8.50 CAD / USD ART / CULTURE / POLITICS / States of Coloniality Kency Cornejo p.24 / Leah Decter and Carla Taunton p.32/Sakahàn p.40 / Decter andCarlaTaunton Cornejop.24/Leah Kency Naufus Ramírez-Figueroa p.11 /DavidGarneaup.14 p.11 /JulieNagamp.22 Naufus Ramírez-Figueroa Berlin Reed p.4 / Miguel Rojas-Sotelo p.5 / Gordon Brent Ingramp.7/ Brent Berlin Reedp.4/MiguelRojas-Sotelop.5 /Gordon Heidi McKenzie p.8/DecolonialAestheticsManifesto p.10 HeidiMcKenzie / Jacqueline HoangNguyenp.49 isDayani Cristal? /Who p.50 Read-in p.43 / Time Lapsed p.46 / Border Cultures p.47 / p.47 Lapsedp.46 Cultures Read-in p.43 /Time /Border DECOLONIAL AESTHETICS Taghavi and Tannis andTannis Taghavi Hashemi, Maryam BONUS! Poster byGitaPoster Nielsen Artist’s FUSE MAGAZINE 36 – 4 FALL 2013 EDITORIAL EXPERIENCE STATES OF POST TORONTO COLONIALITY/ TRANSFORMED DECOLONIAL BY ARTISTS AESTHETICS OCTOBER 5 A i W 11 eiw 20 ei, les, SUNSET TO Forever Bicyc SUNRISE C This issue of FUSE was produced col- Decoloniality is cast, by Walter Mignolo and other h 1 r members of the Transnational Decolonial Institute, as the radical i 1 laboratively with the e-fagia organization. Based s 0 t other of modernity-coloniality. Throughout a diffuse and influential in 2 , in Toronto, e-fagia was founded in 2004 with the body of work, they write of a decoloniality of knowledge, being and e e One night only. I n r i v h mandate of promoting digital art, focusing on Latin aesthetics. Within this framework, decolonial aesthetics acknowl- in c g a edges and subverts the presence of colonial power and control in & M American and Canadian artists. A generous pres- All night long. In art the realm of the senses. A decolonial approach refers to a theoreti- tera He ence on the Toronto art scene, over the past decade ctive Art, The cal, practical or methodological choice geared toward delinking All free. e-fagia has produced dozens of publications, aesthetics, at the epistemic level, from the discourse of colonialism exhibitions, festivals and workshops. When they that is embedded in modernity itself. With the symposium and this issue of the magazine, Including works by Ai Weiwei, approached FUSE in late 2012 to discuss collabo- e-fagia and FUSE set out to explore the resonance of decolonial- Kim Adams, Michel de Broin, rating on their ambitious symposium, Decolonial ity in aesthetic practice across the disparate geographies of the Aesthetics from the Americas, we were immedi- Americas and the Caribbean. This proposition has been particularly Max Dean, Kelly Richardson stimulating because in the Canadian context, for the most part, ately excited about the thematic crossover with vocabularies of decolonization and settler colonialism have been and Janet Biggs. our States of Postcoloniality series. A year later, more prevalent than those of decoloniality. As such, we present D here something of a fresh encounter, a new stimulus to ongoing o 2 we are proud to present to you the results of this u 1 and robust public discourse in Canada regarding the role of aes- g 0 la 2 partnership, which also serves as a reader for the s , thetic practice in a decolonial era. Two contributors in particular, C re o u Decolonial Aesthetics symposium, scheduled for David Garneau and Gordon Brent Ingram, explicitly grapple with scotiabanknuitblanche.ca u pt pl a the relevance of a decolonial framework for Indigenous decoloni- and e R 10 – 12 October 2013. Call 416-392-2489 | sbnuitblancheTO , Museum of th zation and settler colonialism in Canada. SNB13_Fuse_Magazine.indd 1 7/25/2013 4:41:33 PM The Short FUSE section provides us with a sampling Finally, we wrap up the issue with reviews of Gita of aesthetic practices that conjure decoloniality — from Indigenous Hashemi’s exhibition Time Lapsed; Srimoyee Mitra’s group exhibi- site-based and public art in Vancouver, to the use of the Khabu tion curated for the Art Gallery of Windsor, Border Cultures: Part One or Tama (bastón de mando, “the stick”) by the Colombian (homes, land); two recent exhibitions by Jacqueline Hoang Nguyen; Kiwe Thegnas (the Indigenous Guard), to ingenious and inces- and Gael García Bernal and Marc Silver’s Who is Dayani Cristal? sant culinary innovations with the ñame (yam), to the oeuvre of Next up will be an issue that looks at the role of artists the late painter Denyse Thomasos. This issue also brings you and creative practice in the Idle No More movement. In the mean- rambunctious artist’s projects by Naufus Ramírez-Figueroa and time, please join us for the Decolonial Aesthetics from the Americas Julie Nagam, and a collaborative offering curated by Gita Hashemi conference in Toronto. with Tannis Nielsen and Maryam Taghavi. Leah Decter and Carla Taunton present a feature-length conversation about their respec- Gina Badger tive engagement of critical settler positions in their practices as with e-fagia and the FUSE Editorial Committee artists, instructors and activists. In another feature article, Kency Cornejo presents the recent work of several young Indigenous This issue is dedicated to Arlan Londoño (1962 – 2013), Guatemalan artists. co-founder of e-fagia, artist, curator and thinker. In his review column, Richard William Hill offers a thoughtful assessment of the curatorial premise and theoretical We are deeply saddened by the loss of this exuberant and gener- underpinnings of the National Gallery’s massive international ex- ous co-conspirator, from whom we have all learned so much, and hibition of Indigenous contemporary art, Sakahàn. Maiko Tanaka, we dedicate the present work to his memory. We have included a member of the Read-in group, reflects on their recent public read- project of Arlan’s alongside a text by Miguel Rojas-Sotelo and an ing of Sojourner Truth’s speech “Ain’t I a Woman” (1863). obituary on pages 52 and 53. FUSE MAGAZINE 36 – 4 / Decolonial Aesthetics / Fall 2013 BOARD OF DIRECTORS EDITORIAL COMMITTEE FUSE is published quarterly by Artons Rights and/or Limited Nonexclusive Irfan Ali Alison Cooley Cultural Affairs Society and Publishing Electronic Rights, and copyright reverts Natalie Kouri-Towe Francisco-Fernando Granados Inc., a non-profit artists’ organization to the writer after publication. Skye Maule-O’Brien Reena Katz incorporated in 1984. All inquiries A copy of our Submission Guidelines is Robyn Lew Steve Loft and return of undeliverables to the available on our website. Publication of Julie Nagam Sarah Mangle following address: an advertisement in FUSE does not Sara Rozenberg Nahed Mansour 454 – 401 Richmond Street West imply endorsement of the advertiser by Ambereen Siddiqui Rodrigo Marti Toronto ON M5V 3A8 Canada the magazine. 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Within Canada: $24 per year; Graphic Designer UK), Gita Hashemi (Toronto), Richard FUSE is grateful for the many hours Institutions $36 per year. Outside Amy Novak William Hill (Toronto), Michelle of volunteer and modestly paid Canada: $36 per year; Institutions $48. Advertising Manager Jacques (Vancouver), Ashok Mathur labour performed by those listed on Chandra Bulucon (Vancouver/Kamloops), Milena our masthead, in our table of contents, Publications Mail Agreement No. Copyeditor & Proofreader Placentile (Winnipeg), Lee Rodney and elsewhere. 40022164 Sara Rozenberg (Windsor), Denise Ryner (Vancouver), Registration No. Outreach & Special Projects Jessica Wyman (Toronto) Copyright © Artons Publishing Inc. All 8623 / ISSN0838-603X Coordinator rights reserved. Any reproduction without Nancy Johnson FOUNDING EDITORS permission is prohibited. For permission Clive Robertson requests contact Access Copyright Tom Sherman +1 (800) 893-5777. Artons Publishing Lisa Steele purchases First North American Serial As generations of African slaves hid their gods and When we begin to see our seemingly disparate present- masked their dances, when left with refuse to fill their bellies they day cultures and political and socioeconomic realities through a A New created dishes as heartwarming as mofongo and chit’lins to heal decolonial lens, we can reclaim traditions by reconnecting our Indigenous and restore their bodies from the harsh realities of slave life. Many endurance of five centuries in the Americas to our future, ultimate of these dishes still nourish their descendants, who continue to liberation. Decolonial African American cuisine is an ownership suffer under the weight of a more covert master. One simple ingredi- and a repossession of African food history, and it unapologetically Ñame ent, the yam, tells the delectable story of a resourceful and defiant positions the Atlantic Slave Trade and its pervasive legacy as a resistance that has fed us since the Middle Passage. The yam (ñame central point of the global decolonial discourse. Guard(s) in Spanish, inhame in Portuguese, yamn in Haitian Creole) may be the most ubiquitous food transported with, by and for African slaves, An Exploration of Decolonial from their homes throughout Africa to the American plantations and Decolonial Performance, townships to which we, as slave descendants, now trace our lineage. African American Food Culture The many ways that this simple food has been used is inspiration not Re-Existence, Cultures of Survival only for the kitchen, but for an exploration of our varied colonial and Cuisine histories and our unified decolonial future.