Bob Dylan, Nobel Laureate (2016).

The Wayland Rudd Collection A project organized by Yevgeniy Fiks

The Wayland Rudd Collection focuses on the representation of Africans and African-Americans in Soviet visual culture. A point of departure for this project is Fiks’ collection of over 200 Soviet images (paintings, movie stills, posters, graphics, etc.) of Africans and African-Americans spanning from the 1920s to the 1980s. Fiks invited contemporary artists as well as activists, historians, sociologists, political theorists, and specialist in cultural studies to select one or more images from this collection and asked them to respond to it either via artwork, performance, lecture, or other forms.

Wayland Rudd was an American actor who began performing in the Hedgerow Theater in Rose Valley, Pennsylvania under the directorship of Jasper Deeter. Rudd first received critical acclaim for his performance in Eugene O’Neill’s “Emperor Jones.” Frustrated over racism in the entertainment industry, Rudd moved to the Soviet Union in 1932 where he began a successful career in Soviet Theater and Film including work with the famed Russian Director Vsevolod Meyerhold. He later received a degree from the Theatrical Art Institute in Moscow and worked at the Stanislavsky Opera and Drama Theater. Rudd died in Moscow in 1952.

During Wayland Rudd’s twenty year-long career in the Soviet Union, he appeared in numerous films, theatrical performances, and plays. He was also used as a model for paintings, drawings, and propaganda posters and, in many respects, defined the image of the “Negro” for generations of Soviet people. Although only a small section of the assembled images in The Wayland Rudd Collection are of Wayland Rudd, the project is given his name to commemorate this American-Soviet actor’s personal story as a case in point of the complex intersection of 20th century American-Soviet narrative.

The images in The Wayland Rudd Collection present a very complex and often contradictory mapping of the intersection of race and Communism in the Soviet context. The participatory aspect of this project adds the needed dimensions to show this complexity—giving the viewers the capacity to digest this history. This project investigates the promise and reality of Communism vis-à-vis the issue of race in the 20th century through the Soviet experiment. It presents this issue as unresolved, revealing the Soviet legacy on race as a mix bag of internationalism, solidarity, humanism, Communist ideals as well as exoticization, otherness, racist stereotyping, and hypocrisy.

Participants: Suzanne Broughel, Maria Buyondo, Dread Scott, Jenny Polak, Michael Paul Britto, Nikolay Oleynikov, Ivan Brazhkin, Haim Sokol, Kara Lynch, Dr. Allison Blakely, Dr. Romy Taylor, and others

“Incantation. A prayer for apps and the latest whatever, sung by “the witch”. New things to try, a desperation, an automation to it. A heaviness, as if being joined by a yoke to our technology, it’s dragging us, making us pay per download. We’re it’s slave.”

Leah Kardos’s album “Machines”, a song cycle based on themes of technology, loneliness and the human condition, with lyrics derived from spam emails. (via Tom A.)

https://www.youtube.com/embed/myuyQXJQD7Q?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque

(via https://www.youtube.com/watch?v=myuyQXJQD7Q)

IMG_7795 by Pooja Pant

Haile Gerima: I’m not sure I deserve such an honor because of the few films I have done in the world. I didn’t have the resources to have done more. Sankofa (1993), I should have done at least ten sequels because I have fifteen scripts. And so, in a world where one is denied the tools and resources, in that kind of dire state of struggle to gain my right to tell a story, to think of such very insightful emotional dynamics in my work is really a blessing. Now for me, I am a human being who’s been lied to. So when I shoot, it’s, for me, a rifle, it’s a gun, it’s an explosion. Every film is a staircase to respond to my interest to cleanse my own state of occupation. It’s kind of a decolonizing journey, and no one is going to finance me, no one is going to say, “Here’s money to tell another story.” Unless she drives Miss Daisy I have no chance of being financed by the present arrangement.

Read: Love Visual: A Conversation with Haile Gerima on Aperture Magazine’s website.

I beg you, to have patience with everything unresolved in your heart and to try to love the questions themselves as if they were locked rooms or books written in a very foreign language. Don’t search for the answers, which could not be given to you now, because you would not be able to live them. And the point is to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer.

Rainer Maria Rilke, Letters to a Young Poet (via thenovelofus)

On View: Imran Qureshi’s Rooftop Installation at the Metropolitan Museum

Pakistani artist Imran Qureshi’s installation And How Many Rains Must Fall Before the Stains are Washed Clean in The Metropolitan Museum of Art‘s Iris and B. Gerald Cantor Rooftop Garden is as arresting as it is unconventional. Delicate floral designs sprawl out across the museum’s rooftop, painted like a mural on the floor. The painstakingly-rendered flowers are drowned in crimson paint. The work’s delicate beauty becomes bittersweet, tainted by the violence of the red stains. Qureshi created the installation as an expression of sorrow for violence across the world; the floral patterns amid the blood-like splatters speak to a hope for regeneration. Take a look at some photos of Qureshi completing the work as well as the finished installation courtesy of The Metropolitan Museum of Art and Hyla Skopitz. The installation is on view at the Metropolitan Museum through November 3, weather permitting.

MORE: http://hifructose.com/2013/07/11/on-view-imran-qureshis-rooftop-installation-at-the-metropolitan-museum/

REVISITING NATIONALISM - 2

REVISITING NATIONALISM – 2

REVISITING NATIONALISM  – 2       

Prasanna K Choudhary

EUROPE AND THE REST OF THE WORLD

The self-identity of European countries as ‘nations’ was invariably linked with the process of denying and destroying the identities of so many tribes, societies and…

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Skysoaked: Jibanananda Das

Reblogged from translations:

Suranjana, you better not go there You better not talk to that young man Come back, Suranjana When silver starfire fills the night

Come back to this meadow, this wave Come back here to my heart Don’t go away with him anymore Fa…

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