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  4. Spat Revolution is coming to Paris…
  5. Spat Revolution is coming to Paris… - Flux::

Clearly, there is no hope for him. The best that can be hoped for is to just make him as comfortable as his condition will allow. Symptoms of his condition include a novel, several novellas, and numerous short stories, and the longest-running erotica podcast in the history of the world. Product details File Size: Coming Together October 14, Publication Date: October 14, Sold by: Share your thoughts with other customers.

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Explore the Home Gift Guide. We envisaged there being a fluxHUB page that you would be directed to from within the Cardiff Met student portal. The space could be booked out for events, you can check availability of the space, and find out more about its purpose and what it means for the students of Cardiff Met. You are commenting using your WordPress.

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You are commenting using your Facebook account. Notify me of new comments via email. An example of the logo in place. The event showcased digital works — predominantly video, but also photography, sound and installation — by over fifty artists from Africa and South Asia.

It was a first: Reactions from the public were extremely positive, underscoring how essential it is to foster spaces that counter preconceived notions of what genres of art are being made where. The works selected are not meant to tell a smooth or unified story. Nor are they intended to constitute a survey. They were chosen because, individually and as a group, they seem to us to pose uncomfortable questions about the violence — political, economic, social, psychological — that attends living in an urban, late capitalist world.

Some do so with great humor, others in a deadly serious way and still others without seeming to address such questions at all. The result — and this was very much the goal — is emphatically non-consensual: A key question has been the matter of what it means to make a compilation of films from Africa and the Diaspora. In a world characterized first and foremost by flux, an unmooring of space, place and belonging, does it make sense?

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The answer is both no and yes. No, for it runs the risk of ghettoizing artists and curators who mostly think of themselves as global citizens.

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From this point of view, it is arguably too restrictive. Yes, because it foregrounds work that engages with precisely this outlook: So the answer is mixed and it is messy — and that is exactly as things should be. The makers of these films come from a multiplicity of backgrounds, in terms of geography, history and culture, as well as, and more importantly, in terms of their individual artistry.

Spat Revolution is coming to Paris…

This has made for a beautiful assembly of very different visual languages and narrative styles and a wide range of tools and techniques. Rather, the scope of visual and artistic language showcased is suggestive of the variety of works being produced in and from Africa today, and might redirect the focus back towards art as a universal means of communication. African arts video, cinema, performance are highly represented in your publications.

Can you tell me more about your specific involvement with African arts? Our general approach is in the first instance intuitive, empiric and not strategic and we have been attracted by these emerging scenes because of their effervescent creativity and artistic quality.

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And also their political commitment — making art can still be a risky enterprise in some geographical contexts. We were of course also glad to assist artists in gaining greater visibility and to fill a gap in places where there was no distribution before. I happen to live in Africa and work with artists from Africa who work in Africa. This informs in important ways how I think about creativity and the world more broadly.

In fact, I am not sure what the term refers to exactly. They are equal players and contributors in the field who can use the specificity of their context to engage much larger questions and conversations.

Spat Revolution is coming to Paris… - Flux::

It is the nature of these conversations, initiated from Africa and extending worldwide, that interests me. Personally, my focus is less on African art per se — the category strikes me as both too restrictive and too general at the same time — than on art that questions unequal power relationships.

In particular, I am interested in work that considers how inequality on a global scale is perpetuated by political and economic states of affairs that find their roots in the emergence of capitalism as a world system. I am moved by creative practices that engage with the structural violence of this system — with the sheer, unmitigated horror of much that it has brought into being and the ways in which it has managed to replicate itself, doing ever greater damage to ever more people. Some of the most sustained and the most thoughtful reflections on the nature and the mechanisms of this violence, as well as on the means deployed to counter it, it seems to me, have come from creators hailing form parts of the world that were subjected to slavery and colonialism.