Portrait of Jason

The Bolivian scholar and activist Silvia Rivera Cusicanqui is a pre-eminent Latin American intellectual, world renowned for her work in postcolonial and subaltern studies.  She has long maintained that we must acknowledge how colonial structures of domination continue to affect indigenous identities and cultures. Even in contexts where diversity and the value of indigenous cultures have been officially recognized, “internal colonialism” operates as a structure that shapes mental categories and social practices.

This book considers this persistent colonial structure by examining artistic and popular practices of apprehending and resisting it, arguing that in Andean cultures there is a sustained practice of insubordinate image production and use. Combining this visual history with other instances of political resistance, the book offers an alternative narrative to the history of Latin American decolonisation.  This narrative challenges the common conception that mestizaje (race-mixing) and hybridity are liberatory formations, offering instead a new theorisation of the complex racial configurations produced by colonialism and its afterlives.

Given Rivera Cusicanqui’s vital contribution to critical epistemologies, this book will be of great interest to students and scholars throughout the humanities and social sciences and to everyone concerned with the key questions of critical theory today.

Fungi Media positions performance art of bodily mutations as a form of corporeal philosophy. Examining ecologies of rot and fungal decomposition, it outlines a theory of fungosexuality beyond sexual reproduction and binary gender roles. This theoretical perspective repositions queer sexualities in the context of the original meaning of the term ‘queer’, which is ‘rot’ – and which stands for a fungi-induced process of decomposition. With this, Fungi Media explores the foundational importance of rot for both breaking down and sustaining bodies, relationships and life as such.
The project was developed in a squatted sewage space in London, adopted by the author as a laboratory for mutant performance. The space hosts Chronic Illness events, where Internet-inspired body artists enter an environment populated with fungi. The interventions of human performers are incorporated into the rotten physiology of the space, which itself becomes a live entity. This book involves those events in the analysis of connections between media technologies and primal life processes. It also offers strategies for urban dwelling which transcend normative family life.

Read more at Open Humanities Press– Fungi Media

2024 marks the 40th anniversary of The Cholmondeleys dance company, founded in 1984 by Lea Anderson, Teresa Montano, and Gaynor Coward. Inspired by the DIY culture of post-punk UK, they wanted to create something that resonated with their friends, blending dance with the energy of fashion, music, and club culture of the 1980s.

They named themselves The Cholmondeleys, like a band. Emerging from this vibrant time, their performances featured collaborations with British artists, including choreographer Lea Anderson, costume designers Sandy Powell, Emma Fryer, Simon Vincenzi, composers Drostan Madden & Steve Blake, and lighting designer Simon Corder. Together with their sister company, The Featherstonehaughs (founded in 1988), they produced over 87 works, both live and on film, performing in the UK and internationally. This rich creative legacy is captured in an archive of images by photographers such as Chris Nash, Pau Ros, and Matilda Temperley, now presented together for the first time in this celebration of The Cholmondeleys and The Featherstonehaughs.

A critical exploration of the creative practice, socio-historical context and cultural impact of multifaceted artist Leigh Bowery. Engaging with Bowery’s key looks and live art through a variety of disciplines and challenging research contexts, Sofia Vranou navigates costuming as a performative strategy that blurs the boundaries between art and life.

Thought-provoking and enlightening, the study investigates his aesthetics of freakishness and narcissistic desire as well as his fascination with extremity, hybrid embodiments and trans-queer visual language, establishing Bowery as a radical figure in contemporary perfromance and queer visual culture.

Is violent self-defense ethical? In the history of colonialism, racism, sexism, capitalism, there has long been a dividing line between bodies “worthy of defending” and those who who have been disarmed and rendered defenseless. That those subject to the most violence-the enslaved, the colonized, the oppressed-have been forcibly made defenseless raises, for any movement of liberation, a question: Can violence be used in the interests of self-defense?

Philosopher Elsa Dorlin looks across the global history of the left to trace the politics, philosophy, and ethics of self-defense. With a historical gaze that captures slave revolts, British suffragists’ training in jujitsu, and the Warsaw Ghetto Uprising to the Black Panther Party, queer neighborhood patrols, and Black Lives Matter, Dorlin discovers a “martial ethics of the self”: a practice in which violent self-defense is the only means for the oppressed to ensure survival and to build a livable future.

Translated from the French by Kieran Aarons.

Beauty Kit is an on-going project by the Belgian-Chilean artist Isabel Burr Raty, a hands-on research on the human body as a territory for sustainable agriculture. Isabel Burr Raty’s BK Female Farm is a mobile farm where she and other females harvest their bodily juices to produce beauty care products, which are used for treatments in her BK Spa and critically discussed in her BK Focus Group. Through a playful, embodied and participatory art practice, Beauty Kit tackles radical questions on ecology and exploitation, sexuality and agency.

“Sadly, as people of color we experience discrimination everyday. It’s exhausting. And when it happens, we often question ourselves, thinking: Did that just happen? Am I being too sensitive? And when we can identify that it is discrimination and speak to it, we’re often questioned and others often don’t believe us or brush us off, calling us too sensitive or angry. The burden falls on us to prove that we are being discriminated against. This book is here for you to take detailed logs of your everyday aggressions so that you can show off your receipts–proof.” Aram Han Sifuentes

Designed and illustrated by Ishita Dharap.

Article from Consented Issue 9 : Environment

Interviews with people at the intersection of disability, queerness, kink, sex work and survivorship.

Owen Parry interviews “legend, icon, wild-hearted demoness bad-girl bitch” – Penny Arcade.

DANCE THEATRE JOURNAL Vol 24 no.3 2011
pg43-47

DANCE THEATRE JOURNAL Volume 24 no.3 2011
pg 15-19

Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’