Object one hundred nine

(05.2019)

(MISC, WRITING)

I was invited by artist Maria Johansson and Sujy Lee to write a short text in response to “Object One Hundred Nine: would not have written that itself”, a work by Maria from her Object series. The object lived in my apartment for a week, became my companion for a brief moment. At the time, I had been reading and thinking about brokenness through “The Undercommons” from Stefano Harney and Fred Moten, James Baldwin speaking, “The Carrier Bag Theory of Fiction” from Ursula K. LeGuin, “Sing with the Birds” from Lumumba, and “Hana” from Asa-Chang & Junray among many others in my periphery of that particular present.

Object One Hundred Nine by Maria Johansson.
Photographed by me in my apartment where it hung during the week.

Dear practicing community,

(09.2019

(MISC, EXHIBITION, WRITING)

Brown Island was invited by curators Malin Arnell and Mar Fjell to participate in Konsthall C’s Cirkelträning, the institution’s 15th anniversary retrospective exhibition, to address the theme of decoloniality within the space. We used the space and our duration in the exhibition for actively surfacing questions and issues regarding community and collectivity in practice. In constant dialogue, we negotiated time, energy, space, responsibility, nourishment, abundance, and absence. We asked what breaks community, and what sustains it, and opened up our own practice to articulate responses. Three of us wrote a letter, and three of us read it to a visiting public.



What we didn’t know at the time, was that there were unresolved conflicts within the institution itself. A conflictedness that involved a lack of sensitivity, responsibility, and solidarity toward black and brown bodies. We decided to exit the exhibition at that time, but not before speaking with those involved, to articulate this break, to be in support and solidarity, to begin to formulate what was lacking or what ought to have been—attempting to understand responsibility.

Exhibition planned and activated with and as Brown Island
(Tony Karlsson, Louise Khadjeh-nassiri, Makda Embaie, Cassandra Lorca Macchiavelli, Behin Roozbeh, Johnny Chang)
Letter written by Johnny Chang, Louise Khadjeh-nassiri, and Tony Karlsson

Floating in the White Sea

(09.2018)

(MISC, WRITING)
Essay written with Louise Khadjeh-nassiri. Published in the Brown Island handbook.
An edited version is in Konstfack's 175 year anniversary monograph.
TOWARD A RESPONSIBILITY OF AESTHETIC DISTANCE: Thoughts on Visual Communication     *     Communication is the very fabric of relation. It is an atmosphere of sensing and responding — endlessly conferring. Through this, we’re able to access something: a friend, a home, a feeling, our surroundings, ourselves. It is embodied sense-making. For us humans, it is language in its most plural form.      **      Visual communication, which involves graphic design along with the multitude of visual traditions and varying forms of writing and mark making, is attentive to how visual forms mediate sense. It looks at how visual forms and their practices as mediums and platforms render possible/impossible specific ways of knowing. Attempting to navigate this requires us to look closely at the contexts which frame particular visual forms (from the past, from the future, in the present). Aesthetics becomes a matter of ethics. It matters what histories we surface, who we suggest listening to and through what forms, how this is done, who with, and who for.      ***      In my practice, I see visual communication as sense-making tools. Its traditions are situated and entangled, so it becomes necessary to confer with other ways of knowing across the already polycultural and multi-disciplined. This is to say that our work begins and ends in study; I believe this to be the responsibility of our discursive acts. In my work, I must recognize my position in relation, navigate commitments, and surface the visual negotiation of different perspectives, ways of knowing, and ways of relating. This is where I hope to contribute: the slow, tedious, and necessarily collective efforts of remaking and reorienting sense.      ****
TOWARD A RESPONSIBILITY OF AESTHETIC DISTANCE: Thoughts on Visual Communication     *     Communication is the very fabric of relation. It is an atmosphere of sensing and responding — endlessly conferring. Through this, we’re able to access something: a friend, a home, a feeling, our surroundings, ourselves. It is embodied sense-making. For us humans, it is language in its most plural form.      **      Visual communication, which involves graphic design along with the multitude of visual traditions and varying forms of writing and mark making, is attentive to how visual forms mediate sense. It looks at how visual forms and their practices as mediums and platforms render possible/impossible specific ways of knowing. Attempting to navigate this requires us to look closely at the contexts which frame particular visual forms (from the past, from the future, in the present). Aesthetics becomes a matter of ethics. It matters what histories we surface, who we suggest listening to and through what forms, how this is done, who with, and who for.      ***      In my practice, I see visual communication as sense-making tools. Its traditions are situated and entangled, so it becomes necessary to confer with other ways of knowing across the already polycultural and multi-disciplined. This is to say that our work begins and ends in study; I believe this to be the responsibility of our discursive acts. In my work, I must recognize my position in relation, navigate commitments, and surface the visual negotiation of different perspectives, ways of knowing, and ways of relating. This is where I hope to contribute: the slow, tedious, and necessarily collective efforts of remaking and reorienting sense.      ****