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SCAN
#00001
DATE
c. 2018
TITLE
PAST DISQUIET: ARTISTS, INTERNATIONAL SOLIDARITY, AND MUSEUMS-IN-EXILE
MUSEUM OF WARSAW
printed in Warsaw, PL
DESCRIPTION
The 1978 International Art Exhibition for Palestine, which featured nearly 200 artworks donated by artists from around 30 countries, was intended as the foundation for a museum-in-exile that would tour globally until it could be established in Palestine. Tragically, during the Israeli siege of Beirut in 1982, the building housing the artworks was destroyed, and much of the exhibition's archival material was lost.
The seed of the ten-year research for the exhibition Past Disquiet is four forgotten museums in solidarity: the International Art Exhibition for Palestine (Lebanon, 1978), Museum of Latin American Art in Solidarity with Nicaragua, The International Museum of the Resistance Salvador Allende, and Art Contre/Against Apartheid. These initiatives were intended as acts of solidarity, supporting the liberation struggles of the Palestinian people, the Sandinista revolution in Nicaragua, rejecting the Pinochet dictatorship in Chile, and opposing the apartheid regime in South Africa. Despite their significant scale and impact, the presented collections have largely been forgotten.
This excerpt
TAGS
#decolonising museums
#decolonising practices
#exhibition #exile
#00002
DATE
c. 2002
TITLE
OBJETS RÉINVENTÉS: LA CRÉATION POPULAIRE À CUBA ERNESTO OROZA
printed in Paris, FR
DESCRIPTION
The 1990s in Cuba, known as “the Special Period in Time of Peace”, was a time of drastic measures - faced with a shortage of all consumer goods, caused by the US blockade but dramatically exacerbated by the fall of the Soviet bloc, Cubans had to invent a system for creating and producing objects. These initially met the most basic necessities and then invaded all areas of daily life: the cafeteria tray transformed into a TV antenna, a plastic soda bottle serving as a buoy, a black-and-white TV decreed color by a play of paint on the screen... These inventions born of precariousness are temporary; they contain the dream of their disappearance. But the situation persists, and the temporary takes hold, thereby becoming a way of living, thinking, and creating.
By studying how Cubans invent and manufacture objects to overcome economic restrictions, Ernesto Oroza showcases models of behaviour and reactions to technology itself, but above all to the authority and veracity that these capitalistic products supposedly embody. These practices and gestures are grouped together under the concept of « technological disobedience ».
TAGS
#technological
disobedience
#cuba
SCAN
#00003
DATE
c. 1981
TITLE
TROPICAL DECO: THE ARCHITECTURE AND DESIGN OF OLD MIAMI BEACH
RIZZOLI
printed in New York, NY
DESCRIPTION
One day, Miami will be underwater. This isn’t hyperbole — climate risk is accelerating, making environmental displacement feel less like a possibility and more like a promise. In response, a growing body of various works have emerged in recent years, seeking to preserve and memorialize the city before it’s lost. Projects like O, Miami’s Waterproof: Evidence of a Miami Worth Remembering stand as poignant examples of this sense of urgency.
The same ethos behind this publication is embedded in Tropical Deco: The Architecture and Design of Old Miami Beach, a photographic documentation of the historic Art Deco district, from its pastel-colored facades to its porthole windows to its stylized lettering. More than just architectural record, the book reads as a love letter to a visual language that defines Miami’s cultural identity and resists erasure through beauty, nostalgia, and care. Several of the photographs in this book were originally taken in conjunction with a project for the Miami Design Preservation League.
Today, there is legislation advancing through the Florida Senate that would allow private developers to tear down some of these historic buildings in order to build new, potentially erasing decades of the city’s character and cultural fabric. Visit @lushsuburb’s Resource Document for more information on what we can do to stop Senate Bill 1730.
As someone who grew up on the pink sidewalks of Collins Avenue, I see digitizing this material as a way to honor my hometown, whose visual identities make up so much of my creative heritage.