PANKHURST IN THE PARK CENTENaRY EDITION

ART511 | 1 contents

art511 magazine

foreword 4-5 Ekua Bayunu 42-47 Lotte and Amy Women hold up half the sky, by Katie Cercone

Marilyn Minter 6-9 Elisa Garcia de la Huerta 48-51 Selected bush paintings “Refuge” series

Anna FC Smith 10-13 Lauren Velvick 52-56 The ritualistic heritage of the suffragettes Turning around and back again

Melanie Bonajo 14-23 Helen Wewoira 56-59 Alien armageddon, empathy & the In conversation with Amy Clancy vine of the soul, by Katie Cercone ULTRACULTURAL OTHERS 60-63 go! push pops 24-25 SHIVA’S LINGA performative rap & notes Earthing Instructions & Mud joy with Grandmother willow, photos by Laura Weyl Naomi Kashiwagi 64-55 On her involvement with Pankhurst in the Park Bunny Collective 26-31 The sick role, by Samantha Conlon NARCISSISTER 66-71 Organ Player, selected stills High Prieztezz Or Nah 32-37 Genealogy of the kawaii twerk rave Tasha Whittle 72-75 Artist Profile Sol Kjøk 38-41 Spiralling smoke by Claire Zakiewicz

2 | ART511 ART511 | 3 foreword

In 1918, after a hard fought battle, It’s not enough to be good at their some women in the UK were given the right game or even the best; it’s rigged. So, it’s to vote. It wasn’t a perfect result but it was time to devise our own, not just for and by a start; and it sparked significant change in women, but in collaboration with all those the 100 years that have followed. whose voices, opportunities and rights Women have played men at their are stifled. own game. They’ve climbed Everest, As one small step, this centenary explored space, pioneered scientific year, we want to provide a platform for breakthroughs, assumed positions of female artists, to redress the balance, to power, and many have become the best in challenge the inherited discriminatory their field. model of what constitutes success and find Other breakthroughs have facilitated another way of doing. these achievements, from the contraceptive That is the aim of this special edition. pill being made available and birth control It has been co-curated by Alexandra Arts clinics being opened, to the introduction of and Art 511 Mag. It is part of the third maternity pay, for some in the U.K, among and final instalment of Alexandra Arts’ many other things. Pankhurst in the Park 2018 programme. In the arts, there has been cause for A programme inspired by the actions of celebration. The best selling novelist of all women 100 years ago; and which aims OTHERS, Samantha Conlon/ Bunny Thanks also to you, for picking it up. time is a woman, Agatha Christie; Maria to empower its community (birthplace to Collective, High Prieztezz Or Nah, Sol We hope it engages, enrages and inspires Balshaw has become the first director of the Emmeline Pankhurst, leader of the Suffrage Kjøk, Claire Zakiewicz, Ekua Bayunu, Elisa you, so that in 100 years’ time, we’re telling Tate; and, Carol Ann Duffy became the first movement) through engagement with Garcia de la Huerta, Lauren Velvick, Hannah a different herstory. women and openly bisexual poet laureate. their local environment and social history, Leighton Boyce, Ruth Barker, Castlefield And yet, inequality, and abuse, and to promote and provide a platform Gallery, Helen Wewoira, Naomi Kashiwagi, -Lotte Karlsen & Amy Clancy persist. The art world still bows to a model for the wealth of talented female artists in NARCISSISTER and Tasha Whittle. created by white European men. The top Manchester, the UK and beyond. Once again, we are grateful to Arts three museums in the world, the British This special print edition features a Council England for funding our 2018 Museum, the Louvre, and The Metropolitan host of inspirational contributors to whom programme, to Manchester City Council Museum of Art have never had female we owe huge debt of thanks – Scotto Department of Culture, St Mary’s Primary directors. Female artists earn less on average Mycklebust, Katie Cerone, Gia Portfolio, School, Friends of Alexandra Park and the than their male couterparts and make Christopher Booth, Pablo Melchor, Marilyn Neighbourhood Investment Fund from the up a fraction of the work in permanent Minter, Anna FC Smith, Melanie Bonajo, Go Whalley Range ward who have provided exhibitions and auction market. Push Pops, Laura Weyl , ULTRACULTURAL additional funding.

4 | ART511 ART511 | 5 Marilyn Minter (b. 1948, USA) lives and works in New York. She has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/ Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010, and the Deichtorhallen in Hamburg, Germany in 2011. Her video “Green Pink Caviar” was exhibited in the lobby of the MoMA in 2010 for over a year, and was also shown on digital billboards on Sunset Boulevard in L.A. and the Creative Time MTV billboard in Times Square, New York. Minter’s work has been included in numerous group exhibitions in museums all over the world. In MARILYN 2006, Marilyn Minter was included in the Whitney Biennial, and in collaboration with Creative Time she installed billboards all over Chelsea in New York City. In 2013, Minter was featured in “Riotous Baroque,” an exhibition that originated at the Kunsthaus Zürich minter and traveled to the Guggenheim Bilbao. In 2015, Minter’s retrospective Pretty/Dirty opened at the Contemporary Arts Museum, Houston, TX. Pretty/ Dirty then traveled to Museum of Contemporary Art, Denver, and on to the Orange Country Museum of Art. Pretty/Dirty opened at the Brooklyn Museum in November, 2016. Minter is represented by Salon 94, New York and Regen Projects, Los Angeles. Cornucopia-1

Ginger

6 | ART511 ART511 | 7 Two Green Lights

Tender

8 | ART511 ART511 | 9 the ritualistic heritage of the suffragettes anna fc smith

The suffragettes’ militant activities were in the early modern period, women were frequently shocking for their time. June Purvis describes the leaders of riots. Ruff states ‘One historian has them as ‘transgressing the gender expectations of estimated [women] at a third of the participants of Edwardian society’; they unconsciously drew on a late eighteenth-century English riots’. Men would history of riotous actions and ritual behaviour that themselves take the guise of women to protest; in Julius R. Ruff portrays as ‘almost instinctual conduct’. 1736, the Edinburgh Proteus Riots consisted of men Their rebellious behaviour can be read in the context dressed as women led by ‘Madge Wildfire’. of both early modern riot and festive inversion. Early modern rioters drew on familiar festive The historical popular protest drew on the rituals, and these actions were directly repeated symbolism of ‘the world turned upside down’ by the suffragettes. Protestors would sing while – a phrase used by the early American women marching, accompanied by drums and other suffragists and anti-slave campaigners, Sojourner instruments, as Ruff says ‘in imitation of their Truth and Angelina Grimke, in the mid 1800s. activities during popular festivals’. Andrew Rosen This carnivalesque concept would flow in both repeatedly describes the suffragettes doing this. In directions. As Ruff says, ‘festival mocking satire and February 1907, Mrs Despard led marchers singing to ritual violence’ could quickly turn to ‘direct hostility, the tune of `John Brown’: ‘Rise up, women!’. mass violence, riot and rebellion’, and riots employed Ruff explains that the early modern protestor rituals to reorder society. also ‘frequently bore symbols of their unrest’ in the June Purvis quotes the Observer newspaper form of sprigs like ‘May revellers [or] bits of coloured in 1908 describing suffragettes as turning a ribbon affixed to their clothing’. In 1908, Mrs Pethick meeting in the Albert Hall into ‘a Bedlam ... all ¬Lawrence invented WSPU colours: purple, white, sense of decency lost ... it was a melancholy and and green, which would be worn by marchers and disheartening spectacle’. This social fear of disorder decorate their processional banners. Mrs Pethick mirrors commentary on festive riot by early modern ¬Lawrence said each colour had symbolic meaning: religious leaders, who thought that it stood against white for purity, purple for dignity and, like May morality, decency and self-control. Day, the green represented the ‘green fire of a new Turn-of-the-century anti-suffrage posters spring tide. AnnaFCSmith Egg 3 continually imagined the politicised woman as the cause of societal breakdown by destroying gender roles, but the female protestor had a long history – as

10 | ART511 ART511 | 11 The Bacchae And In Their Companies Deep Wine-jars Stand Forever and Anon2

The suffragettes often targeted that their meeting in the Caxton Hall, June politicians and members of the establishment 1909, began with ‘martial music played by and they would do this in manners similar a fife and drum band; the musicians wore to those used by their historical forbears. purple uniforms, adorned by green sashes and Retribution inflicted on individuals in white braids [then] a group of thirteen women, positions of power and authority ‘represented using small stones wrapped in brown paper, a violent inversion of the social hierarchy akin began to break windows at the Privy Council, to that we found common in early modern Treasury and Home Offices.’ festive life’ (Ruff). Ethel Moorhead was jailed The suffragette’s actions appeared to after throwing an egg at Winston Churchill, break new ground in their period, but they a belittling act of ancient origin which Chitra were rooted in the innate history of rebellion. Ramaswamy claims ‘strips a politician of his We seem bound to repeat these ritualistic gravitas’. In November 1909, Theresa Garnett traditions of transgression when attempting to attacked Winston Churchill whilst wielding a drastically reorder society and turn the world riding-switch, an act reminiscent of festive upside down. Whipping Toms. In light of the centenary of women’s In 1913, Mrs Pankhurst said that the suffrage, this piece was commissioned suffragettes were ‛guerrillists’ and ‘if it was by Alexandra Arts Pankhurst in the Park necessary to win the vote they were going to Programme, an organisation whose do as much damage to property as they could’. community locus is the same Alexandra This directly links with what Ruff describes Park where many of the suffragettes’s as the ‘symbolism of social inversion’ where organizing and protesting took hold. Adjacent ‘festival life transgressed the bounds of the infamous suffragette Emmeline Pankhurst’s public sphere’. Rioters in 1789 burned manorial residence, Alexandra Arts Pankhurst in records which symbolised noble privilege. In the Park Programme champions women’s the Forest of Dean, 1631, crowds accompanied continuous creativity, radical acts of rebellion by fifes, drums and banners destroyed and inversion of the status quo through their enclosures and burned houses – ending the organisational support of the socially engaged riot with the destruction of an effigy. The work of contemporary female artists working WSPU attacked letters in postal boxes, fire- within and around the park. bombed country houses, and Rosen reports

References:

Kelbie, Paul & Bloomfield, Steve. Ethel threw an egg at Churchill. After 90 years, is it time she was pardoned? The Independent. 15th May 2014.

Purvis, June. Unladylike behaviour. The Guardian 13th November 2007

Ramaswamy, Chitra. Beyond a yolk: a brief history of egging as a political protest. The Guardian. 5th October 2015.

Rosen, Andrew. Rise Up, Women! Routledge 1974.

Ruff, Julius R. Cambridge University Press. 2001.

12 | ART511 ART511 | 13 alien armageddon, empathy & the vine of

A conversation the soul with Melanie Bonajo

BY KATIE CERCONE

KC: In your new film Progress capitalist society in which profit is the vs. Sunsets (2017), you use the voice of number one core value (or that which children, the next generation, to center informs all our other motivations). How some profoundly fresh insights about do these children who grow up in urban animal rights, bio-politics, dwindling global neighborhoods perceive nature and resources, ecology, anthropomorphism, especially animals through funny images and the general welfare of our planet. on the Internet? When an animal is online How did come to work with youth in this often the animal is under endangerment way? Did you have an intuition going into in the wild. The animal becomes sort of it they would deliver such a succinct and like a character or an actor in the human profound message? imagination. As soon as that animal steps MB: This is the 2nd part of the new out of what we imagine the animal to be it’s trilogy focused on marginalized groups on no longer of value for the human species. the verge of extinction or in endangerment The animal takes on an ascribed economic, because of techno-capitalist motivations in emotional or entertainment value. These relationship to structures of power. In the children don’t really know what an first I addressed elderly people in relation animal is. Also what we see in these so- to social media and technological devices, called amateur videos of endangered almost all of them around a century old, species and wildlife online is a suppressed asking if these devices improve life and anthropomorphism of human and animals. social relations or erode them. It made Looking at animals on a basis of similarity sense the second part would be around instead of differences is coming out in a children who are born into this techno- grotesque way. It opens up an archive

14 | ART511 ART511 | 15 information on the Internet, then that worries me. also just enough. Art is not a fireproof free zone, it is And then it’s just beautiful to see kids going off into imperfect and will not hit all points of the complex these imaginary spaces and coming up with all kinds story of human oppression and segregation, it is a of solutions one is only able to come to when one’s dream. It’s also important to support the films with mind is free of certain limitations. And also to see educational programs, workshops, lectures and how much kids actually care and then to see how fieldwork. Change happens on the internal and hopeless they can feel. external level. We have to corroborate how we feel Night Soil - Nocturnal Gardening, 2016, Courtesy AKINCI KC: The youth express a counter-mindset and act, which is according to our values. Surround grounded in empathy, interconnectedness and yourself with people who align with those values altruism, “We don’t want the animals to rely on us and cooperate with them. On the other end, it’s very in case the humans go extinct. Animals can’t break important that things change on the level of law and the law because they are not humans.” How can we economy. With the speed of how things are changing continue to fuse art and the views of young people and accelerating, it’s hard to be positive without first to rattle us robotic adults out of our mental cages? Is there being huge, unavoidable disasters. It’s good to there something in particular about art that can catch reevaluate how we as groups or as individuals are the most deranged capitalist by surprise? going to move through that and how are we going to structure ourselves.

“We don’t want the animals to rely on us in case the humans go extinct. Animals can’t break the law because they are not humans.”

MB: A quality of art is we can rehearse or KC: Outside of the Western world, where download future scenarios through the act of religion has been mostly taken out of schools by law, imagination. We can create another story and test it, many believe culture is the meeting of Education and the art test. As an artist we are in the public realm so if Religion. Here in the United States, what most of us we put out images that are difficult for others, we can call “Art” boils down to a saccharine popular culture say this is a misunderstanding, stupid or ridiculous. in which whorish corporations are profiteering off We can’t presume that as an artist we are staying in of the ghosts of bad religions, post-colonial racial a safe space. The transformative power of art can spectacle and disembodied desire. As a student of be to touch upon the points that are painful, or at religion, how do you position yourself as an artist least recognize the complex construction through and cultural producer in relationship to the spiritual which aspects of human complexities such as and the advancement of higher consciousness of complete confusion and a battle between an widgets moving. “Animals that don’t want to be oppression can or are taking shape. That can lead to in womankind?. objective and a subjective view of the world. What famous won’t go on the Internet. All people care difficult conversations, because of the reality we live MB: I think in relation to higher/ collective we perceive as elderly, as feminine, indigenous, about is money; it seems more important than life.” in. The interconnection is how these images play consciousness, every human is an artist. We all have primitive, emotional or naïve is adultism applied I felt like it cracked me open by the end. What was into social discourse. They are singular points on a innate skills to create in alignment with a divine to kids who may be living in a subjective world of your ah-ha moment in making this film? larger cultural narrative spinning around subjects, consciousness. We are all creative and creativity is interrelation, feeling and emotion. They may live in a MB: What I perceived was a loss of innocence such as racism, sexism, classism; weaving or even part of creation, the creator and the source. This is more magical world and yet our educational system for these kids at an earlier age. Because of the just resonating with one another together these the power we all have as humans. How you express is so systemized. Creating rationality as a prime core access to information that they have, they are less sometimes contradicting points exist within a larger that is completely up to you. Maybe you garden, pray, value deprives them from the innate wisdom of protected from adult problems – a very complex network. It is a proposition for transformational make drawings, sing, dance, write or cook. There the child. pool of different polarizing behavioral motivations politics, where we rethink the imprisonment and are so many ways of expressing creativity with an KC: The film’s leading rhetorical question and thought processes. I see that the children are at isolation we put ourselves in by engaging in a intention behind it, which can create relationships Can we send “funny” animal videos into space for an earlier age aware of the ambivalence of what it culture where personal gain is the highest value on and also deepen your personal awareness. This is aliens to discover the Earth’s ecosystem? gleefully means to be human and the contradictions of the all costs, leading to supremacist behavior over one creating spaces that are inclusive and involved. An lambastes the viewer that thinks they can watch this human and our inherent polarity and darkness. I another, claims over other peoples’ land and cultures, artistic approach can really give a lot of strength to film still running on grown folks’ logic. “Maybe aliens feel in order to develop a healthy heart and brain exploitation of non-humans, economic polarization, shaping thoughts into form. Incorporating a spiritual can make humans go extinct to save the animals?” structure, there needs to be a space for prolonged flawed mastery and destruction of nature. Meanwhile, view of the world can offer a sense of support, As the video unfolds, the youth continue to virtually innocence. If there is a massive decline of innocence most things we really value as humans in our lives particularly if there is a space for community to trash our noxious me-paradigm culturalisms, teasing in early childhood based on how we are informed are simple and free; less can not only be more, but gather and support each other. out of us the piggish egotism that keeps the Internet about human behavior through availability of

16 | ART511 ART511 | 17 Night Soil Fake Paradise, 2014, Courtesy AKINCI

“The transformative power of art can be to touch upon the points that are painful, or at least recognize the complex construction through which aspects of human complexities such as oppression can or are taking shape.”

KC: Some of us that come from liberal states like California have this damned image of a soccer Mom that went to a weekend workshop, put a feather in her cap and now calls herself a shaman. You said it so well in one interview when you remind us that “In Europe in particular we’ve assisted to hundreds of years of holocaust against female herbalists, exterminating a relation that united a sacred body of knowledge between women, plants and a non- Christian spirituality.” You know, the Dalai` Lama did say, “It will be the Western Women that save the planet.” With so many seemingly white, Western girls going indigenous glam, and perhaps even – causing to specific groups. People turning away from shut up sometimes. If we live in a globalized culture Sometimes the fight is a good thing, it’s the fight. But a revolution in consciousness, how do we address everyday capitalist western modes are rediscovering where many people use global tools, then I think the let’s acknowledge the anger, shame, guild, greed – the issue of cultural appropriation? Do we still things like masks, uses of sticks. There are generic problem is power and cultural appropriation when whatever – and circle back to love. It becomes about have to? tools that are used in culturally specific ways in profit is a core value. How’s it going for you? knowing where the beginning and the end of the MB: I think cultural appropriation in relation specific areas. Structured small societies that used KC: It’s been good (and challenging) for me emotion is. to structures of power is real. The systematic stones, ritual body paint and plants. It’s also just to really walk through that fire here in NYC. At first it MB: When you see cultural appropriation, oppression of certain people is very real and it’s very natural for me as a human to commune with was very jarring, mostly, because I had mountains of for example Iggy Azalea – that’s so obviously some important that that finally is addressed. There is a plants. Living in the time we do, it is also natural racial guilt to move. Then I was all about knowledge form of parasiting – then it’s so painful. In the end, lot of punches going here and there and I think for me to commune with plastics. I also understand as power – unearthing how, as you said, most or nobody owns anything. We all – in the end – face that’s good. There’s more visibility now for voices certain ethics at this point are very sensitive and all of these traditions actually link us transculturally being naked all alone. that are typically off the radar – and really struggling confusing. It’s also an amazing portal to then go into through our common human origins, which have KC: The diversity here in New York also relative to those with more privilege – I really want conversation with each other, with people you don’t been intentionally obscured. Then it’s also about highlights the way in which these issues are to encourage that. It’s a great, fantastic process. In agree with. Be careful not to attack people who are bearing witness to people’s anger. And undersMB: positioned to play out power dynamics socially. terms of cultures influencing each other, that’s a actually on your side. I think it’s important that we With the work that we do, everybody gets hit, but are For instance, as with cyber-bullying or micro- process that is valid. Sometimes it’s hard to say what all unite and find the solution together somehow. we the ones to be getting hit? aggressions, they can paradoxically perpetuate the belongs to whom. There exist some basic similarities We should keep talking and holding space for each KC: Exactly, are we artists just beating each same old cycle of lack and power over, irrespective within all “non-western” traditions that are ascribed other’s vulnerabilities, and maybe we should also other up when we’re all fighting over scraps anyway? of race or gender.

18 | ART511 ART511 | 19 MB: On a spiritual level it doesn’t matter. Then with plants both in terms of imbibing the medicine it’s just a game that you’re in and how you play it. and just generally keeping their company? Do you Some dynamics are definitely more challenging have plants at home? Do your plants sing and do than others. I also think what’s often seen as privilege you listen? is complete poverty, loneliness to the core. It’s MB: This is the core practice. The spiritual “privilege” in relation to power and greed, and there’s practice is in the everyday: the details of how also poverty in that. you organize your daily life, relate to the people KC: Completely. Your Night Soil/Fake Paradise around you, take care of yourself and others, your trilogy explores not only how commodity-based boundaries. I want to be really careful how I relate pleasures increase feelings of alienation and cultural to consumption because it’s so dominant and malaise within an individual, but how the plant overwhelming. Morally, it’s not the place I usually medicine Ayahuasca Amazonian “vine of the soul” align with, and yet still depend on for needs like “There is nothing is re-defining consciousness transculturally, pushing food. It’s also about your thoughts – and how your against the values of capitalism, and waking up our body is your church, your garden. In terms of plant wrong with beauty cellular memory of pre-monotheistic ritual belief meditation, I allow plants to be my teachers, they systems that wove human life into an organic model take me to a place of silence and I access portals or youth in itself of the earth. As you explained in another interview, that are usually only opening with an intensely “The knowledge and power to cure come directly deep, probably monastery meditation practice. The from a conversation with the plant…the dimension plants can offer a short cut to showing divine paths and enjoying of the self performs as a direct interface of nature” that are - given our western diet and lifestyle - very and optimally this “anti-capitalist medication” difficult to reach. It also requires space for integration that freshness Night Soil - Economy of Love 2015, Rainbow activates the body to break out of the trap of techno- and a certain slowness. Otherwise it’s this one boost courtesy AKINCI modernity “sealed off from nature’s exuberance.” thing that’s not an integrated experience in your of the body.” Can you talk about your experiences communing personality and in your community. Solidarity and challenging inequities arising along racial, gendered and species boundaries, imagining healthier relationships and simplification of lifestyle resisting identity-related consumerism are really important for me at this point. We want Practice self-investigation where there is judgment to be so safe that we actually create a very unsafe towards the approaches, ideas or tactics of others world. The world is far weirder than the maddest in relation to the common objective of female among us. I am not afraid of madness anymore. empowerment and equality among people. It’s There is no direct connection between economy important for me that feminism doesn’t align with and a sense of wellbeing and to take more then we capitalism. It’s not only feminism but holding the need is a phallusy. future of the planet safe; it’s important for me to KC: Hunting for a lost female legacy is also come from that perspective. There may be forms a long-term obsession of mine as well #metoo. of feminism that seek empowerment through I think this is a prerequisite of being a feminist structures of power and wealth and all that which is artist. I noticed that Night Soil is considered a mostly based on a glorification and commodification “semi-documentary.” Having lived that feminist of the body and youth – elements that are patented. underground life, I’m wondering, is the feminist art These are not fundamentally sustainable, core community the Black Moon Lilith of the art world or elements such as investing in caring relationships just it’s angry, acne-prone stepsister? I heard during with each other, investing in clear communication Miami Basel now, if you are not a model, they put a with each other, investing in self-care and self- mask on your face. Sometimes I feel like stepping up love, investing in reflection. A kind of study in these to bat at all in the Fine Art world is only perpetuating non-material, non-capitalizing realms of humanity. the most ugly forms of elitism and white supremacy Every individual is obliged to educate themselves, masked by the fetishization of Otherness – for sale. and mostly that entails making a lot of mistakes. If And as women looking to be “liberated,” we often you put yourself out there in a way that you think is end up spinning out of control in a system we only empowering but for others is perceived as naïve or really see in totality when it’s too late (And we’re too actually tapping into the system, the only thing we old looking to be seen anymore). I’ve seen angels’ can do is give our view and then hopefully, support ribs cracked like keys on a baby grand and girls shoot this person in her own empowerment and respect Listerine for a buzz. But like you said “Healing is the that journey. No journey is without pain and trouble. New Punk.” How do you approach the paradoxes of What I hear in your question is almost like “Is there the MATRIX BONTANICA vision with respect to your a form of purity through which we can bring this own Shadow side as a woman still humbled by the message across?” We can contextualize things in the millennial culture psychopathologies? flow and keep fine-tuning them. There is nothing MB: First of all, I believe it’s important for wrong with beauty or youth in itself and enjoying women to stay in conversation with subjects that that freshness of the body. I just want to put out are annoying them about other feminist views, as there that everybody that is in that just keeps on we are all in it for the same ultimate goal – equality. doing that. Let’s not hide behind judgments against

20 | ART511 ART511 | 21 Night Soil - Economy of Love, 2015, courtesy AKINCI

Home Coming Queen 2017 videostill aging. How about outing your vulnerability there – the living connections between human, land and life conflicted and immense issues. Limitations of when your body is changing – rather than changing force were not only acted out in culturally-mandated sexism and violence that are for me personally so your method? The only way to change the system is sacred arts, they were linked to the notion that a beyond any type of normality. Having the ability to looking into your own values and to keep identifying human being has a soul that is more than matter fight all that with an optimistic approach that is in your own relationship to the establishment. and beyond time. How do you hope that the Night dialogue with the oppressors – people they disagree Grouping with other people with similar ideas to Soil dialogue will help to shape urban planning and with – it’s tremendously inspiring how these establish a counter-commentary place. It’s all true – a more communal ethics with regards to technology dialogues can be held. It’s not just an idea in their this whole narcissism running as a red line through and commerce? Is art a fertile ground for the head, it’s a practice that’s growing and influencing culture. How are we going to grow old with this as marriage of female leadership, education and the others. It’s so much bigger I believe than what we a value? I see it’s a very vulnerable place to be if you return of the eco-spiritual? can get from our personal source as an individual put your identity aligned with your beauty and not MB: All the women that are voicing their ideas and almost needs to be fueled by these connections something sustainable inside. in the films are excellent examples of how this can we have all together in relation to spirit or soul or KC: The last film in the Night Soil trilogy take shape and how, for example, the belief in a something that is simply bigger than our human “Nocturnal Gardening” highlights female voices higher spirit (or non-material non-secular presence) understanding. Practicing humility and perceiving in considering how communities come together is a way for them to feel and be supported in their the other person as a reflection of ourselves (and in through alternative and pre-colonial uses of land countercultural activist practices. The African that way also part of ourselves and our environment) in relationship to notions of divinity, sexuality, American farmers who work with historical land – reveals our good side and our shadow. It brings us relational eco-feminism, indigenous land rights and trauma caused by slavery in urban communities or back to how we create our inside and outside, and the psychopathologies of late-capitalism. Prior to the indigenous rights movement advocate or the that we have responsibility and agency. We have the the influence of white male patriarchal religions the woman who works with slaughterhouse animals ability to change. world over, in the time of Mother Rites and rituals, – all of them work with such tremendously

22 | ART511 ART511 | 23 go! push pops

earthing What Gandhi refers to in his autobiography as the “Earth Cure” or what some people call “Earthing” instructions can be done using Indian Healing Clay “Bentonite Clay” or simply dirt. Bentonite clay is a “healing clay” used in ancient cultures throughout the world that cleanses and detoxifies the body. It can be applied to the skin or taken internally. In addition to removing build up of environmental toxins and processed foods, any healing ritual done with the right intention should effectively clear the body of emotional toxins, because body, spirit and mind are inseparable. Bentonite clay is particularly good as an earth cure because when mixed with water it has the mud joy with ability to produce a charge that is electrical in nature. Charged Bentonite clay naturally seeks toxins in the grandmother body it can then bind to, and the organic removal willow process ensues from there. The clay can removes heavy metals and other impurities from the gut, skin and mouth. It can be applied topically to heal rashes, Where we come from, there is community eczema, or poison ivy. It can also be added to the in the total sense. Where we come from, all the bath. Bentonite clay helps increase the oxygen count village comes together to clap hands when a child is in our cells, includes alkalizing minerals that bring born. We count time by new moons, corresponding the body’s ph level back into balance, and promotes to the moon-womb as a symbol of the entire life the growth of good bacteria and probiotics, which cycle. Where we come from, ritual dance synched elevates our mood and brain function. It can remedy to the waxing and waning of the moon entails the nearly any digestive issues, and boosts immunity in body as medium of the spiritual universe. Where we the body by targeting harmful bacteria and viruses. come from, women dictate the temporal structure of Generally speaking this and other “Grounding” or communal life through synchronized menstruation “Earthing” practices have been demonstrated to and menstrual synchrony amongst women ensures defuse inflammation and improve or eliminate the accumulation of FEMALE POWER ETERNAL. inflammation-related disorders and chronic pain, Where we come from, we are in touch with our improve sleep and increase energy, lower stress cycles, our communities and our Earth. hormones, normalize the body’s s biological rhythms, improve blood pressure and flow, and protect the body against the potentially health-disturbing environmental electromagnetic field (EMFs) emitted from electronics. If you do not have any healing clay available to add to your bath or mix in water and rub all over your body before a dip in the ocean or lake, simply rub soil on your body. It’s free and available 2016 collaboration with Laura Weyl (photographer), in most places. Touching your feet to the bare grass featuring UNDAKOVA offers a similar affect.

24 | ART511 ART511 | 25 The sick role samantha conlon

Samantha Conlon’s The Sick Role, 2018, is Women and girls are currently fighting for part documentation and part ritualistic photography autonomy over their own bodies when it comes to accompanied with text composing a contemporary reproductive health. The Sick Role is an art piece that portrait of the mundane reality of mental illness. From presents alternative health solutions and preventative a new body of work developed in Kuvataideakatemie, care measures. It necessitates the fair dissemination Helsinki, The Sick Role interrogates the experience of vital women’s health information that has of physical and mental illness in female bodies and been obscured by the lack of female authority in the institutionalized gender politics at play within healthcare, politics, religion and society at large. the care systems from which females seek healing. Tapping into witchcraft and holistic modalities The development of systems of Western Science of healing passed down through generations of and Medicine displaced the age-old lineages of women, this project aims to seek alternatives to female practitioners. Midwives with generations capitalist systems and to pose questions like: Can of healing knowledge connected to the kingdom sickness be an anti-capitalist gesture? In these times of plants and collective spiritual life were ousted of constant attention and movement, is taking to from clinics, if not brutally violated in earlier eras bed a radical act? Can documentation of illness be a involving mass genocide of women healers. Women therapy in itself? What hope do queer/female people in general were made victim of segregation, and have in medical systems, if any? How can we use limited access to higher education marginalized their our own systems to distribute ideas of care / cure / work, making it unlawful to practice holistic healing prevention? modalities that carry important insight into women’s complex systems. About Samantha Conlon The divorcing of women’s embodied knowledge from healthcare has deeply affected the Samantha Conlon is an interdisciplinary way in which women’s bodies are viewed, cared for, artist born 1990 in Ireland making work concerned and unfortunately, now often seldom individuated with class and gender struggles. Conlon is founder in a system with profit as a motivating factor above and curator of Bunny Collective, a feminist collective health. Serious illnesses that disproportionately affect of 18 women artists living in Ireland, Britain and the female bodies have inefficient methods of prevention United States who work mostly on the Internet. and cure compounded by epidemic levels of Breast Samantha founded the collective in 2013 when Cancer, Female Anxiety/Depression, C-section, she was in Art school in Cork, Ireland. The Bunny Eating Disorders and infections of the womb. Birth Collective’s videos, installations, photography and control still has side effects that disturb women’s collages explore the Internet and female identity hormonal patterns, day-to-day emotional lives and and agency on the web (which they consider a relationships – wreaking quiet havoc on their mental generative space for not only showing but making and physical wellbeing. Art); including grappling with the demonstrated rise

26 | ART511 ART511 | 27 of depression in women associated with together as a cohort of 10, the Bunny social-media use and how the corporate Collective’s courageous feminist aims engines capitalizing upon feminist media and ideals blossomed into real-life praxis users (and makers) also presents one of the as never before. Sharing their feminist art most potentially harmful and exploitative tactics with the community of Manchester, virtual armatures advanced capitalism particularly younger generations of female has dealt generations of young women to creatives, the Bunny Collective breathed date. Bunny Collective has been named new life into the concepts that had gestated by New York Times and Dazed Magazine in the transpersonal matrix of cyberspace. as a feminist group at the forefront of all- Bunny Collective’s engagement included female web collectives. The name is ironic. a one-day exhibition of sculptural “It was a cute name, and we knew we were installations in the wooded area of going to subvert that,” Ms. Conlon told the Alexandra Park and workshops with teenage New York Times. At the heart of Bunny’s girls from the local non-profit Hideaway mission are the emancipation of girlhood Youth on photography and producing DIY from its association with weakness, and the web zines. reclaiming of femininity as a strength. During the Spring of 2016, a handful of Bunny Collective members met each other for the first time during the Pankhust in the Park Residency with Alexandra Arts. The engagement with Pankhurst in the Park was a crossroads for the collective – coming

28 | ART511 ART511 | 29 30 | ART511 ART511 | 31 genealogy of the kawaii twerk rave

High Prieztezz Or Nah

Kawaii Twerk Rave (experimental visual essay)/ manifesta by High Prieztezz Or Nah/ Katie Cercone

32 | ART511 ART511 | 33 34 | ART511 ART511 | 35 36 | ART511 ART511 | 37 Spiraling Smoke 2. 2017-2018 Mixed media on panels spiralling smoke

BY CLAIRE ZAKIEWICZ

I met SOL KJØK in May 2017 at her loft spark of life to be switched on. The machines are off, in Brooklyn when I became one of her artists in but the substance they are floating in keeps moving. residence. Her studio is the size of two tennis Is it liquid, air or silicone, perhaps? The colours seem courts, and you can see both the Empire State and more synthetic than natural. Chrysler buildings through a pair of factory windows. One of the men is African American yet, Acrobatic swings, harnesses and platforms dangle like the others in the painting, his skin is as white from 20ft ceilings. A full-sized tipi sits off-centre in as paper. His lips and nipples, red against the white, the space where a Shaman performs drum journeys. appear almost decorative. Spiralling braids echoing World-class physicists, artists, academics and the spirals of the bodies add orange accents. eccentrics regularly pass through. Her world is an The translucent skin might be the only physical inspiring, cross-pollinating place of collaboration membrane, yet the contours imply strong muscle and interaction. From the roof you overlook one and bone underneath. Their physicality doesn’t of the most polluted pockets of America’s post- belong to this world; they float in a strangely shallow industrial wasteland – a mad dystopian scene realm where gravity seemingly ceases to exist. set against one of the most inspiring skylines in The marks are deliberate and worked: a highly the world. developed drawing and painting technique is at hand Like Sol’s other spaces, The Mothership and here. No spontaneous gestures are evident, although The Last Frontier, women dominate in number and the composition as a whole implies the presence of leadership. She invites friends to nude-model for something greater holding it all fluidly together. her: an exchange of intimacy in her dream studio. Born in Norway and adopted in New York, Sol To draw another human is to meditate on and depict has lived in Paris, Colombia, Vienna and employs five the shadows and brightness that arise. Sol directs her languages at her command. She has Masters degrees subjects to gaze far ahead and place full attention in Painting, Art History and Literature. Her earlier on their body as they manage challenging airborne works depict similarly interconnected masses of positions. Their faces mutate into an ethereal human bodies, albeit arranged in circular formations homogeny. I think of Reich’s ‘You are wherever your with more expressive faces. The new work evidences thoughts are’. Her figures, though in movement, a significant shift for the artist. are shells, without clothing or sense of identity – In KJØK’s library, the titles speak to a new somewhat futuristic and humanoid. I imagine world emerging – signalling that we are in a point should they look at me – perhaps with a smile – that in history where humankind will either flourish or the fourth wall would be broken. They would need a become extinct. Contemporary Science is lining up

38 | ART511 ART511 | 39 Spiraling Smoke 4. 2017-2018 Mixed media on panels

Spiraling Smoke 3. 2017-2018 Mixed media on panels

with Eastern Mysticism to understand consciousness Some of our respected thinkers foresee a and the ultimate nature of reality. Historian Yuval future where a small number of elites upgrade Noah Harari suggests that a new religion might be themselves through biotechnology and genetic emerging: ‘Dataism’. The human species seen as a engineering, leaving the masses behind and creating single data processing system where people are the a godlike species where super-intelligent robots chips – an information flow. Categories of human consider the rest of humanity to be superfluous. emotion don’t have intrinsic value unless they can Sol talks of lyrics in connection with her be shared. Experiences within us that are not shared works, which say ‘in every lifetime we meet the same have no meaning. In Harari’s future, the output of circle of souls, to say thank you or sorry’, an idea that this data processing is the creation of an Internet- implies that resolution is stronger than tension if we of-all-things, where everything is connected, linked let go of trying to control – and perhaps that free will and bridged. Once digital, we become immortal. The exists after all. It’s a compelling idea. For me, Sol’s concept of Individualism will seem strange in this paintings and the process by which she paints is fundamentally shared system, and it would make no deeply social, political, feminist, intellectual, anti- sense to copy or destroy versions of ourselves. fashionable and radical. Are those knowing, vacant When I look at the paintings I think of eyes issuing a warning – or are they the gatekeepers Burning Man-type parties attended by tech CEOs to the greatest show the World has ever seen? – an intelligent sexuality and playfulness. Misfits and geeks who have found a freedom of expression outside of mass popular culture yet have created some of the most powerful institutions mankind has perhaps ever seen – Google, Amazon, Facebook, Apple.

40 | ART511 ART511 | 41 women hold up half A Look at British the sky Artist Ekua Bayunu

BY KATIE CERCONE

Ekua Bayunu just finished mounting watercolor paintings dating back to the her first solo exhibition at Manchester’s 1940s, which her mother made while living Chuck Gallery. Aptly titled Re:Birth, her in China working as an English Christian show centers around a body of sculptural Missionary. Although Ekua’s mom started work reflecting women’s power and draws painting again in her 70’s, she never on aesthetic motifs of her African cultural seriously pursued her craft. She infused heritage. After receiving a few rave reviews Ekua’s upbringing with ample creativity – of her show, she was selected in February “the freedom to draw and glue and whittle to be artist-in-residence in Alexandra and sing and dance,” says the artist. Her Park for the final season of Alexandra Arts’ mother likewise always chided her, “We Pankhurst in the Park Program. Recently, aren’t the type of people who are artists.” I had the opportunity to connect with the Paradoxically, as evolution sometimes artist personally and dive more deeply goes, it was the way her mom steered into her background and the motivations the rebellious young Ekua away from Art behind her trans-disciplinary, social-justice – often with statements like “it isn’t our oriented creative practice. place” – that ultimately drove Bayunu to Ekua was born in 1961 in a small become the artist she is today. Ekua simply town called Yateley, south of London. Her had to challenge the limitations imposed. home for a mere 6 weeks, her early years “I couldn’t bear not being one. I think [my were shaped by the impact of Maori culture Mother] couldn’t bear not being one either.” upon White English Middleclass sentiment Bayunu’s formal Arts Education delivered to an African dual heritage child. began at Nene College, now Northampton She recalls somewhat bitter-sweetly University. She completed her Foundation how her mother’s overflowing creativity in Art and Design at Gloucestershire dynamically shaped her childhood. She College of Art and Design before entering still has one of her mother’s original her BFA, Sculpture, through a prestigious

42 | ART511 ART511 | 43 Honours program at St. Martins School of Art and other.” Ekua’s Leadership Series features a pair of later Hornsey School of Art, both in London, in the elongated, two-faced figures produced in response early 1980s. Ekua reflects that at St. Martin’s they to the painting Elder Statesmen by Abayomi Sokenu. always worked from a life model, a practice which “I am exploring the current need in the world for greatly influences her work to this day, certainly leadership that can support humanity against reflected in the visceral tactility of her sculptural the rising tide of extremism from the Racism of renderings as well as her humanistic approach. Into Trump, the Sexism of Putin, the Classism of May, adulthood, as a single mother, Ekua worked in arts the Intolerance of Wahhabism and Zionism and education and management, including developing Right-Wing Christianity.” In a globalized, media- a sculpture curriculum for adults that dovetailed on saturated culture still overwhelmed by limited and her undergraduate studies. Living in Manchester too often negative depictions of black and brown since 1993, she has delivered a number of highly folks, paralleling perhaps, the global BLACK LIVES acclaimed public art projects including the Sensory MATTER movement, her pieces infuse African faces Garden in Hulme Park and the Anansi Mosaics at with the values of leadership, Intelligence, Honesty, Royce Primary School. As a project manager, she Compassion and Integrity. has been instrumental in making art accessible to The final piece from this new body of work, young people from all backgrounds in Manchester’s titled Her Smile, is still in process. It is in response to increasingly diverse city center. In 2011, Ekua made the work of Damola Adepoju, an artist whose mixed the decision to return to her personal art practice full media pieces depict cityscapes of urban Lagos. time. Her current body of work includes drawing, Although Adepoju is an artist Ekua personally loves film and sculpture in card, fabric, wood and clay – and has collected the work of, Her Smile is created air dried and fired. Moving forward she intends to in reaction to three paintings of his in the Chuck begin working in metal, casting and welding, as well collection that depict the female form. Ekua takes as carving wood and stone (skill areas not touched issue with his depiction of the women who appear since her undergraduate days). in the work as coy objects, veiled behind strands of Her recent body of work Re:Birth explores hair they offer a stereotypical come-hither appeal the condition of being human, and creates dialogue to the viewer. “Pieces that, for me, appear created around looking and being seen – particularly as a purely for a male gaze.” In response, the artist created Black Female – underlined with the artist’s steady a sculptural figure of a woman with an unflinching commitment to three principles she articulates as stare. Straight, bold lines and strong vertical and “Change. Equality. Love.” Her show at Chuck, the horizontal planes articulate the female subject’s only UK Art Gallery outside of London specializing commanding presence. “You have touched the in Modern and Contemporary Art of the African women” and “you have struck a rock” are textural Diaspora, was created in response to selected works inscriptions Ekua has layered in to enhance the in the Chuck Gallery’s permanent collection over a surface of the work. year-long engagement in the space in dialogue with Enjoying the public engagement aspects its roster of contemporary masters. of her solo show at Chuck in collaboration with Three female figures (the artist’s Okoh Global Arts Manchester and PANDA, she aims to Women series) respond to Nelson Okoh’s painting offset the challenges older women artists face (and Poetic Expression – “highlighting the weight particularly those from cultures not traditionally and volume and strength of women’s bodies; supported by the Fine Arts in her country), helping our breasts, bellies, hips as the vessels to carry us them return to or enter creative practice. The overall forward to stand in our power.” Her work expands mission of Global Arts Manchester, of which Ekua is on a feminist polemic insisting that women’s a founding member, is to ensure that the visual arts beauty and embodied freedom “will not be defined in Manchester are diverse, sustainable, accessible or minimized just for the sexual gratification of the and inclusive. Ekua is working with Global Arts to

“Being in a community of artists is so important to my professional development and my creative and emotional well being.”

44 | ART511 ART511 | 45 develop an offer through a health and wellbeing location at this point) – poses several peculiar developers who have plans to knock the creative Having frequently hosted people from all initiative to train artists to share their practice to problems for an artist wielding the sword of complex down and build luxury apartments as soon ends of the globe while supplementing her income vulnerable individuals in community settings and Afrocentric logic. The “Art World,” in my opinion, as August. “Being in a community of artists is so with AirBnb, Ekua feels inclined to celebrate the secondly, exploring how to give career support being at best an elite ego racket, at worst a parasitic important to my professional development and my diversity of women’s voices she has come to to young creative graduates from backgrounds Cyclops suckling the reckless libido of generations creative and emotional well being,” remarks Ekua, know and love, living in Manchester for nearly underrepresented in the arts. of young creatives (who pledge their faith in who is frustrated to see her space and communal three decades, in this new work. “The overall aim Ekua draws from Steve Biko when situating materialism and fame) to obscure the laundering of atelier disbanded in this way. Like many artists, of my project is to inspire people from all socio- her oeuvre generally, quoting him “…the greatest gift money in a nepotistic black market money game. resources, space, and an ongoing internal dialogue economic and cultural backgrounds to vote and still has to come from Africa – giving the world a Although Afrocentrism is a vast constellation of vacillating between self-confidence and self-doubt play an active role in shaping cultural and political more human face.” Her sculptures about leadership beliefs in and of itself, the Seven Principles of –pose the greatest challenges for her in terms of life in Manchester. “Women Hold Up Half the Sky” reflect what is needed in the world today and Kwanzaa – unity, self-determination, collective work continuing to make work. inspires more Women in Leadership through the put an African face on power and authority. Her and responsibility, cooperative economics, purpose, Despite any setbacks, she’s rocketing ahead creation of dialogue and networks of mutual support observation that the Fine Art world is not necessarily creativity and faith – highlight the ways in which Art into new projects including recently finishing a new that span class and race, sexuality and disability. I a welcoming space for women and people of color just can’t and shouldn’t be separated out from the life sculptural work which premiered at the Manchester truly believe Culture and Creativity are at the heart is certainly a familiar feeling for many. In one sense, blood of the clan. Art should ensure the longevity, Museum during an event celebrating FESTAC77. of women’s Active Citizenship,” explains the artist. there’s the statistical reality of the way in which vitality, cohesion and prosperity of the group, and As early as March, Ekua will be collaborating as an She’s planning to call upon her connections with non-white, non-male, non-cis-gendered voices I think this is where women like Ekua are needed actor on a new film project with Rwandan Theatre local libraries, senior centers, youth clubs, art centers are continually marginalized within the canon and so dearly as leaders – to ensure there is an ethics practitioner Emanuel Bajiji. and other service providers to fully get this project off economically kept out of the loop, and on the other, around the production, commerce, education and Ekua was selected for the Spring residency the ground. Afrocentric logic broadly speaking offers such an dialogue that happens around Art. Ekua, although at Alexandra Arts largely due to her steady and Stay tuned as Ekua’s “Women Hold Up Half overwhelmingly more robust definition of Art we trained in the highest and most honorable echelons ongoing engagement building art networks that the Sky” takes shape in Moss Side Manchester’s might imagine why the work of contemporary of the Euro-sphere, stays close to the principles transgress Manchester’s varied communities and Alexandra Park this Spring during the final African Diasporic artists doesn’t easily translate to a for which and by which she makes Art – for the focus on supporting women’s creativity, leadership Installment of Pankhurst in the Park (funded by Arts Eurocentric system. Take, for example, Senegalese betterment of her society and community – and and livelihood. “I know so many people who live Council England) to celebrate the centenary for UK poet and philosopher Léopold Sédar Senghor’s likewise finds congruency doing social practice work locally and haven’t felt engaged with the park over women winning the right to vote. Come September primordial intuition that African Art is a total in collaboration with local non-profits. the last few years,” says Ekua, who is excited to step Alexandra Arts’ will be teaming up with Art 511 for a philosophy. It is the “vitalism” at the core of African That being said, “not-for-profit” clearly poses into her position at Alexandra Park, where she will grand art salon here in New York City, continuing its spiritual beliefs that found expression in the Arts. It’s its own limitations living in one of the world’s most be participating in an 8-week, interdisciplinary and mission to support female artists and their paradigm- intricately woven into the social fabric of life itself. expensive nations. In the midst of her many creative socially engaged project culminating in a series of shifting practices. If you live locally, stay abreast The Western* white-male dominated field projects, Ekua recently received notice that her studio site-specific, visual totems: “Guardians of the land of this project via the Alexandra Arts website and of Fine Art and art marketplace – (Western here space at Artwork Atelier (located in an old warehouse and community.” The social practice component blog. You can follow on instagram @alexartsmcr. denoting more of a mindset than a geographical in Salford, Greater Manchester) has been sold to of the project will involve instruction of all-ages Ekua’s looking to engage women, as co-creatrix, workshops in the Chorlton Lodge and collecting a videographers, herstorians (and more!) during her women’s oral herstory reflecting the overall mission 8-week long “Women Hold Up Half the Sky” initiative of Alexandra Arts – which celebrates women’s fight this Spring. for suffrage rights and agency in light of Alexandra Park being the historic stomping ground of Europe’s suffragettes and home of Emmeline Pankhurst.

1There are over 300 languages now regularly spoken in Great Britain (Diane Abbott, The Guardian, 2016) and population stats show that in the early 2000’s over 3 million immigrants were admitted into the U.K. by way of controversial Labor & Immigration Laws (Sir Andrew Greene / Daily Mail, 2011)

2Souleymane Bachir Diagne, African Art A Philosophy University of Chicago Press, 2012

3Kwanzaa is a feast of gift giving originating in the United States in the 60s observed today by as many as 18 million African Americans from December 26 to January 1 as a celebration of their cultural heritage and traditional values. Each day of Kwanzaa emphasizes one of the seven principles, or Nguzo Saba, a set of ideals.

Image credit - Rod Leon

46 | ART511 ART511 | 47 elisa garcia de la huerta

Elisa Garcia de la Huerta was born 1983 in NY Observer, Paper Magazine, Interview Magazine, Santiago, Chile and is an interdisciplinary artist Milk Media, Art Fag City, Art Net TV, Bushwick Daily, and holistic Ayurveda Practitioner. She received BOMBlog, CatchFire, BronxNet TV, Abiola TV, El her BFA at Universidad Finis Terrae, Chile in 2006 Mercurio, Mas Deco, Artishock and Arte al Limite and her MFA Fine Arts at the School of Visual Arts, Magazine. Garcia has been an Artist-in-Residence at New York in 2011. She is also co-leader of Go! Push Alexandra Arts in Manchester, UK, Soho20 Chelsea Pops, a queer, transnational feminist performance in NYC, The Maryland Institute College of Art in art collective. Elisa has shown her art/performance Baltimore as well as in Havana, Cuba 2003 and at the Brooklyn Museum, Bronx Museum, Whitney London, UK 2007 and performed in Tokyo Japan Museum, Untitled Space, C24 Gallery, Momenta Art with Go!PushPops as part of US/Japan exchange and Soho20 Gallery in New York, USA and Museo fellowship this 2015. Nacional de Bellas Artes, Museo Historico Militar, Galeria Artespacio in Santiago, Chile as well as Select Art Fair for Miami Basel, Changjiang Museum of Contemporary Art in China, CA2M Center in Spain, Canada and Korea among others. She has been nominated for the Rema Hort Mann Visual Arts Grant, has obtained a Brooklyn Arts Council Grant and the Culture Push Fellowship for Utopian Practice with Go! Push Pops. Her work has been featured in Dazed and Confused, Bowery + Bedford, ART 21 Magazine, Bust, Frontrunner, Nakid Magazine, SHE/FOLK, Huffington Post, Japan Times, BUSTLE, ArtSlant, Slutist, Hyperallergic, The Wild Magazine,

“Refuge” serie, Elisa Garcia de la Huerta scanned hand drawings on acid free paper, part of a serie of work as artist book format, 2016-18

48 | ART511 ART511 | 49 50 | ART511 ART511 | 51 turning around and back again

BY LAUREN VELVICK

The overarching theme of this year’s Wonder art collection, whereas Leighton-Boyce, a Manchester Women radical feminist festival in Manchester has based artist, has been in residence at the Glasgow to do with women’s representation and influence Women’s Library. The Salford University collection in our political and cultural institutions, responding is a remarkable resource, comprising works of to the centenary of the Representation of the People Chinese contemporary art, artists’ film and prints act. 1918 was the first time that any women were amongst much more — at a time when many public able to vote in Britain, but as we must be careful to collections are being plundered in order to plug the acknowledge, it was only property-owning women deficits created by austerity measures . The Glasgow over thirty who were granted this basic right with the Women’s library, on the other hand, is an equally act. As such, it is important to commemorate and vital resource as the only accredited museum in the respond with nuance, something that the research- UK dedicated to women’s histories, functioning as lead art practices of Hannah Leighton-Boyce and a counteraction to the patriarchally and colonially Ruth Barker are able to do by virtue of their methods influenced collections of the majority of the UK’s and structure. As part of the festival, Leighton-Boyce museums and libraries. The distinctive nature of the and Barker have been commissioned to produce two collections is relevant in considering the work new bodies of work to be presented in a two- that each artist has produced. Both Leighton-Boyce person exhibition at Castlefield Gallery, part of the and Barker have approached broad, familiar themes gallery’s long-running ‘head to head’ series, whereby and near-universal symbols, and yet their work two artists whose work corresponds are placed in can simultaneously be understood in terms of the juxtaposition. Over the past year, both artists have personal and particular. Comparably, a university art been supported in conducting research residencies, collection wouldn’t always have been unusual, and allowing for the time and space to become embedded one that still collects is sadly exceptional, whereas within their respective institutions and communities, women’s histories are obviously intrinsic to history and to explore unanticipated avenues. in general, but have had to be set apart in their own Barker, usually based in Glasgow, was library due to omission. working with Salford University and the university’s

52 | ART511 ART511 | 53 Hannah Leighton Boyce_Concequences of progress; remnants for the future 1

Sullivan contends: “If a measure of the value of and the idea of turning back and of claiming what research is seen to be the capacity to create new or who went before us: “If we are able to see the knowledge and understanding that is individually parallels between what they did and what we are and culturally transformative, then criteria need doing, we will not only prevent a new catastrophe to move beyond probability and plausibility from occurring, but also change the ‘character of to possibility.” the past’. ” Although at the time of writing the In the work that she has produced towards the exhibition in question has yet to take place, from Castlefield exhibition, Barker does not explicitly point brief conversations with and research around to the aforementioned references, but will include the practices of both artists, some fascinating an image of Ishtar, the Mesopotamian goddess linkages have emerged that hark back to classical who, unlike Eurydice, escaped the underworld and and biblical representations of womanhood whilst left her husband in her place. The image of the bearing witness to, and critiquing, the present. goddess is a child’s drawing, that will be made into a rug at Salford University’s fibre workshop by artists’ assistant Alena Donely. This is a relevant detail due to the way in which Barker has brought collaborators and the expertise of others into this body of work, “If we are able to which has been described as responding to a loss of voice triggered by traumatic birth experience and the see the parallels general conditions in British society. This is indicative of the way that the artist views collaboration and kinship as a way to communicate more broadly, between what they rather than as a dilution of her authorship. On this topic Barker refers to Silverman’s contention that did and what we are human beings are not autonomous, but rather exist within a web of connections, and the philosopher doing, we will not Mary Midgley who has written extensively on the sociality of selfhood. As Barker also notes, both of only prevent a new these stances are at odds with the traditional concept of the solitary artist that, despite denunciations, still catastrophe from holds sway along with the characters of Orpheus It is also relevant here to draw attention of Manchester and support women’s struggles and Lot, one of whom is punished for turning and and to question the cliched, if not purposefully the world over, it is imperative to admit discourse ostracises himself as a result, and the other who antagonistic, ways in which women’s artistic and and critique. occurring, but also forges onward without hindsight. literary production is often defined as confessional Within this context, in which the way things For Leighton-Boyce the unnamed Lot’s wife and intimate. This tendency is interesting to ought to be with regards to equal representation change the ‘character is central, both in terms of her weary anonymity consider in the context of both Leighton-Boyce are not reflected in the way they are, and idealistic and her transformation into the symbolically rich and Barker’s practices as well as the wider Wonder tendencies bump up against pragmatism, research- of the past’. substance of salt. The artist highlights ways that Women festival in general. With both artists, their driven art practices are especially relevant and salt has played an active role in human history, as new bodies of work are interpreted using reference useful. Leighton-Boyce described how in working a currency, a tool of oppression, a method of food to recent personal experiences, but deal with themes with an archive she had imagined finding some preservation and of healing, whilst on a molecular that are archetypal and mythic, and as such needn’t specific document or figure to focus on, but whilst This simultaneous ability to draw from the past level, it splits in water, dissolving and disappearing necessarily be framed in these terms in order to be in residency at Glasgow Women’s Library was whilst scrutinising current and future possibilities is to the naked eye. For Leighton-Boyce this substance meaningful and effective. The impulse to require instead drawn intuitively to widely resonant objects epitomised by two female characters from western epitomises the energy and contradiction of division confessional intimacy from those who have been and themes, whereas Barker’s work has ostensibly cultural history whose stories coalesce around a and attraction. The artist’s other research focus, the historically underrepresented, as though by taking grown out of her own experience of Motherhood, supposed infraction that doomed them: Eurydice round table, is similarly familiar and yet marked so much from a few it will make up for previous but is also richly informed by philosophy and theory and the wife of Lot. In the case of Eurydice, the by historical specificity, representing a communal exclusions, is one that this exhibition and the wider that deals comprehensively with the psychoanalytic infraction was not hers, but it was still the act of rejection of hierarchy but also having been used by festival offer an opportunity to scrutinise and unpick. notion of the mother and femininity, as well as voice turning and looking back by Orpheus that sent her specific figures and in specific contexts. Leighton- As previously alluded to, this centenary is promoted and kinship. In an era characterised by bubbles of to the underworld, whereas for Lot’s unnamed wife, Boyce describes being drawn to the round table at as an opportunity to celebrate the achievements of agreement and influence, when the purported proof her own inability or refusal to follow a command The Glasgow Women’s Library, later discovering the Suffragettes, but in gaining a vote and a voice for offered by statistics can clearly be manipulated to suit not to turn had her transformed into a pillar of salt. another round table at The Pankhurst Centre in some, many were still excluded. This has edged the ideologies and agendas, it seems that the forms of Barker has referenced Kaja Silverman as an influence Manchester that had been used for Suffragette commemorations so far with a justified bitterness, research afforded by artistic practice can be effective on her thinking, and in the introduction to ‘Flesh meetings and the ‘Table of Sentiments’ from the and so in questioning how we can shape the future in a way that quantitative research is not. As Graeme of my Flesh’ (2009), Silverman speaks of Eurydice first convention of women’s rights in Seneca Falls,

54 | ART511 ART511 | 55 New York. In its evocation here the round table Hannah Leighton Boyce emphasises how the symbols and structures of Studio view, work in progress equality and egality, whilst powerful and worthwhile, can also be used to reproduce hierarchies. Launched on International Women’s Day, March 8th, it will be fascinating to observe how the interplay between specificity and universality in the work of Barker and Leighton-Boyce may influence the character of the Wonder Women festival. The commemorations for 1918 have already been marred by governmental incompetence , leaving just four days for community groups to apply to fund their projects, which is a detail reminiscent of Barker’s assertion that the economic conditions of contemporary Britain are coalescing with other factors to render her publically mute. Therefore it is imperative to consider these two bodies of work, alongside the wider discourse around 1918 and contemporary feminism, as part of a complex network of community and kinship where the research and work is ongoing, but looking back, claiming what went before and reckoning with history is just as important.

Interview with Helen Wewiora, Director of Castlefield Gallery

Helen became the Director of the Castlefield the visual arts, and was founded by graduates of programme strategy has proved especially effective of the independent artist-led scene in 80s and 90s Gallery in central Manchester at the end of 2016. Here Manchester School of Art in 1984. The gallery was a in communicating the strength of these artists’ Manchester, there came a significant increase in she speaks to Amy Clancy about Manchester’s place significant catalyst to a period of activity across the works regardless of art world status. It is a strategy we galleries and venues in the 2000s. Manchester was in the art world, addressing challenges and a new city that gave rise to the birth of multiple studios and employ today, and will continue to do so long into regenerating. Ironically, over the last few years, as artistic exchange programme. an influx of artistic talent from across the UK, many the future. As well as exhibitions, commissions and developers have acquired land for redevelopment, Q. You were born in Manchester and are now attracted by the availability of low cost work space a public programme at our main gallery, Castlefield visual arts production and Manchester’s vibrant at the helm of its Castlefield Gallery, an organization and a growing and dynamic visual arts community. Gallery operates ‘New Art Spaces’ across Greater independent scene (including music), has come whose mission is to nurture talent, explore cultural Castlefield Gallery’s work is dedicated to ensuring Manchester, a programme of pop-up, project and under threat. Some of our largest and most promising trends and deepen audiences’ relationship to Manchester, the region and the North of England, are production space made available to our 200-plus studios have closed, and many face uncertain contemporary art. How do you turn that mission places where artists can successfully live and work Castlefield Gallery Associate members to incubate prospects. Momentum is thankfully now gathering into a reality? whilst also experiencing national and international their practice at minimal cost and share new towards collaborative action designed to address A. Manchester as a city has transformed over success. Our commitment is underpinned by our contemporary art with the public in a very immediate the need for alternative solutions for affordable the last 30-40 years – economically, socially, and mission: To nurture talent, explore cultural trends way. The Castlefield Gallery Associate membership production and project space. It is being slowly culturally. The city has long been famed for its vibrant and deepen audiences’ relationship to contemporary scheme also provides opportunities for information recognised that big venues and festivals alone do not independent music scene, from which many names art. Castlefield Gallery has long provided some of the and skills sharing, CPD opportunities, resources, give cities a distinctive cultural edge, and certainly have launched international careers. A history of first opportunities for artists living and working in promotion and a context for critical dialogue. do not make them a mecca for the next generation independence is something Manchester is steeped Manchester to access formal, recognised exhibition Q. From your perspective, what space does of people looking to develop a career in the creative in – it’s certainly what I have been proud of growing opportunities, alternating and placing exhibitions the city occupy in the art world today, and how has industries. The talent drain hasn’t happened yet, up here, and the message I have always taken with by high-profile established professionals alongside that changed? and indeed with some creative thinking, balancing me wherever I go. Castlefield Gallery is focused on regional graduate and postgraduate artists. This A. After an exciting period of rapid growth a need for some city centre artist production facilities

56 | ART511 ART511 | 57 with a new look at the role of the city region (Greater A. The work of artists in England’s regions can have informed newly commissioned works for Hannah Leighton-Boyce explores historical Manchester), we have an opportunity to transform be overlooked, something too often than not fuelled presentation at Castlefield Gallery Manchester, tour narratives through site-specific actions, sculpture, challenge into further cultural growth. by a fetishising of the arts and cultural scene in to Glasgow Women’s Library, and acquisition into drawing, sound and installation. Her recent Our exhibition and commissions activities London. Don’t get me wrong, I don’t for one minute the University of Salford Art Collection. On 8 March works are derived from museum archives and extend off-site and into the public realm, and we believe it is easy to ‘make it’ in London, that an artist 2018, International Women’s Day, to mark the launch found objects that explore the politics of labour are increasingly delivering local, national and can move to the capital and that will lead to instant of their exhibition, Castlefield Gallery will premiere and industrial legacy. During her residency with international residency, exchange and research success, quite the opposite. It’s tough in London new performance work by Ruth Barker developed Glasgow Women’s Library, the artist has explored opportunities where possible, dovetailing these – a highly competitive and indeed over-saturated especially for the exhibition. It is significant that we the relationship between the body and the archive. to our exhibition and showcasing work. We drive market. It can, though, be challenging for artists in the are launching this show in 2018, as this year marks She was especially struck by the daily use of the talent development through all of our work and even regions to grow their careers, for a host of reasons, the 100-year anniversary of The Representation library and the welcoming embrace as you arrive our structure – as a result of our volunteer, intern some including historic imbalances regarding of the People’s Act, brought in to reform the there. Leighton-Boyce’s upcoming presentation and apprenticeships, working wherever possible investment, the perennial challenge of enticing electoral system in Great Britain. The act was a key takes inspiration from a large circular table centrally in partnership to do this. Our partnerships, formal press and critics out of London, and collectors and moment for women, marking the beginning of a placed in Glasgow Women’s Library, one used for and informal, extend across the arts and cultural collections flocking to London and abroad to buy journey towards suffrage by extending franchise meetings, tea, lunch breaks and conversation. The sector, but also higher education, local government, when they have a wealth of collecting opportunities to 8.4 million women. Co-commissioned with the circular space of the library’s table reminds her of a community, voluntary and corporate sector. on their own doorsteps, but not the market ecology University of Salford, the institution’s Chancellor round table at Emmeline Pankhurst’s house (now Partnerships are important to our work and can around this talent to instil confidence to collect and ‘writer in residence’, the distinguished, award- The Pankhurst Museum), once used for WSPU be critical to facilitating in-depth ways of working work by artists operating outside of the capital – this winning writer of fiction, poetry and plays, Jackie meetings, and ‘The Table of Sentiments’, a domestic with artists whilst also enabling Castlefield Gallery creates a bit of a vicious circle. These opportunities Kay MBE, will write a commissioned poem inspired parlour table used by Elizabeth Cady Stanton to draft to broaden the constituency of artists we work form part of a vital set of conditions that enable artists by the exhibition. ‘The Declaration of Women’s Rights’ at Seneca Falls with. Vitally this underpins our ability to engage to successfully develop their work and their careers. Q. What where you drawn to about these in 1848. For Castlefield Gallery, Leighton-Boyce’s with a diversity of creative practice and artists, Some of the challenges that artists face stem from the artists work and how will the exchange work new works will echo her experiences, specifically critical to ensuring the quality and dynamism of the way in which their local ecologies operate, however. in practice? through her decision to work with salt, drawing on programme, and delivering our charitable aims. The cultural strategies and key messaging adopted by A. Castlefield Gallery itself is very much its inherent properties of healing, energy, and the Q. How do you view the opportunities and some of our major cities up and down the country focused on exchange as we believe exchange charge of ‘coming together’ she encountered at challenges facing artists in Manchester? are too focused on venues, festivals and major programmes are a great way to attract artistic talent Glasgow Women’s Library. A. There are many opportunities for artists in cultural events. There is a failure to highlight to the to Manchester and the regions, but in a connected Q. Where and when can people view Manchester and across the North of England. Whilst world and celebrate vibrant, independent artist and way that levers opportunities for artists on the ground the work? studio and production space is feeling the squeeze, production scenes, the very elements of a cultural to work nationally and internationally, importantly A. The exhibition will be open to the public at there are still many vibrant studios around and they ecology that can make a place feel exciting from the encouraging legacy outcomes for all involved. One Castlefield Gallery from 9 March 2018 until 29 April are relatively affordable. Where studios have closed, outside in, somewhere to be explored and discover, of the best opportunities Manchester can offer is that 2018, launching on 8 March at 6pm. It will then tour key stakeholders are working together and with artists somewhere with a potentially unique offer. Under- it is a place that welcomes people, and where it feels for exhibition at Glasgow Women’s Library from 1 to identify long-term solutions. Also, pop-up, project representation is clearly more acute for some, and it as if you can achieve anything if you put your mind - 23 February 2019, launching on 31 January 2019. and short-term production spaces remain accessible is clear that challenges for women artists and many to it. and affordable. The cost of living is certainly more diverse artists remain rife right across the art world, Ruth Barker specialises in performance manageable than being in the capital, therefore in this country and abroad. It is right to be concerned and performative-writing, she has an ongoing quality of life likely better, and whilst it certainly isn’t about entire generations of artists not being collected engagement with the ‘voice’. She creates strange possible for many to make a full-time living from and therefore missing from collections, because the poetry that throws together autobiographical their practice, there are countless freelance, teaching, histories they communicate and powerful stories sketches with echoes of humanity’s oldest academic and cultural opportunities available that they can tell won’t be available to future generations. stories, creating hypnotic ritualised events, often can facilitate a successful portfolio career. The small- However, this is even more heightened when we accompanied by lavish costumes. As a mother of scale sector and particularly that of the artist-led and consider women and diverse artists. There also two young children, Barker is clear that her recent focused has taken quite a hit since the financial crash remains, as with many other sectors, significant pay experience of traumatic birth precedes her new body in 2008 and subsequent public sector funding cuts, imbalances. Our upcoming exhibition of the work of work for Castlefield Gallery, and aligns this with the so at a city level the ecology is less than complete. of Ruth Barker and Hannah Leighton-Boyce, whilst emotional impact on her of current world politics – a However, there does exist a strong network of is first and foremost concerned with showing the fear of voicelessness in the face of what she terms organisations like Castlefield Gallery, right across strength of these two artists’ practices, does equally as rapidly changing and brutal politics. With this in “we believe the North of England, and many of whom are active aim to contribute to addressing these imbalances. mind, the central figure in her new body of work, If in working together to deliver greater opportunities Q. The gallery is undertaking an exciting this if the last thing I say, is ‘the pulley- woman’, a exchange and impacts for the artists they support, especially in collaboration with the University of Salford and stand-in for Barker herself, and for her own body. working as effective and vital bridges from the grass Glasgow Women’s Library to mark the start and end This ambiguous figure perhaps stands for absence, a roots to mid and large-scale programmes. There are of 2018 – the anniversary of the Representation of way for Barker to talk about her own mortality and an programmes also some fantastic commissioning programmes the People’s Act. Please can you tell us more about anxiety centred on not being able to speak anymore. actively supporting artists and their practice, and the initiative, and the significance of the centenary Motherhood, illness, physical vulnerability, and are a great steady growth in residency opportunities that are year in its conception? the economic conditions of contemporary Britain well placed to develop the work of artists on the A. During 2017, Castlefield Gallery has are, Barker feels, rapidly coalescing to render her way to attract ground here and usefully network artists. supported Ruth Barker (Glasgow) and Hannah publically mute. If this were the last time that you Q. What role does gender and diversity play Leighton-Boyce (Manchester) to undertake research could make your voice heard, she wonders, what artistic talent to in the art world today and what advice would you residencies, Leighton-Boyce in Scotland with would you use it to say? give artists trying to forge their own path in what Glasgow Women’s Library, and Barker in Salford Manchester and the has historically been such white, European male- with the University of Salford and University of dominated landscape? Salford Art Collection. Their residency periods regions.”

58 | ART511 ART511 | 59 shiva’s linga

HE’S THE LORD OF THE DREADLOCKS CUZ HE’S SKOOLIN YOU WITH HARD KNOCKS SO YOU BETTER GET TO STRETCHIN’ BITCH MY MAN’LL MAKE YOU FEEL RESTLESS BITCH KAMA SUTRA FOR BREAKFAST BITCH DON’T ACT ALL PERPLEXED N’ SHIT WHEN I’M THROWIN UP THE HEX LEGIT

HE’S THE LORD OF THE WAVES STRAIGHT DANCIN’ ON YOUR GRAVES LORD SHIVA HEAR MY PRAISE CUZ I SEEN BETTER DAYS MY GOD HE A DESTROYER PUNCH YOU BLIND YOU LITTLE VOYEUR DON’T ACT LIKE YOU OFFENDED I’M SO HIGH I HAVE TRANSCENDED SCORPIO SEASON IS MY REASON IMMA STING YA ON THE LINGA THROW UP MY MIDDLE FINGER FOR LORD SHIVA’S URDHVA LINGA

HE’S THE LORD OF THE DANCE MAKE U SHIT YOUR PANTS

SO YA BETTER GET TO STRETCHIN’ BITCH MY MAN’LL MAKE YOU FEEL RESTLESS BITCH KAMA SUTRA FOR BREAKFAST BITCH YOU AINT ALL THAT PRECIOUS, SHiiiiiT

I HOPE YOU’VE DONE YOUR YOGA CUZ LORD SHIVA’S GONNA COME FOR YA!

Shiva’s Linga by ULTRACULTURAL OTHERS November 5, 2017 performance during TRANS-ville, curated by Milk and Night at Catinca Tabacaru, New York, NY

60 | ART511 ART511 | 61 photo credit: Olimpia Dior

Hindus have elegant traditions of inscribing himself annihilates the world of experience; he is pots, to pour it over their own Shiva lingas. The fire myth upon earth so much that India is a living the ferryman and the ferry leading from this world to of Shiva and the cooling rivers waters are inextricably landscape. A poem about the Wild God begins a nameless beyond…Shiva speaks to a long tradition linked…all the great lingas are associated with divine like this: of shamanic yoga practice, its ecstasy glows with waters. Springs, streams and wells that bring the In the beginning is the word sung by the gods, the fire and drink of him – the Wild Archer of the heavenly waters to the Linga of Shiva. the celestial intelligence, compassionate witness of pre-cosmos. The pillar of the linga is Shiva while the primal passion. Shiva is the archer, he is fire, and Fire Shiva pours forth the universe as its creator circular base, called a pitha or yoni, the “seat” is is a hunter. He is the primordial action that evoked and withdraws the universe as its Destroyer. Shakti. Shiva is timeless transcendence; Shakti, the consciousness and what we call Cosmos… “Celestial His mantra of praise is five-fold: OM – NA – active energy of time and creation. Together, they intelligence” is the guardian of the world of sacred MA – SHI – VA – YA. form the whole of what is worshipped as the linga order – a rhythmic structure that is Art, cosmos. I bow to Shiva. Shiva is the supreme Reality, – Shiva + Shakti, Male + Female. Shiva-in-action A Performative Lecture & freestyle by Or Nah & The Celestial intelligence is Shiva…Shiva is Celestial the Inner Self. It is the name given to consciousness is shakti, the energy that creates and nourishes the UNDAKOVA of ULTRACULTURAL OTHERS intelligence, he is the Wild God whose many names that dwells in all. manifest universe November 5, 2017 during TRANS-ville, a feminist and forms interlace. Wild God Shiva who is Lord of Very often, Shiva Lingas are but simple stones The river is the emblem of divine love, performance art salon curated by Milk and Night Animals. His body is made of the “fire of yoga,” called or rocky outcroppings said to be natural lingas and mutually shared…Without shakti, Shiva is shava, at Catinca Tabacaru, New York, NY Agni. He is the cloud with lightening and the seasons spontaneous, miraculous, appearances of Shiva. “corpse.” The goddess is sometimes depicted dancing and the seas… He is all anxieties, diseases, and the Smooth, river-polished stones are said to be natural on the corpse-like body of Shiva, wielding the BIBLIOGRAPHY destroyer of diseases, and disease itself. manifestations of Shiva and are the most prized weapons and emblems of her power and putting INDIA: A Sacred Geography by Diana L. Eck, New He is lust, he is subtle, he is gross; he is the of lingas. Pouring water over a linga recapitulates on full display the energy that is hers. Such power York: Three Rivers Press, 2012 golden seed…he is food, he is eater…all the senses ritually the falling of the rivers from heaven. During the Goddess has here she verges on spinning out of are his doors…Shiva, the destroyer who leads man water-carrying rituals, pilgrims converge at the bank control, and only by standing or dancing on Shiva The Presence of Siva STELLA KRAMRISCH, New out of the cosmos, is the Great Yogi who within of the River and carry the sacred waters home in does she balance that energy. Jersey: Princeton University Press, 1981

62 | ART511 ART511 | 63 locked grooves when the record was played. My approach to gramophone turntablism explores the potential to transform audio from a specific era into post contemporaneous sound, like Detroit House Music or Ambient Techno. For the Alexandra Arts webshop, I produced Unfolding the Pankhurst Legacy, a series of unfolded origami squirrel monoprints in the Suffragette colours, a limited edition series that whimsically pays homage to Emmeline Pankhurst and Alexandra Park. As part of a comprehensive community program, these Pankhurst in the Park events were inspired by the life and work of Emmeline Pankhurst, evidence Pankhurst of her historical impact and lasting relevance today, which continues to inspire and empower a large number of us women making gender equality in the manifest through our creative acts.

Park by Naomi Kashiwagi

I am an artist, musician, turntablist, I produced a Thursday evening event independent creative producer and a quotidian at Manchester Art Gallery around the time of origami wizard. I produce visual art, sound works, International Women’s Day. Taking inspiration from music, installations, performances and events that the gallery’s fashion collections and exhibitions, the often draw upon my dual heritage, an intrinsic fusion event explored the fashion activism integral to the of two cultures - British and Japanese. Through my Suffragettes’ movement, particularly the use of their interdisciplinary work I bring together things that notorious green, purple and white color symbolism don’t easily coexist, invoking something new and (green for hope, purple for dignity and white playfully unexpected through juxtaposition. I provoke for purity). the fringes of disciplines and genres, straddling the This event also coincided with Wonder intersections of visual art, music and everyday life. Women, an initiative that aims to inspire, celebrate The arts have the potential to show that and empower women in the city of Manchester the everyday can be reinvented and that the today, albeit being inclusive of all gender ordinary is usually extraordinary - and can often orientations. During Wonder Women, people were provide a wonderful interruption to everyday life. invited to dress up for the event, taking inspiration Empowerment, kindness, empathy and compassion from the Suffragete’s classic green, purple and white are core values I hold closely. These values are scheme as well as from the gallery’s vast collection embedded in my work and life. Creative, thoughtful, of contemporary art. A hands-on workshop guided everyday acts have the potential to bring joy, visitors in making their own wearable art objects to enchantment, liminal moments where people can take home. experience the extra in the ordinary. I aim to show For the Gramophonica commission, I created the power of thoughtful acts of kindness to enhance Gramophonica (Pankhurst Remix), performed live on and vivify ordinary life. I believe that authentic 30th August 2014 in Alexandra Park. This involved empowering energy and passion, together with care gramophone glitching on a wind-up gramophone and kindness, can catalyse positive change. turntable with the trees in the park serving as a In 2014-2015, I became involved in producing naturally bedazzling backdrop. I played the 78rpm some of the Pankhurst in the Park events in Alexandra shellac record, It Always Rains Before the Rainbow Park with director Lotte Karlsen, performing a new sung by Vera Lynn, re-appropriated with radiating Gramophonica commission as well as producing strips of electrical tape in the Suffragette colours. new work for the Alexandra Arts webshop. In 2018, I The electrical tape added an additional tactile sat on the advisory board for the appointment of the layer that in turn created unexpected percussive Spring Artist-in-Residence. discordances, harmonies and manually maintained

64 | ART511 ART511 | 65 NARCISSISTER organ player

Narcissister Organ Player is a hybrid performance/ documentary film that explores how ancestral data is stored in our bodies, impacting the lives we lead. On a personal level, the film investigates how the artist’s complex family history compelled her to create the masked, erotic performance character Narcissister.

All images, film stills from Narcissister Organ Player

66 | ART511 ART511 | 67 68 | ART511 ART511 | 69 70 | ART511 ART511 | 71 tasha whittle

Tasha Whittle is a multidisciplinary artist based in Manchester, UK. Her practice involves, drawing, mural painting, screen printing, site specific installations and interactive analogue sound sculptures through collaborative practice. Founder of Outhouse - an outdoor project space for public art based in various locations around Manchester’s Northern Quarter. “As a practicing artist and illustrator I like to incorporate as many different mediums as possible, as I believe that by challenging myself to work on new surfaces and with different materials my work can naturally develop and constantly evolve.” @thecolouringbox // @outhousemcr

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