurrent to my appearance, the Rolling Thunder annual motorcycle rally of veterans also rolled into town. Since 2015, The Red Chador has appeared in Paris, Hartford, CT; San Francisco, CA; Seattle, WA; Washington, DC; and Hong Kong.

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X
  • Born: Cambodia
  • Based: Tacoma, WA, USA
  • Also Based in: Chicago, IL, USA

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The Red Chador: Threshold

Anida Yoeu Ali

2016 Archival Ink Jet Print Courtesy of Studio Revolt Photographer: Les Talusan

contributor

X

Anida Yoeu Ali

b. 1974

Anida Yoeu Ali is an artist, educator and global agitator. Ali’s practice spans performance, installation, videos, images, public encounters, and political agitation. Utilizing an interdisciplinary approach to art-making, her installation and performance works investigate the artistic, spiritual, and political collisions of a hybrid transnational identity. In 2015, Ali won the top prize of the Sovereign Art Prize, Hong Kong. Her work is exhibited internationally, most notably with the Smithsonian Asian Pacific American Center, 5th Fukuoka Asian Art Triennial, Lyon Museum of Contemporary Art, Palais de Tokyo, and the Asia Pacific Triennial 8. She is a collaborative partner with Studio Revolt, a trans-nomadic artist-run media lab whose controversial works on deportation have caused White House interns to be fired. Ali earned her B.F.A. from University of Illinois (Urbana-Champaign) and an M.F.A. from School of the Art Institute Chicago. She is currently the Artist-in-Residence at the University of Washington, Bothell where she teaches art, performance, and global studies courses. Ali resides in Tacoma and spends much of her time working between the Asia-Pacific region and the US!

My artistic vision requires an element of risk and belief that performance art, humor, and religion can fuse conceptually and aesthetically. Through an interdisciplinary approach, my work maps new political and spiritual landscapes. Often meters and meters of textile act as skin, as a way for the surface of my body to extend into public spaces, and as a metaphorical device for stories to spread across an expanse.

In The Red Chador: Threshold, performed in Washington, DC, I pose the question: Can we accept a Muslim woman as an American patriot? The Red Chador: Threshold was a commissioned performance for Crosslines Culture Lab and hosted by the Smithsonian Asian Pacific American Center. Covered from head to toe in a red sequined chador, I sat, stood, and walked silently around for eight hours over three days during Memorial weekend. For me, The Red Chador embodies how the mere existence of a Muslim woman can be misinterpreted in an era of heightened Islamophobia. For two days, I was installed in the building’s rotunda, where the Statue of America stood over a century ago at the Smithsonian Arts and Industries Building. Ninety-nine American flags as well as ninety-nine white flags printed with Salaam—Arabic for peace—surrounded me, challenging the idea that my Muslim and American identities are at odds. On Memorial Day, I took The Red Chador out to the streets of [Washington,] DC, walking amongst the everyday people at famous historical sites and memorials. Concurrent to my appearance, the Rolling Thunder annual motorcycle rally of veterans also rolled into town. Since 2015, The Red Chador has appeared in Paris, Hartford, CT; San Francisco, CA; Seattle, WA; Washington, DC; and Hong Kong.

location

X
  • Born: Cambodia
  • Based: Tacoma, WA, USA
  • Also Based in: Chicago, IL, USA

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The Red Chador: Threshold / Triptych

Anida Yoeu Ali

2016 Wall Mural 9' x 11' Courtesy of Studio Revolt Photographer: Les Talusan

contributor

X

Anida Yoeu Ali

b. 1974

Anida Yoeu Ali is an artist, educator and global agitator. Ali’s practice spans performance, installation, videos, images, public encounters, and political agitation. Utilizing an interdisciplinary approach to art-making, her installation and performance works investigate the artistic, spiritual, and political collisions of a hybrid transnational identity. In 2015, Ali won the top prize of the Sovereign Art Prize, Hong Kong. Her work is exhibited internationally, most notably with the Smithsonian Asian Pacific American Center, 5th Fukuoka Asian Art Triennial, Lyon Museum of Contemporary Art, Palais de Tokyo, and the Asia Pacific Triennial 8. She is a collaborative partner with Studio Revolt, a trans-nomadic artist-run media lab whose controversial works on deportation have caused White House interns to be fired. Ali earned her B.F.A. from University of Illinois (Urbana-Champaign) and an M.F.A. from School of the Art Institute Chicago. She is currently the Artist-in-Residence at the University of Washington, Bothell where she teaches art, performance, and global studies courses. Ali resides in Tacoma and spends much of her time working between the Asia-Pacific region and the US!

My artistic vision requires an element of risk and belief that performance art, humor, and religion can fuse conceptually and aesthetically. Through an interdisciplinary approach, my work maps new political and spiritual landscapes. Often meters and meters of textile act as skin, as a way for the surface of my body to extend into public spaces, and as a metaphorical device for stories to spread across an expanse.

In The Red Chador: Threshold, performed in Washington, DC, I pose the question: Can we accept a Muslim woman as an American patriot? The Red Chador: Threshold was a commissioned performance for Crosslines Culture Lab and hosted by the Smithsonian Asian Pacific American Center. Covered from head to toe in a red sequined chador, I sat, stood, and walked silently around for eight hours over three days during Memorial weekend. For me, The Red Chador embodies how the mere existence of a Muslim woman can be misinterpreted in an era of heightened Islamophobia. For two days, I was installed in the building’s rotunda, where the Statue of America stood over a century ago at the Smithsonian Arts and Industries Building. Ninety-nine American flags as well as ninety-nine white flags printed with Salaam—Arabic for peace—surrounded me, challenging the idea that my Muslim and American identities are at odds. On Memorial Day, I took The Red Chador out to the streets of [Washington,] DC, walking amongst the everyday people at famous historical sites and memorials. Concurrent to my appearance, the Rolling Thunder annual motorcycle rally of veterans also rolled into town. Since 2015, The Red Chador has appeared in Paris, Hartford, CT; San Francisco, CA; Seattle, WA; Washington, DC; and Hong Kong.

location

X
  • Born: Cambodia
  • Based: Tacoma, WA, USA
  • Also Based in: Chicago, IL, USA

comments

X

The Red Chador: Threshold

Anida Yoeu Ali

2016 Vinyl Window Mural 188.75” x 89” Courtesy of Studio Revolt Photographer: Masahiro Sugano

contributor

X

Anida Yoeu Ali

b. 1974

Anida Yoeu Ali is an artist, educator and global agitator. Ali’s practice spans performance, installation, videos, images, public encounters, and political agitation. Utilizing an interdisciplinary approach to art-making, her installation and performance works investigate the artistic, spiritual, and political collisions of a hybrid transnational identity. In 2015, Ali won the top prize of the Sovereign Art Prize, Hong Kong. Her work is exhibited internationally, most notably with the Smithsonian Asian Pacific American Center, 5th Fukuoka Asian Art Triennial, Lyon Museum of Contemporary Art, Palais de Tokyo, and the Asia Pacific Triennial 8. She is a collaborative partner with Studio Revolt, a trans-nomadic artist-run media lab whose controversial works on deportation have caused White House interns to be fired. Ali earned her B.F.A. from University of Illinois (Urbana-Champaign) and an M.F.A. from School of the Art Institute Chicago. She is currently the Artist-in-Residence at the University of Washington, Bothell where she teaches art, performance, and global studies courses. Ali resides in Tacoma and spends much of her time working between the Asia-Pacific region and the US!

My artistic vision requires an element of risk and belief that performance art, humor, and religion can fuse conceptually and aesthetically. Through an interdisciplinary approach, my work maps new political and spiritual landscapes. Often meters and meters of textile act as skin, as a way for the surface of my body to extend into public spaces, and as a metaphorical device for stories to spread across an expanse.

In The Red Chador: Threshold, performed in Washington, DC, I pose the question: Can we accept a Muslim woman as an American patriot? The Red Chador: Threshold was a commissioned performance for Crosslines Culture Lab and hosted by the Smithsonian Asian Pacific American Center. Covered from head to toe in a red sequined chador, I sat, stood, and walked silently around for eight hours over three days during Memorial weekend. For me, The Red Chador embodies how the mere existence of a Muslim woman can be misinterpreted in an era of heightened Islamophobia. For two days, I was installed in the building’s rotunda, where the Statue of America stood over a century ago at the Smithsonian Arts and Industries Building. Ninety-nine American flags as well as ninety-nine white flags printed with Salaam—Arabic for peace—surrounded me, challenging the idea that my Muslim and American identities are at odds. On Memorial Day, I took The Red Chador out to the streets of [Washington,] DC, walking amongst the everyday people at famous historical sites and memorials. Concurrent to my appearance, the Rolling Thunder annual motorcycle rally of veterans also rolled into town. Since 2015, The Red Chador has appeared in Paris, Hartford, CT; San Francisco, CA; Seattle, WA; Washington, DC; and Hong Kong.

location

X
  • Born: Cambodia
  • Based: Tacoma, WA, USA
  • Also Based in: Chicago, IL, USA

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X

Lakshmi, Goddess of Wealth

Maya Mackrandilal

2015 Pigment print on bamboo paper with Flashe paint and collage 66 x 44 inches Courtesy of the artist From the "How to be a Monster" series

contributor

X

Maya Mackrandilal

b. 1985

Maya Mackrandilal is a transdisciplinary artist, writer, and arts administrator based in Los Angeles. She is a mixed-race woman of color with roots in the Caribbean, South America, South Asia, East Asia, and West Africa. Her artwork currently strives to imagine radical futures for women of color solidarity and liberation. Her writing focuses on issues of race, gender, and labor within the art world. She holds an M.F.A. from the School of the Art Institute of Chicago, where she was a recipient of a Jacob K. Javits Fellowship. She received her B.A. in Studio Art with a minor in English from the University of Virginia, where she was awarded an Auspaugh post-baccalaureate fellowship.

Her work has been shown nationally, including at the Chicago Artists Coalition, THE MISSION, and the South Side Arts Incubator in Chicago, as well as the Abrons Art Center and Smack Mellon in New York. She is a founding member of FEMelanin, a woman of color identified theater collective based in Chicago. She also has an ongoing collaborative project titled #NewGlobalMatriarchy with the Chicago-based artist Stephanie Graham.

Her critical essays have appeared in 60 Inches from Center and MICE Magazine. She collaborates with the poet and researcher Eunsong Kim for essays that have appeared in The New Inquiry and contemptorary, among others. Her creative writing has appeared in Skin Deep, Drunken Boat, and is forthcoming in a currently untitled collection of women authors and artists from Guyana reflecting on migration.

She is the Fine Arts Coordinator for the city of Buena Park, where she facilitates a variety of arts and cultural programming to engage diverse local communities.

She tweets about art, politics, and culture @femme_couteau. Her internet art persona, the Goddess Lakshmi, is on Twitter, Instagram, and Facebook as @globalmatriarch http://mayamackrandilal.com

In my recent work on projects such as How to be a Monster, Bedtime Stories of White Supremacy, and #NewGlobalMatriarchy, I have harnessed my research interests (women of color feminist perspectives, black studies, post-colonialism, queer theory, etc.) to create work that infiltrates our cultural vernacular with radical imaginations of the future. The catalyst for this new work was How to be a Monster, where I performed as a series of Hindu goddesses who had become incarnated in our present culture. There is a long history of imagining the “other” as a monster, from medieval European accounts of South Asian art as “monstrous” up to Darren Wilson describing Michael Brown as looking like a “monster” in his grand jury testimony. Often, queer, female, and mixed-race bodies are viewed through the lens of monstrosity.

The goddesses inhabit this space of monstrosity (the realm of the outcast, the foreign, the abject, the criminal), inhabiting the imagination of the dominant culture (capitalist, white supremacist, cis-hetero-patriarchal), but queering that imagination, using the position of the monster as a place of power and agency, bringing the sublimated fears of the dominant culture to the surface so that its power might be undermined and ultimately dismantled. The images produced are a collapse of history, where traditional South Asian painting styles collide with signifiers of race, class, and popular culture. Like the common and inexpensive prints of goddesses that these images reference, they are bright and immediately legible, but that immediacy quickly dissolves into a network of references and allusions that open up questions about power and identity.

The project continues with Bedtime Stories of White Supremacy and #NewGlobalMatriarchy where the Goddesses exit the imaginative space of the works on paper and out into the world, making friends and allies along the way, causing trouble and rethinking revolution.

location

X
  • Born: Washington, DC, USA
  • Based: Los Angeles, CA, USA

comments

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The Goddess Kali as Pietà

Maya Mackrandilal

2015 Pigment print on bamboo paper with Flashe paint and collage 66 x 44 inches Courtesy of the artist From the "How to be a Monster" series

contributor

X

Maya Mackrandilal

b. 1985

Maya Mackrandilal is a transdisciplinary artist, writer, and arts administrator based in Los Angeles. She is a mixed-race woman of color with roots in the Caribbean, South America, South Asia, East Asia, and West Africa. Her artwork currently strives to imagine radical futures for women of color solidarity and liberation. Her writing focuses on issues of race, gender, and labor within the art world. She holds an M.F.A. from the School of the Art Institute of Chicago, where she was a recipient of a Jacob K. Javits Fellowship. She received her B.A. in Studio Art with a minor in English from the University of Virginia, where she was awarded an Auspaugh post-baccalaureate fellowship.

Her work has been shown nationally, including at the Chicago Artists Coalition, THE MISSION, and the South Side Arts Incubator in Chicago, as well as the Abrons Art Center and Smack Mellon in New York. She is a founding member of FEMelanin, a woman of color identified theater collective based in Chicago. She also has an ongoing collaborative project titled #NewGlobalMatriarchy with the Chicago-based artist Stephanie Graham.

Her critical essays have appeared in 60 Inches from Center and MICE Magazine. She collaborates with the poet and researcher Eunsong Kim for essays that have appeared in The New Inquiry and contemptorary, among others. Her creative writing has appeared in Skin Deep, Drunken Boat, and is forthcoming in a currently untitled collection of women authors and artists from Guyana reflecting on migration.

She is the Fine Arts Coordinator for the city of Buena Park, where she facilitates a variety of arts and cultural programming to engage diverse local communities.

She tweets about art, politics, and culture @femme_couteau. Her internet art persona, the Goddess Lakshmi, is on Twitter, Instagram, and Facebook as @globalmatriarch http://mayamackrandilal.com

In my recent work on projects such as How to be a Monster, Bedtime Stories of White Supremacy, and #NewGlobalMatriarchy, I have harnessed my research interests (women of color feminist perspectives, black studies, post-colonialism, queer theory, etc.) to create work that infiltrates our cultural vernacular with radical imaginations of the future. The catalyst for this new work was How to be a Monster, where I performed as a series of Hindu goddesses who had become incarnated in our present culture. There is a long history of imagining the “other” as a monster, from medieval European accounts of South Asian art as “monstrous” up to Darren Wilson describing Michael Brown as looking like a “monster” in his grand jury testimony. Often, queer, female, and mixed-race bodies are viewed through the lens of monstrosity.

The goddesses inhabit this space of monstrosity (the realm of the outcast, the foreign, the abject, the criminal), inhabiting the imagination of the dominant culture (capitalist, white supremacist, cis-hetero-patriarchal), but queering that imagination, using the position of the monster as a place of power and agency, bringing the sublimated fears of the dominant culture to the surface so that its power might be undermined and ultimately dismantled. The images produced are a collapse of history, where traditional South Asian painting styles collide with signifiers of race, class, and popular culture. Like the common and inexpensive prints of goddesses that these images reference, they are bright and immediately legible, but that immediacy quickly dissolves into a network of references and allusions that open up questions about power and identity.

The project continues with Bedtime Stories of White Supremacy and #NewGlobalMatriarchy where the Goddesses exit the imaginative space of the works on paper and out into the world, making friends and allies along the way, causing trouble and rethinking revolution.

location

X
  • Born: Washington, DC, USA
  • Based: Los Angeles, CA, USA

comments

X