Things that matter to me

tobia:

Test drive.

(via tobia-deactivated20150202)

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azurea:

Étude sur le phénomène de l’amour, technique mixte sur papier, 38 x 56 cm. Par Stéphanie Béliveau.

(via vulvamancy)

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“ “James Luna often uses his body as a means to critique the objectification of Native American cultures in Western museum and cultural displays. He dramatically calls attention to the exhibition of Native American peoples and Native American...

“James Luna often uses his body as a means to critique the objectification of Native American cultures in Western museum and cultural displays. He dramatically calls attention to the exhibition of Native American peoples and Native American cultural objects in his Artifact Piece, 1985-87. For the performance piece Luna donned a loincloth and lay motionless on a bed of sand in a glass museum exhibition case. Luna remained on exhibit for several days, among the Kumeyaay exhibits at the Museum of Man in San Diego. Labels surrounding the artist’s body identified his name and commented on the scars on his body, attributing them to “excessive drinking.” Two other cases in the exhibition contained Luna’s personal documents and ceremonial items from the Luiseño reservation.
Many museum visitors as they approached the “exhibit” were stunned to discover that the encased body was alive and even listening and watching the museum goers. In this way the voyeuristic gaze of the viewer was returned, redirecting the power relationship.
Through the performance piece Luna also called attention to a tendency in Western museum displays to present Native American cultures as extinct cultural forms. Viewers who happened upon Luna’s exhibition expecting a museum presentation of native American cultures as “dead,” were shocked by the living, breathing, “undead” presence of the luiseño artist in the display. Luna in Artifact Piece places his body as the object of display in order to disrupt the modes of representation in museum exhibitions of native others and to claim subjectivity for the silenced voices eclipsed in these displays.“

(Source: pondofblazinglilies-blog, via otipemsiw-deactivated20140616)

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"

We demand that all forms of exploitation of Sápmi is halted immediately. We demand that the human rights of the Saami as guaranteed by international conventions are recognised, not just in theory, but in reality as well. We demand that Sápmi, its land and water, is fully left to be managed by us Saami. We are of the opinion that it is time indeed that we start to negotiate on equal terms, and that our right to turn down as well as to accept proposals [affecting our land] is recognised. That we are allowed to judge any and all pre-conditions for our future, but also that we are given a share of the incomes from exploitative projects already affecting us. We demand that the Swedish state meets the standards of international indigenous rights.

—

(Vi kräver […] att all exploatering av Sápmi omedelbart stoppas. Vi kräver att det samiska folkets rättigheter enligt internationella konventioner också erkänns, inte bara på papperet utan också i praktiken. Vi kräver att Sápmi, dess land och vatten, till fullo ska förvaltas av oss samer. Vi anser att det är hög tid att vi börjar förhandla på lika villkor och att vi erkänns rätten att säga nej, men också möjligheten att säga ja. Att vi själva får bedöma förutsättningarna för framtiden, men också att vi får ta del av vinsterna från de exploateringar som redan påverkar oss. Vi kräver att Sverige uppfyller internationell urfolksrätt.)

"

- Per-Jonas Partapouli, president of the Swedish Saami youth organisation Sáminuorra. (via selchieproductions)

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tobia:

EFA Inside the Artist’s Studio: Toyin Odutola
“Toyin Odutola discusses her move from Alabama to New York City, her Nigerian heritage, and her life long dream of animation.”
(Promos for the upcoming EFA Open Studios 2013 are uploading and here you find yours truly being awkward.)

(via tobia-deactivated20150202)

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