Tidelines: Creative Vision, Ecology and the Tropics (original) (raw)

Documentation of the Exhibition "Tropical Interzone" 4th Edition Nomadic Center of Contemporary Art. Curated by Anne Brand Galvez, Zurich 2015

2015

Tropical Interzone Pertaining to the solstice, far of the parallels of the latitudes between the tropics of Cancer and Capricorn. Far from the two circles of the celestial sphere. Far from the “somewhere” to “turn back”. What it could be? An image of desire? Far of the habit? Far of the ordinary? The otherness? The far..? An excitingly strange… let’s say creature. But this creature, bizarre and untiringly unusual, a foreign allure, overlaps with a series of imaginary constructions, channels for supra realities and fictions. Is strikingly constructed with artificial elements of desire and pleasure, far of ideologies; Could it exist far of the colonial view? Far of the Eurocentric construction of a history of subordination? It might be a fiction, a construction far from the Ecuadorian geographies, latitudes, and clime. Curated by Anne Brand Galvez

A Multispecies Caribbean: The Aesthetics of Ecological Reinvention in Art by Dhara Rivera

Small Axe: A Journal of Caribbean Criticism, 2024

What is the role of art amid climate disaster? This question has often been overshadowed by well-justified public attention to the state's (in)actions in the face of environmental catastrophes. 1 Recent discussions of twenty-first-century Caribbean disasters, however, recognize the exhaustion of the state's potential to address crises and instead look beyond it to artistic and collective action for innovative ways of confronting calamity. 2 In the aftermath of Hurricane Maria in 2017, for example, the Museo de las Américas in Old San Juan launched Catársis, an exhibition whose opening event featured art, music, dance, and spoken-word poetry that protested the government's weak response to the storm, mobilized art as a collective healing practice, and, more broadly, emphasized the interdependence between Puerto Ricans and their 1 Since the eighteenth century the responsibility for hurricane preparation and recovery in the Greater Caribbean has shifted from religious and philanthropic institutions to the government.

eTropic: electronic journal of studies in the tropics Indigenous Art and Sovereignty Inspiring Change against Environmental Degradation

Introduction. Indigenous Art and Sovereignty Inspiring Change against Environmental Degradation, 2020

This special issue on “Environmental Artistic Practices and Indigeneity: In(ter)ventions, Recycling, Sovereignty" constitutes a body of creative contributions and academic articles addressing numerous forms of artistic practices of the Pacific Islands, Australia, French Guiana, the Caribbean, and Southeast Asia. Inspired by Indigenous artists and writers whose practices and creativity help reimagine sustainable ways to inhabit the world, this introduction and our special issue interrogate contemporary environmental issues and the legacy of colonisation. They examine how Indigenous artists and writers, and artists working with Indigenous artists and communities, have for decades raised awareness about environmental issues, and encouraged people to regain their agency to struggle against environmental degradation and further destruction of Indigenous people’s societies and health. This introduction contextualises the concepts and Indigenous terms used by artists to express their vision of what a respectful relationship with the environment would be. It also offers readings of the beautiful literary and artistic creative contributions included in this issue. Environmental themes such as waste recycling, health issues, pollutants (mercury, POPs), and agricultural technics are discussed here in light of human and non-¬human life and agency. This issue also features a significant range of calls for action to better protect and restore ecosystems.

Painting in the Tropics

2015

Many thanks to the individuals, museums and galleries who kindly gave their permission for the use of artists' images in my thesis. Every reasonable effort has been made to gain permission and acknowledge the owners of copyright material. I would be pleased to hear from any copyright owner who has been omitted or incorrectly acknowledged. v Statement of the Contribution of Others Nature of Assistance Contribution Names, Titles and Affiliations of Co-Contributors

From Embodiment to Emplacement: Artistic Research in Insular Territories of the Guanabara Bay

Collaborative Research in Theatre and Performance Studies , 2021

This collaborative article draws upon the commonalities of artistic practices in connection with the relationships between territory, embodiment and the Anthropocene. By exploring territory as a “co-author” of our individual and collective narrations, we shed light on the artistic interventions and/or performative actions we realized during the artistic residencies of the socially engaged project Sensitive Territories, specifically at two insular places of the Guanabara Bay in Rio de Janeiro, Brazil: “Colônia Z-10” and “Ilha de Paquetá”. By looking at how the environmental issues affecting these places can be tackled through artistic practices, we explore the ways in which the micropolitical and imaginary dimensions of it can be reinforced or restored in light of the current global climate crisis.

A Passion for the Sea: Human-Sea Interactions in Contemporary Caribbean Art

Anthurium: A Caribbean Studies Journal , 2021

This article reports on some of the ways in which the Caribbean contemporary artists Tony Capellán, Christopher Cozier, Scherezade Garcia, El Colectivo Shampoo, Jorge Zeno, Jennifer Allora and Guillermo Calzadilla, and Nadia Huggins deploy the semiotically rich imagery of the sea to comment on some of today’s most pressing social concerns. The success of their artwork is the result of the fact that in visualizing local realities, they increasingly visualize the global condition. The Caribbean’s history as a laboratory of the “modern” and the “globalized” has undoubtedly offered these artists a vantage point from which to launch their critical interventions.

Oceanic Literacy in Contemporary Art: Communal Effort, Scientific Knowledge and Poetic Intervention

2018

As the global population faces unprecedented accelerated environmental devastation, the future becomes increasingly unpredictable, and consequently difficult to visualize. This thesis thus considers how visual artists working in the twenty-first century are producing works that address the environment-in-crisis by proposing alternative paths, and potentially offering clearer and more hopeful visions of the future. While it alludes to several relevant artworks, it focuses on two creative responses to threatened bodies of water: Basia Irland’s Ice Receding/Books Reseeding (2007-) and Pam Longobardi’s Drifters Project (2006-). Through an examination of the conditions of visuality and the inter- or transdisciplinary nature of contemporary ecological art practices, this thesis first contextualizes Irland and Longobardi’s practices. It also provides new interpretations of their work by theoretically engaging with posthumanism. Interweaving William Cronon and Elizabeth Grosz’s accounts of ...

Reflections of a Baniwa artist

World Art, 2023

In this interview, Denilson Baniwa (Barcelos, Amazon state, 1984) analyses his origin as an activist in the indigenous movement of the Amazon region, working as a graphic designer and social communicator. After moving to Manaus and, later on, to Niterói, Rio de Janeiro state, he took on a more active role as a visual artist and curator. During that time, he grew increasingly cognizant of the impact of the artistic symbols produced by Brazilian academicism in relation to his own history as an indigenous person. Baniwa then analyses the relationship between his art and the environmental crisis, believing that the interdisciplinary nature of his practice is an optimal medium to intervene in reality through the changing of consciousness of onlookers.