يحاول ذهب - حر
Future Imaginaries for When the World Feels Like Heartbreak
January - June 2017
|TAKE on art
I awoke the day after the United States election and my heart hurt. I felt devastated and afraid. My breath seemed to be constricted. Stepping outside was like stepping into a land in mourning. People looked sad and tired and depressed. I went to the wrong campus searching for the class I was meant to guest teach. When I began to come out of this stunned stupor, I started to realise that my silences, my inaction, my disbelief in the depth of what Michelle Alexander calls racial indifference, coupled with renewed and blatant white nationalism, had led to this moment.1 In the weeks since that day, there has been a huge amount of mobilising in the face of renewed white supremacy and corporatocracy. Mobilising for what, precisely, we cannot yet be sure. But it doesn’t look good. And everyday it seems to get worse. What has become clearer and clearer, for me, in the wake of the election is the deep entwinement of the twin formations that are often treated as separate phenomenon. That is, white supremacy and ecological disaster. I want to make a case in the brief space here that racial and environmental justice cannot be separated, but are part of an entangled matrix of capitalism and colonialism that is killing the majority of the inhabitants on this earth.2.

The history of the United States (and Canada) reveals that ecological disaster is premised on the twin-fold processes of accumulation by dispossession and chattel slavery that was at the heart of the settler colonial project. In other words, the kinds of environmentally destructive processes that we are bearing the burden of now are not new phenomenon. Nor are they incidental to the larger frameworks of genocide, slavery, and the fact that, as Amitav Ghosh makes clear, “the poor nations of the world are not poor because they were indolent or unwilling; their poverty is itself an effect of the inequities created by the carbon economy; it is a result of systems that were set up by brute force to ensure that poor nations remained always at a disadvantage in terms of both wealth and power” (110). It is not simply an unlucky coincidence that Indigenous, black, poor and other marginalised peoples bear the brunt of environmental harm. Rather, as Kyle Whyte has argued, settler colonialism has always relied upon the complete transformation of the biosphere, atmosphere and hydrosphere. Indigenous genocide and the implementation of slavery on plantations invo
هذه القصة من طبعة January - June 2017 من TAKE on art.
اشترك في Magzter GOLD للوصول إلى آلاف القصص المتميزة المنسقة، وأكثر من 9000 مجلة وصحيفة.
هل أنت مشترك بالفعل؟تسجيل الدخول
المزيد من القصص من TAKE on art

TAKE on art
Complete Love
It’s 2011, late summer. All over Europe, young people are occupying central public squares to demonstrate for more social justice. In Berlin, their agenda is different. The completists gathered at Alexanderplatz aspire for justice primarily on an intimate level. They believe that only when the redistribution of material wealth includes equal chances of finding sex and love — no matter how elderly, disabled, or ugly you are — communism will become real.
10 mins
July - December 2017

TAKE on art
Delicate Animals
The humidity is sabotage and my skin is undone. I’ve always had a preference for dryness. While other women fear wrinkles, I never mind the beginnings of a crease. They seem cleaner, those intersecting lines. But then I’ve never been afraid of getting older, of being an abstraction.
5 mins
July - December 2017

TAKE on art
Falling In Love (Again): India's Weaves Story
India’s love affair with handwoven cloth shows no signs of abating. Open any fashion magazine or newspaper and weaves get ample play. Designers up and down the country extol the virtues of weaves, proudly brandishing their innovative work with weavers to contemporise motifs and palettes. This is laudable but hardly surprising.
4 mins
July - December 2017

TAKE on art
Technologies Of Elegance
As soon as you enter the exhibition space in Bikaner House, the display ahead sort of takes your breath away. It’s a carefully crafted mise-enscène, filled with dangling screens, suspended sequins, overflowing jewellery boxes, glass displays, and more. And yet, in spite of the exquisite setting, and the props that inhabit it, your focus never wavers from the clothes, which form the essence of the exhibition.
6 mins
July - December 2017

take on art
why do artists write on art?
once, there were newspaper reviews. they connected art writing to the artist and to an audience, with immediacy.
2 mins
july - december 2016

TAKE on art
A Writer's Discourse
There are two moments in Plato’s dialogue Phaedrus that I come back to often. The first is an epitaph that Socrates uses to explain bad writing, which he recites (and I will now quote) in full:
4 mins
July - December 2017

TAKE on art
The Smuggler: A Mural By Sadequain
The story goes that Sadequain (1930 – 1987), living in Karachi, was exhausted and in poor health. He was offered a stay at a government rest house at Gadani in 1958, so that he could recover. Gadani is located in the province of Balochistan on the Arabian Sea, a few kilometers west of Karachi. It must have felt quite remote from the city back then. The western coastline of Pakistan has long been infamous for underdevelopment and for unregulated trade activities with West Asia.
4 mins
July - December 2017

TAKE on art
Ghosts Of Ghan-Town
Landing gracefully on a rock, the camel tucked in its wings And wondered if this was perhaps Miryam Springs? This parched and desolate landscape was not what he hoped to find What of the flourishing settlement he had once left behind? 
1 min
July - December 2017

TAKE on art
Kerala Boy
The Kerala boy stands alone, facing the sea or what looks like the sea. Water is never far from his feet. His eyes are dark and his hair is blacker than the best Tellicherry pepper. He is an inch taller than most and a little long in the tooth. He likes the language of protest. He likes the flavour of a season called ‘Left’.
4 mins
July - December 2017

TAKE on art
Fictioning The Landscape: Robert Smithson And Ruins In Reverse
That zero panorama seemed to contain ruins in reverse, that is – all the new construction that would eventually be built. This is the opposite of the ‘romantic ruin’ because the buildings don’t fall into ruin after they are built but rather rise into ruin before they are built. –Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey”
6 mins
July - December 2017
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