ALL SHADES OF ANGER Artistas/ Artists: Gloria Anzaldúa, Lucía Egaña Rojas, Yeison F. García, Sandra Gamarra, Guillermo Gómez-Peña, Nadia Granados / La Fulminante, Rubén H. Bermúdez, Paula Heredia / Coco Fusco, Ira Sudaka, Johan Mijail, Angelo Moșuțan-Zsurkis, Jota Mombaça, Mujeres Creando, Daniela Ortiz, Yos Piña, Linda Porn, Silvia Rivera Cusicanqui, Victoria Santa Cruz, Fannie Sosa, Terrorismo teatral migrante, Ingrid Wildi Merino, Will Yacome, Rafeef Ziadah.
Comisariado / Curatorship: Carolina Bustamante Gutiérrez, Francisco Godoy Vega
Coordinación / Coordination: Helena López Camacho
Fechas / Dates: 15 de septiembre, 2018 - 13 de enero, 2019 September 19, 2018 - January 13, 2019 Salas / Halls: 4-5
En colaboración con / With the support of:
Portada / Cover: Rubén H. Bermúdez. Detalle del libro de artista Y tú ¿por qué eres negro? (2017). Cortesía del artista. Detail of Y tú ¿por qué eres negro? (2017) artist’s book. Courtesy of the artist.
To paraphrase the poem Shades of Anger by Palestinian-Lebanese poet Rafeef Ziadah, All Shades of Anger. Poetics and Politics of Anti-Racism is devised as an exhibition that will trigger and bring together artistic, poetic and political practices that radically denounce the historical and contemporary dimensions of racism. Anger is understood here as a place of enunciation that responds to the mistreatment produced by the colonial conscious and unconscious mind in its different forms of exclusion, violence and death. Revisiting the potential of the language of non-written cultures from anti-racist aesthetics and politics, anger enables us to stop speaking in whispers and start speaking from a plurality racialized voices that openly and without euphemisms dissent from the systems that perpetuate racism. In this way they open up a space to black, Moorish, eastern and spic visualities and textualities, that from the perspective of political anti-racism, reveal the survival of colonial order and expose the false neutrality of white European ideology. Hence, the exhibition displays racialised bodies as active subjects of enunciation that suggest dissident ways of understanding life, politics, affections, sexuality, ecology and philosophy to Western thought. Of all the themes in the show, those related to language are the most striking. Orality is therefore a key point of non-Western enunciation, a narrative thread through which forms of knowledge that have been overshadowed or exterminated by white colonialism or neocolonialism have circulated in a non-normative fashion. So from its political dimension, language is conceived in two senses: as an active agent in colonial processes, with the consequent extermination of languages and the imposition of white Western rationality, and as potential in its angry and bastard use that has aesthetically and vitally resisted from ancestral memory. In this sense, through the idea of ‘the shades’, the title of the project creates an ambiguous concept that alludes to vocal and oral variations and to the colorism that generates a structure within the communities ‘condemned’ by the West in order to formulate an active response from anger as an anti-racist political power.
POETICS AND POLITICS OF ANTI-RACISM These themes and the works by the artists taking part in the exhibition are structured around four thematic cores or sections: Growing Up in a White World This section focuses on the colonial construction of Western families and on how the model of discrimination that preserves the main pillars of white supremacy and consolidates Western racism has been imposed on us since our childhood. Similarly, childhood is portrayed as a key moment for us to define ourselves in favour or in opposition to whiteness and to create early tools of resistance. Zoos of Monsters This section presents parodies and critiques of the animalisation, eroticisation and exoticisation of non-white bodies, starting from the human zoos set up in the nineteenth century. The Erotic Life of Racism Racism doesn’t only work in public and institutional fields but also in private lives and sexual-affective relationships. This section is dedicated to the racist construction of desire, and is a criticism of feminism and white queer studies. They Didn’t Expect Us To Survive The section that closes the show, critiques hegemonic forms of Western knowledge and revisits other forms of wisdom generated in the Global South. In this sense All Shades of Anger. Poetics and Politics of Anti-Racism opens a door to the reconstruction of other epistemologies denied by the West, thereby suggesting possibilities of a ‘future that has already been lived’, as established in Andean circular thought.
www.musac.es
The various themes are articulated in this polyphonic, angry and dissident curatorial exercise that is openly anti-racist and appalled by the malaise generated by the colonial processes of Western whiteness. Thus, the exhibition aims to be a space in which we may imagine possibilities of recreating past, present and future where racist violence, pleasure and power are realigned.
Musac. Avda. Reyes Leoneses, 24. 24003, León. T. 987 090 000
This project may content images and references that are not suitable for all audiences.
15.09.18-13.01.19
SALAS 4-5
TODOS LOS TONOS DE LA RABIA POÉTICAS Y POLÍTICAS ANTIRRACISTAS ALL SHADES OF ANGER POETICS AND POLITICS OF ANTI-RACISM