International Paneling/February 2024
Horster Cartoon, Commodification of Addiction, Kris Force Video, Crypto Asset Custody, Japan Contemporaries, Art Tour Continues, Sculptor Gisela Kleinlein, Aussie Fiction, Radio Free Amazon, Frances Gumm 90s Music Video, Poetry
Image by Horster
A Short Rant on the Mobilization of Addiction in Digital Times
by Leo Kuelbs
Berlin
Is it possible in today’s world to agree on anything? With that question in mind, might I proffer a proposition? I ask everyone to consider the internet, as a whole, as a drug. I mean, we consume it, and it has an effect on us. If you consider the political, social and economic changes that have taken place in the last 30 years-basically since the internet’s beginning of acceptance-it sure seems like this proposition is not preposterous.
Manipulation of human behavior via “superior” understanding of the human psychological state has surely been the most effective tool since about forever. And now we have the friendly internet! Everyone’s best buddy. Whatever you are feeling, thinking or even thinking of feeling—the internet is there to support you and maybe even tell you that you are right. And, if that isn’t enough, via notifications, you always get called back—like a farmer to the dinner bell! Ding! Someone wants your attention…! You are needed.
But needed for what?
The friendly internet calls you back again and again. And it is all set up for you to use “FOR FREE!” Meanwhile, don’t mind your providers monitoring your use behavior. Then selling the info for future shaping. Then reselling that, getting you defined as a demographic widget(s), and quite possibly batting you/your behavior patterns around like that little square ball in break-out. It’s not really free. Did everyone forget “There ain’t no free lunch?”
Would anyone disagree if I suggested that humans are generally addiction-oriented?
Would anyone disagree if I suggested that humans are generally addiction-oriented? We all know about Pavlov’s dogs, rats in mazes, etc. How about people with drugs, alcohol, food, porn, conspiracy theories…the internet? Great TV mixed with sinister purposes posing as new political pals. Who can resist a little bit of pizzagate? Now everyone can cast themselves as the hero of their own personal crusade against evil-does. All from the comfort of home! And evil doers are everywhere—but especially not from around here.
Just like junkies chasing the dragon, folks are gorging themselves on ever more excessive feasts of triggering content online. Honestly, this shit is everywhere now. Think about this: From about 20 years ago, the NFL was openly dealing with the problematic and potentially existential problems of brain injuries (CTE) of its players. As they swung into gear working on mitigating that issue on all levels, they also suddenly jumped into bed with the gambling industry. Get them addicted, get the controversial stuff (National Anthem, Bud Light, CTE) shoved off to the side, and get on with the cash grabbing x 100. Could it be that (especially from Gen X on up) folks just are not wired to resist the titillating and triggering temptations that the online world of entertainment, information, plus data collection and sales has to offer?
I have recently brought this idea up with some younger folks. From my anecdotal experience, there’s (far off) talk of a desire for some kind of control/regulation of the online experience. But who would manage that? Financial motives always beat moral ones, and whose morals are we talking about anyway? It’s an almost impossible situation to reasonably control, and its marketing/financial drivers are not going to give up without a massive fight.
Usually, about this time in an article, I try to think of a positive spin. Maybe use the internet less? Get your hands dirty with gardening or something…And I always try to remember the days of my youth, when I thought the older people were crazy idiots, and that possibly I had the answers. But lately I have also noticed the younger generations heading down rabbit holes of self-aggrandizement, and a desire to be perceived as rich and successful at any cost. With everyone’s voice counting equally, there is now an endless barrage of seemingly, mostly useless noise. Still, my faith is in the younger crowd. That’s about the only place I can think of to put it in.
Video Shorty of the Month: Kris Force’s Tears of Iara
First of all, if you do not know Kris Force or her music, please click on the link below. There’s too much to say about this new music/noise scene-based musician for me to cover here. I would say there’s kind of a Goth/Sci-fi edge to things, which flow through visuals to sound installations, to music and more. Kris tends to create larger prisms of creativity through which to express herself and to be encountered. She has been a key contributor to the music outfit, Amber Asylum, and her new collaboration with Jarboe has also been recently released.
This video was part of the most recent Digital Fairy Tales offering: Myths of Brazil, which has been presented as part of the LIGHT YEAR series. In this tale, Iara was a warrior whose father’s favor made her brother’s jealous. She was killed then resurrected by the moon and became a siren. Force’s contemporary retelling offers new insights into tales long and often told. Look backwards, around and forward with Force via this tasty treat.
Lit Intro: Japan Contemporaries Unveils a New Frontier in American Art Magazines
by Kyoko Sato
NYC
After living through the pandemic I went back to Japan in the summer of 2022. It was the first time I had seen my mother since 2018. Upon my arrival I was a bit shocked that she looked older. Although only four years had passed since I saw her, time had moved quickly. I’ve been living in New York for the past 20 years and during that time I did not see my family as much as I wished I had. To bridge the gap I knew I had to return more often and decided I’d begin looking at artists in japan as a way to bring me back.
Having lived in New York and aimed to navigate the global art scene, I had spent years collaborating with non-Japanese art professionals. However, this homecoming made me realize the importance of my Japanese roots. Despite the diverse influences in my artistic perspective, there was a unique connection to my homeland that I couldn't ignore.
Upon reacquainting myself with Tokyo, I found myself immersed in the world of art. It was eye-opening to witness the vibrant creativity of young artists in their 20s and 30s. What astonished me even more was the fact that their works were selling out rapidly, despite the lingering effects of the pandemic. The art scene in Japan was pulsating with life and energy, a stark contrast to the challenges we had collectively faced.
With this insight, I felt a renewed sense of purpose. Why not use my skills, experiences, and networks to contribute to the burgeoning art scene in Japan? It seemed like a natural progression, combining the lessons learned in the global arena with a desire to nurture the artistic spirit of my motherland.
While Japan's economic scale may trail behind China and its electrical appliance market remains smaller than Korea's today, the world of Japanese art, both within the country and beyond its borders, has always been an intriguing realm. Figures like Yayoi Kusama and Takashi Murakami, who spent time in New York, have left an indelible mark on the global art scene. Recent artists like Izumi Kato, based in Hong Kong and Tokyo, Chiharu Shiota in Berlin, alongside Tomokazu Matsuyama and Oscar Oiwa in New York, have surged to the forefront of the art world in recent years. Japan's distinctiveness emanates from its status as an island nation with a primarily Japanese-speaking populace, where over 90 percent of the population shares the same ethnic background. As a result, its culture has evolved in a unique and original manner.
From the moment I made the decision to work for Japan again, things began to fall into place in an extraordinary way. I've always believed that when I pray for something positive, especially for people I care, the universe responds. This belief was reinforced in the fall of 2022 when Motoichi Adachi entered my life. Adachi's introduction came through Kenji Tokumitsu, the CEO at Gallery Tagboat, the largest online gallery in Asia with physical gallery space. I had been curating the "New York Standard" project for the gallery. Adachi, a TV show writer, wasn't just an ordinary one—he was a genius responsible for writing all the mega-hit variety TV shows in Japan, such as "Gaki-no-Tsukai" (1989-2017) and "SMAPxSMAP" (1996-2016). His programs had achieved a staggering 200% viewing rates collectively, and he even received an Emmy award with Takeshi Kitano, a renowned actor, director, and comedian.
Tokumitsu informed me that Adachi was eager to challenge himself by organizing art shows in New York, utilizing my skills and network in the city. At that moment, Adachi was particularly impressed by an emerging artist in Tokyo in his early 30s—Takuya Sugiyama. The prospect thrilled me, and I seized the opportunity. Besides Sugiyama, I brought four artists, and together we organized "Ultimate Beauty," a group exhibition. The show featured two Japanese artists based in Japan, Takuya Sugiyama and Yuji Hamamura, alongside three others: Eva Petric (Slovenian), Erika Harrsch (Mexican), and Johan Warlstrom (Swedish).
The exhibition took place at the Tenri Cultural Institute near Union Square, New York, in January 2023. The collaboration and cultural fusion showcased in "Ultimate Beauty" were not only a testament to the power of connections but also a realization of the positive outcomes that can emerge when passion and creativity converge.
Kyoko Sato and Oscar Oiwa
After the success of "Ultimate Beauty," Adachi approached me with a proposition—to launch a magazine. Having constantly contributed to various magazines and newspapers in both English and Japanese, the idea of founding my own had been lingering in my mind, making this opportunity particularly appealing. I eagerly agreed, and Adachi bestowed upon me the role of Editor in Chief.
For the inaugural issue, Adachi challenged me to conduct an interview with a top artist, and I knew just the person—my friend, the extraordinary Oscar Oiwa, whom I fondly call a superman for his abilities that transcend imagination. Born in Brazil to Japanese parents, Oiwa's works grace the walls of major museums throughout the world.
It is an extraordinary "American" publication dedicated to introducing Japanese contemporary art to the Western world.
To add another layer of depth to the magazine, I enlisted Joseph Fraia, a friend who runs his own magazine called Livein Magazine, covering art and fashion. His photo was the first commissioned to run in Japan Contemporaries. The interview took place in Oiwa's studio in Queens, New York, and captured the essence of Oiwa's artistic journey. The convergence of talents, backgrounds, and creative energies was a testament to the richness that collaboration can bring to the world of art and publishing. The magazine venture seemed to be off to a promising start, fueled by the passion and diverse perspectives of those involved.
As the concept for the magazine solidified, Dr. Les Joynes, a Curator and Columbia University Research Scholar, played a role. Our paths first crossed when I organized the exhibition "Jizi: Journey of the Spirit" at WhiteBox in January 2018. The exhibition, curated by Thomas Rose and Dr. Chunchen Wang and Weisman Art Museum, also featured a talk moderated by Dr. Alexandra Munroe, Senior Curator at the Guggenheim Museum.
Dr. Joynes helped coin its title—Japan Contemporaries. His insights and involvement extended beyond the conceptualization phase. He became a judge for our open call exhibitions, the Japan Contemporaries Series — Series 5 and 6 are coming up soon in February 14 and February 15-21, 2024 in Times Square and SoHo, New York.
Despite starting the magazine without external funding, I insisted on having a stylish and professional logo to represent Japan Contemporaries. Enter Yusuke Wakata, who had previously interned at WhiteBox when I was serving as Director of Asian Programming there. I had noticed his exceptional skills during a group show planned by Kenji Tokumitsu, the CEO of Tagboat, when Wakata was just 23 years old.
Now working as a designer for Hakuhodo, a prestigious advertising company in Tokyo, Wakata generously created 15 logo designs for us. His professional touch and creative flair were evident in each option, but ultimately, I chose the one that we proudly showcase today. The collaboration between individuals from diverse backgrounds and expertise has truly shaped the identity and aesthetic of Japan Contemporaries.
In early summer, I approached Wakata once again, this time to create a magazine layout for my interview with Oscar Oiwa. True to his talent, Wakata delivered a stellar design, but it was in PDF format, and funding remained elusive. Seeking guidance, I turned to Jake Price, a seasoned photojournalist, filmmaker and immersive storyteller in New York who I had previously introduced to the Ukrainian American artist Ola Rondiak who Price is now working on a major film on. Price helped construct the online version of Japan Contemporaries and we successfully published our first issue in August. It is an extraordinary "American" publication dedicated to introducing Japanese contemporary art to the Western world.
Without any external funding our initial goals were humble: we aimed to publish at least one article a month, however with such a wealth of amazing talent around us a mere single article was not in the cards: since August, we've published 8 articles, began a film series helmed by Mr. Price and have held multiple exhibits. Jonathan Goodman, a distinguished art critic specializing in Asian art, joined us in the summer with an article on "Japan’s Anime Sweeping the World" at the Nippon Club in New York. Price expanded his role, not only contributing photographs but also making short films on the artists we profile. To close out 2023, artist Masa Hosojima joined us to review the closing performance at Japan Society, "Cage Shock: Homage to John Cage’s First Japan Visit" at the Japan Society in New York.
One of the most significant additions to our platform is the Artist Portfolio section on our webpage, providing exposure to artists in Japan on a global scale. The collaborative exhibition series with Motoichi Adachi remains open-minded and liberal, offering dreams, hope, and platforms in New York for as many artists as possible.
I express my deep appreciation to all contributors, including the artists who have shared their talents. Our innovative energy has been the driving force behind Japan Contemporaries, and as we step into 2024, I look forward to bringing on more great professionals and sponsors to contribute to our journey. Together, we aim to create waves that resonate across the global art scene, particularly in New York. Returning readers can expect to uncover the most exciting developments in the Japanese art scene, interwoven with the broader tapestry of the world art scene. It's a remarkable experience that I am privileged to share with countless people, and I look forward to the continued growth and impact of Japan Contemporaries.
Crypto Asset Custody
Image and text by Mark Bailey
Minneapolis
Every few months, an old friend comes out of the woodwork to ask about crypto. Their stories are always similar. They want to move funds into the emerging blockchain economy and don't know where to start. I always tell them to start with setting up a Coinbase account if they're in the US.
From there, I recommend considering asset custody. It's fairly uncomplicated to set up your own wallet to control your funds directly, without relying on a third-party company. It's also technically impossible for any third party to interfere with the financial activity of a private wallet. In 2011, the US government went after Wikileaks' finances. Wikileaks survived by adopting bitcoin, which the US government could not stop.
Most people don't need Wikileaks-level security for their funds. But it's nice to know that level of security is there for anyone who needs it. During the pandemic, Canada froze the bank accounts of truckers protesting vaccine mandates. That couldn't have happened if the activists had built their money machine on bitcoin.
Activists. Journalists. Political subversives. Women seeking abortions in states where the procedure is prohibited. These kinds of people and more have reason to secure their finances against interference.
Beyond security, crypto is a way to mitigate the risk of financial system disruption. In a moment of heightened geopolitical turmoil, with cyber attacks becoming more and more sophisticated, the idea of a temporary disruption to bank or credit card networks doesn't seem so far fetched. Yet even if these networks go down, anyone who holds the private key to a crypto wallet would still be able to transact freely.
Personally, I'm not too worried about this stuff. Most of my crypto is on Coinbase, though I'd move the funds to private wallets if a system disruption appeared imminexnt. At this point, I'd rather have bitcoin than a physical commodity like gold if such a disruption were to occur and last for more than a couple of weeks. Fortunately, the possibility of that happening appears remote.
My current favorite crypto wallet is Atomic Wallet. This wallet supports many crypto tokens and makes it easy to download your private keys. Beyond this, I use several specialized wallets to interact with web services like NFT markets. For ethereum I use the MetaMask browser extension, for EOS I use Anchor Wallet, and for tezos I use Temple.
In terms of price, the future of crypto is highly uncertain. Any token's price can rise or fall on a single influencer's comment. At the same time, the regulatory environment is strangling the sector. I think that decentralized finance will eventually out-compete the traditional system in key areas. But how we'll get from here to there is an open question.
La Station art center, in the left corner Ben Vautier: Le vie: Hajnal Németh artist in Berlin,: Porquerolles, vacation dream island; Fondation Carmignac, entrance
Glocalization and just what is a good Artist?
Text and Images by Balazs Kulcsar
Brussels
Imagine, for a moment, that you are in a small boat in the French Riviera in summer, approaching a small island. The hot wind gently touches your face, your lover wants to stop for an ice cream. You arrive at the port, get the ice cream and you mystically say "Come with me, I will show you something.”
Well, this is still an art magazine, so what you show is -of course - an art centre. What else? And it's not in my fantasy, but in Porquerolles, not far from Toulon, in other words, in between Marseille and St-Tropez. And what you show is Fondation Carmignac, a fresh (opened in a few years ago) exhibition space, founded by Édouard Carmignac next to a vineyard, and only open in the summer. When I saw the crowd and could only park the car 3 km away from the ferry, which was fully loaded, I could only say congrats..
But wait a minute! In another interpretation, what we see there is only a rich French imagining of about how to show a private collection on a tourist-magnet island. Nobody ever invited any local artist to exhibit there.
Actually, this is one of the biggest problems of the region – and that’s not my opinion, but that of Elsa Comiot, a coordinator of Botox(s), a contemporary art foundation, made for local artists in the Riviera. Of course, there are many rich people there, so as an artist, it's not the best place to live. The art scene is relatively small, possibilities are limited, so the region said goodbye to many good artists who packed up and to conquer Paris. Even the famous gallerist Maeght moved his gallery to Paris, after only a few years. In his letters he always mentioned that as a 'big step', 'big migration', to 'another world'. He knew he had to move to Paris to get attention. On the other hand, he also mentioned that he had wonderful evenings with art lovers.
Later in Nice, art lovers discussed the possibilities and spent a lot of effort to keep artists in the city. With a (micro)help from the city, they established “Le 109,” a contemporary art center, which hosts exhibitions, symposiums, artist talks, and even art studios. And it has worked - at least according to Florent Mattei. The local artist told me that he returned to the Riviera because of this center.
First, it is big, some 18000 m2, and something is always happening: exhibitions, artist residencies, etc. But the best news is that the local scene is converging on the space. When the renowned artist Ben Vautier had the possibility to exhibit in the art center “Le 109,” he invited 200 local artists and exhibited together with them. He used the possibility to highlight the fact that there are many interesting artists working in the region instead of showing he is only ego.
Cedric Teisseire, another big name in French art scene established “La Station,” a community for artists, residencies, exhibition space, and more importantly, a community with chill places, to discuss ideas with other artists. And it works. I even found a Renault E-space, in the middle of the wall, used as a meditation space and more importantly, as a metaphor.
Of course, Nice is not the only city where the local artists are trying to establish a living environment together. Being an artist, in many cases, almost automatically, means that you are underpaid (or not payed at all). And the main life advantages are your friends and your local community who believe in you. Even in New York, as Mary Gabriel explains in her book “Ninth Street Women,” (Little, Brown and company, 2018 New York), success didn’t come easily to artist Joan Mitchell for example, who just had last year a blockbuster duo exhibition with Claude Monet. We can state that, in a good way, she was a maniac, and yes, that's not even enough to be successful. No, you need your lucky rabbit or angel, which may just be an unexpected meeting in a bar with a wealthy gallerist, as was the case with Mitchell.
By the way, is it better to try to be a good artist or a well-known artist? The answer is definitely, yes.
By the way, is it better to try to be a good artist or a well-known artist? The answer is definitely, yes. Many artists are frightened by the idea to NOT post something on social media because he/she could easily be forgotten. But the success machine works differently. You have lost that even before it started. Are you coming from a small place instead of big art center cities? You're out. Did you meet in art school (I mean in London, New York, etc.) THE gallerist/curator/collector/important VIP who can help you? No? You're out. You haven't painted 200 paintings, reflecting of our present, but popular enough to be understandable for everyone? Yes? You're out. At this point, I have to mention that the work part is irreplaceable. Remember, how many paintings had Picasso before he became famous?
So, who is the ideal candidate to have success today? A workaholic. He/She /They (well, I have to say, it's still a “he,” unfortunately) works a lot, constantly meeting new people, with no private life, works on trendy themes, always thinking big, and it’s absolutely clear he/she/they has no children or much of a family to speak of.
Ok, but what makes a good artist? Hard to answer. Berlin-based artist Hajnal Németh explained to me that having a pause is a creative activity. Freedom, or in other words a period of unemployment, is vital because after a project you need to clear your mind to get ready for the next challenge. According to Hajnal, an ideal artist works only periodically. This is, of course, not a fit in today's world of instant vision where the artist must be everywhere, all of the time.
A Hungarian born artist Peter*- not mention his real name - works as a museum attendant. He stands in a museum place for eight hours, guarding the artworks for a basic salary. Is he making a pause until his next project? No, he just needs money for food and rent. So, should we add that to be rich is a key requirement? Gallery owner Camille* - again not real name - established a gallery because she was bored - she explained that to me as we lazily sate in a café in Paris. She had some artist friends, and that was it. Nobody says it's the best gallery in the world, but magically, for Camille it's working. She is happy.
By the way, do we need happiness to be a good artist? I'm just joking...
Gisela Kleinlein, untitled, 2015, wood, paint color, yarn, acrylic steel, 52x29x36 cm
Gisela Kleinlein, untitled, 2014, galvanized steel, plastic, 159x31x69 cm
Artist in spotlight: Sculptor Gisela Kleinlein
by Dirk Lehr
Berlin
The sculptor Gisela Kleinlein uses simple materials such as plaster, metal, plastic or wood. She uses existing objects, such as building and work materials, furniture or equipment. Their formal language is derived from everyday objects and organisms.
She is one of those artists, like Sean Scully, who gives objects a new identity through rearrangement and rededication. While Scully reduces this to a rudimentary color and form language through abstraction, Kleinlein takes the opposite approach. Materiality and identity are among the essential characteristics of her work. Their structures are created by layering, twisting, interweaving, accumulating, separating, and joining together.
An essential part of Kleinlein’s work are strategies of transfer and context shifting, the balance between reduction and emotional quality, between the severity and rigidity of the material and its softness. Kleinlein’s sculptures and objects are familiar to us because they seem to remind us of something, but at the same time they are also strange because they do not reveal themselves. Found objects or everyday objects remain visible on the one hand but are at the same time alienated through a shift in context and rearrangement. The artist hints, creates mental links, and raises questions. It offers a potpourri of possibilities and puzzles and consciously leaves the viewer alone to search for answers. She deliberately removes the question of meaning from her work. She does this not to disturb the viewer, but to leave it up to them to choose what they want to see.
Kleinlein’s sculptures and objects are familiar to us because they seem to remind us of something, but at the same time they are also strange because they do not reveal themselves.
In fact, her works do not require any resolution as to what or why. They don’t want to be caught, but rather offer themselves to everyone anew. Her works ranges from small sculptures to large-format spatial installations and works in public spaces. With charm, esprit and wit, they develop their own world of things.
Gisela Kleinlein lives and works in Berlin.
Ship’s Log
Image and text by Stu Spence
Sydney
Jacques Cousteau’s ship’s log:
The Calypso, Black Point, Bahamas, May 1966.
‘Came in contact with the more energetic blonde mermaid again today. She was sleeping at around six fathoms. After the unfortunate incident with the black haired one two days ago, we have learnt only to photograph these creatures from the waist up. They seem to have an almost radar-like ability of knowing when Jean-Luc or myself train our cameras on their lower bodies (scaley from waist down fanning out into large, flowing tail section), and become fiercely hostile.
There is no research on this behaviour to draw upon, but folklore around these islands talks of mermaids tempting sailors to their deaths by only exposing their upper bodies from the sea, thus giving them a solely human appearance, and so making them more appealing. I believe the behaviour more likely connected to mating rites and protection (of the species), but more research needs to be completed in order to reach any rational, scientific conclusion.’
Community Radios in the Amazon: Amplifying Voices and Decolonizing Narratives
Images and text provided by Natasha Marzliak
Berlin
The challenges faced by Amazonian communities remain profoundly dire and complex. The incursion of agribusiness, mining and logging operations into their territories has led to serious violations of human rights, cultural erosion, food insecurity and irreparable environmental damage. These issues, deeply rooted in historical colonization, persist to this day and reflect the convergence of modernity, colonial legacies and their strong impact on these communities. Even worse: In the last three decades, there has been a worrying increase in violence against peoples of the forests and Amazon natural environments. This increase is attributed, in part, to the proliferation of neoliberal practices, imperialist agendas and the expanding footprint of globalization.
In stark contrast to the social and environmental destructive capacity of mainstream capitalism, Amazonian ancestral wisdom emphasizes interconnectedness with all life forms, offering profound insights into solidarity and sustainability. Acknowledging both historical and contemporary injustices faced by these communities is imperative amidst the “tornado” of current social and environmental crisis. It’s crucial to stand in solidarity with their struggles to safeguard knowledge, cultural heritage, land, and autonomy. As white Europeans, and even white Latinos from the Global South (like me!), recognizing the privilege is fundamental. It's incumbent upon us to support social movements advocating for sustainable development and the cultivation of polycentric culturality, without perpetuating hierarchical power structures established during European colonization of Brazilian territory.
In stark contrast to the social and environmental destructive capacity of mainstream capitalism, Amazonian ancestral wisdom emphasizes interconnectedness with all life forms, offering profound insights into solidarity and sustainability.
Key measures among forest peoples include empowering communities, promoting sustainable livelihoods, valuing traditional knowledge, and elevating global awareness while reinforcing support mechanisms. These efforts find resonance among indigenous, quilombola, and riverine collectives engaged in grassroots communication in the Amazon. There are many initiatives, but I'll talk about two that I know closely: the Instituto Idade Mídia - Communication for Citizenship, founded by Ângelo Madson Tupinambá in 2006, which birthed Rádio Ribeirinha Murukutu in Belém do Pará; and the more recent Amplificando Vozes no Médio Solimões radio, associated with Rede de Notícias da Amazônia (RNA), led by a diverse collective of indigenous and riverine women from Tefé, Amazonas. Both initiatives champion the causes of Amazonian Peoples from their unique perspectives, advocating for territorial rights, sustainable economies, food security, environmental education, and cultural preservation. They serve as platforms for edu-communication and popular participation, promoting citizenship and upholding the rich cultural heritage of Amazonian communities. It's crucial to mention that they wholeheartedly adopt principled journalism, especially in times of disinformation. They meticulously conduct fact-checking, as well as foster inclusive interviews, and sculpt narratives through non-hierarchical dialogues. These endeavors are firmly grounded in the power of ethical communication and guided by dialogicity, effectively critiquing the prevailing hegemonic journalism entrenched in coloniality. The concept of coloniality delineates the enduring power dynamics of colonial relationships even subsequent to the political emancipation of colonized nations.
The Murukutu and Ampliando Vozes radios exhibit not only unconventional strategies to foster social critique and citizen participation but also challenge cultural hierarchies, stereotypical representations, and media domination, thus unraveling the insidious dimensions of coloniality. For instance, in promoting the dissemination of their community's cultural elements, traditions, and social practices through scientific knowledge while concurrently valuing the revival of traditional wisdom, these radios dismantle the coloniality of knowledge, a term that encompasses the imposition of Eurocentric worldviews, values and knowledge as legitimized and universal.
As articulated by Pedro Paulo Gómez in "Aesthetic decoloniality: geopolitics of feeling, thinking, and doing” (2019), coloniality has facilitated the amalgamation of hierarchy and the delineation of borders between peoples, places, languages, knowledge, actions, teachings, memories, races, etc. This segregation categorizes human beings into two groups: humanitas and anthropos. The latter is considered inferior, lacking human attributes such as reason and sensitivity. Consequently, anthropos is deemed incapable of cultivating civility, culture, moral development, and material progress, destined to merely imitate the practices and attributes of humanitas. In opposition to this idea, Murukutu and Ampliando Vozes’s initiatives to organize, develop, promote and support open, democratic, participatory, creative and collaborative communicative ecosystems, linked to identity, ethnicity, politics or shared life circumstances, actively combat the coloniality of being, which internalizes stereotypes and hierarchies. They humanize communication by giving priority to inclusivity and acknowledging diverse perspectives. Erick Torrico Villanueva advocates for a communication approach that's more equal and democratic. It involves active participation in dialogues that promote understanding, empathy, and mutual respect. This leads to an ontological liberation of existence and empowers individuals.
Finally, when Murukutu and Ampliando Vozes radios contribute to the struggle for the human right to communication, defending the democratization of the media, information and the institutionalization of the right to communication, or when they engage in the social organization of grassroots movements through popular, critical and emancipatory communication, they combat the coloniality of power, which refers to the maintenance of hierarchical structures of domination, exploitation and marginalization that were established during colonial periods and which continue to operate in the social, political, economic and cultural spheres, perpetuating relations of subordination, discrimination and exclusion of social groups based on categories such as race, ethnicity, gender and social class.
Historically, the narratives depicting Amazonian peoples were shaped by the 'guardians of knowledge,' entrenched within a Western-crafted myth. However, the endeavors witnessed in radio stations like these, deeply rooted in grassroots communication, actively participate in the ongoing decolonization narrative. Their commitment lies in coexistence and interculturality, celebrating Amazonian potency while embodying the political identity of those who have been Damnés (to use Frantz Fanon's expression), exploited, made invisible and marginalized. In this way, they dismantle Eurocentric narratives to reveal the intricate histories, cultures and perspectives of indigenous and local communities in the Amazon. The disruptive concepts that oppose individualistic and moribund mentalities resonate and embody a resilient, powerful and resolute insurgency. The importance of this effort goes beyond the Amazonian peoples. The interconnected structure of the indigenous worldview, regardless of Spinoza's texts, inherently understands the profound interconnectedness between all forms of life. Their reservoir of ancestral wisdom and traditional practices offers invaluable lessons on how to foster greater solidarity between communities, promote sustainable living and nurture harmony with nature. This is especially pertinent in the face of current humanitarian and environmental challenges. Supporting these efforts not only benefits the Earth, but also holds promise for the future of humanity.
If you are interested in exploring more content about these initiatives, you can access them on the website and on social media below: https://idademidia.org/ (Idade Mídia Institute) and https://www.facebook.com/profile.php?id=100090838512177 (Ampliando Vozes no Médio Solimões Project)
References:
Fanon, Frantz. Les Damnés de la Terre. Paris: Éditions Maspero, 1961.
Gómez, Pedro Pablo. 2019. "Decolonialidad estética: Geopolíticas del sentir, del pensar y del hacer." Revista GEARTE 6 (2). https://doi.org/10.22456/2357-9854.92910.
Torrico Villanueva, E. (Ed.). 2022. Comunicación (Re)humanizadora: Ruta Decolonial. Quito, Equador: Centro Internacional de Estudios Superiores de Comunicación para América Latina (CIESPAL).
Meanwhile, from St Paul, Minnesota in the 1990s…
…And finally… it’s Poetry Place
Image by Juliane Pieper
by Wolf Vest
St Paul
Ghoul
Geez … lord allmighty
There’s a ghoul probably waiting for me in the drain.
Some fucked-up creature that’s gonna mess with me in the tub
or maybe on the toilet
I’m not looking forward to that