“Reflections on Disruptive Film” collects texts that articulate, meditate on, or respond to the short films included in Disruptive Film: Everyday Resistance to Power, curated by Ernest Larsen and Sherry Millner. This is the first of three two-disc sets that … Continue reading “Introduction”
I This dossier is one more step of the journey that began toward the end of 2009/beginning of 2010, and that already has roads planned into the future. The idea of this dossier, however, emerged in Middelburg, The Netherlands, … Continue reading “Decolonial AestheSis: Colonial Wounds/Decolonial Healings”
In this dossier we look at the geopolitics of sensing, knowing and believing that have been at play in the variegated versions of the project decolonial aestheSis. The participants are intellectuals, curators and artist and many of them all at … Continue reading “The Decolonial AestheSis Dossier”
Three years ago, in the summer of 2010 I began a series of projects for Documenta 13 as part of the artists’ initiative called AND AND AND. On the one hand, these contributions focused on my Phantom Limbs and Twin … Continue reading “Propositions for a Decolonial Aesthetics and "Five Decolonial Days in Kassel" (Documenta 13 AND AND AND)”
The postcommunist transition has been characterized in Eastern Europe by the return and rearticulation of capitalism and coloniality in this region of the world. Seen from Eastern Europe, the postcommunist transition can be understood as the top-to-bottom integration of East … Continue reading “Decolonial AestheSis in Eastern Europe: Potential Paths of Liberation”
The Biennial Statement The written curatorial statement from the organizing committee of the 11th Havana Biennial arrived via email the same day that we were preparing a dossier for the Romanian magazine IDEA. As we put together a brief … Continue reading “Decolonial AestheSis at the 11th Havana Biennial”
Hong Kong cinema has been in a state of ambivalence for a long time despite the fact that it has always been so unambivalently commercialized. This is less a cause than a consequence of the fissured condition of cultural production … Continue reading “Decolonial Moments in Hong Kong Cinema”
LOOKING BACK — The Decolonial Aesthetics Exhibition at Duke University The Decolonial Aesthetics Exhibition (May 4-June 5, 2011) at Duke University’s Fredric Jameson Gallery and The Nasher Museum of Art, among other venues, curated installations by scholar-artists Guo-Juin Hong … Continue reading “What/Where is "Decolonial Asia"?”
How do decolonial aestheSis accord with but also depart from a “post-” sensibility, be it modern, structural, or, perhaps, even colonial? Édouard Glissant is instructive in this respect, when he comments upon the metropolitan poststructural heritage as a French citizen … Continue reading “Be.Bop 2012. Black Europe Body Politics”
I always ask my students, grad and undergraduate, for the mid-term “exam”, to write a letter to whomever they wish. It should be an educated person who is a little bit familiar with the topic, or not necessarily. The question … Continue reading “Decolonial Aesthesis: From Singapore, To Cambridge, To Duke University”
Let’s think about the “then and there” in the subtitle of Cruising Utopia: the Then and There of Queer Futurity, for these deictics are insistently aligned with the now-central question of how to induce utopian futures from within a negating present. The answer of course is that the aesthetic provides the affective ballast and concrete means to induce exuberant futures.
