{"title":"“天堂没有猪”:《黑色星座》精神中的思辨唯物主义","authors":"Balbir Singh","doi":"10.20415/rhiz/036.e04","DOIUrl":null,"url":null,"abstract":"In this article, I study the contemporary multimedia arts collective Black Constellation. I analyze how these cultural producers place creative and political collaboration as a form of solidarity, and how such solidarity necessarily means the recognition of discrepancy and difference as an inherent strength in creating forms of radical kinship. This kinship model is one that I name the “Black Brown Indigenous Subaltern Alien,” a kind of refrain that puts into view the ways these various bodies inhabit alterity and minoritarian subjectivity without separation or annexing. I name this kind of visionary work “speculative materialism,” insofar as it theorizes relation and connectivity amongst different historical subjectivities and material conditions. Given that the project of liberal modernity has taken up the work of classification, differentiation, and taxonomizing in the name of upholding structures of statist and majoritarian power, most especially white supremacy, I am especially drawn to the Constellation’s ability to maintain commitment to bridging respective and distinct histories for its future vision. “Our past is the western world’s future.” – Maikoyo Alley-Barnes YOUR FEAST HAS ENDED In the summer of 2014, Black Constellation was cemented as a creative force of the global underground, when three of its artists put on a major exhibition at the Frye Art Museum in the First Hill neighborhood of Seattle. The artists included Black Seattle-based artist, filmmaker, writer, and designer Maikoiyo Alley-Barnes; Punjabi-Sikh Toronto-based, sculptor, painter, and clothing designer Nep Sidhu; and indigenous Tlingit Alaska-based conceptual artist Nicholas Galanin. Their exhibition was titled YOUR FEAST HAS ENDED, with the earlier longer title, “O YE PARASITES, YOUR FEAST HAS ENDED.” This exhibition included critically-lauded hip hop duo Shabazz Palaces through a collaboration with the visual artists, where they added a one-day, four-hour long sonic sculpture titled “Expanding the Now: The Continual Line.” Having formed in 2010, Black Constellation is comprised of many artists working in [1]","PeriodicalId":372417,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"41 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"‘No Pigs in Paradise’: Speculative Materialism in the Spirit of Black Constellation\",\"authors\":\"Balbir Singh\",\"doi\":\"10.20415/rhiz/036.e04\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In this article, I study the contemporary multimedia arts collective Black Constellation. 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引用次数: 0
摘要
本文以当代多媒体艺术集体“黑色星座”为研究对象。我分析了这些文化生产者如何将创造性和政治合作作为一种团结的形式,以及这种团结如何必然意味着承认差异和差异是创造激进亲属关系形式的内在力量。我将这种亲属关系模型命名为“黑棕色土著次等异族”,这是一种副歌,它让人们看到了这些不同的主体在没有分离或合并的情况下,居住在多样性和少数民族主体性中的方式。我把这种有远见的作品称为“思辨唯物主义”,因为它将不同的历史主体性和物质条件之间的关系和联系理论化。鉴于自由主义现代性项目已经以维护国家主义和多数主义权力结构(尤其是白人至上主义)的名义进行了分类、区分和分类工作,我特别被星座的能力所吸引,因为它有能力为其未来愿景保持连接各自和独特历史的承诺。“我们的过去就是西方世界的未来。2014年夏天,黑色星座(Black Constellation)的三位艺术家在西雅图第一山(First Hill)附近的弗莱艺术博物馆(Frye Art Museum)举办了一场大型展览,巩固了它作为全球地下艺术创作力量的地位。这些艺术家包括西雅图黑人艺术家、电影制作人、作家和设计师Maikoiyo Alley-Barnes;多伦多旁遮普锡克教徒,雕塑家、画家和服装设计师Nep Sidhu;以及阿拉斯加土著概念艺术家尼古拉斯·加拉宁。他们的展览题为《你们的盛宴结束了》,而之前的标题更长的一些,“啊,你们这些寄生虫,你们的盛宴结束了。”这次展览包括了广受好评的嘻哈二人组Shabazz Palaces,他们与视觉艺术家合作,在那里他们增加了一个为期一天,长达四个小时的声音雕塑,名为“扩展现在:连续的线”。黑色星座成立于2010年,由许多艺术家组成,他们在[1]
‘No Pigs in Paradise’: Speculative Materialism in the Spirit of Black Constellation
In this article, I study the contemporary multimedia arts collective Black Constellation. I analyze how these cultural producers place creative and political collaboration as a form of solidarity, and how such solidarity necessarily means the recognition of discrepancy and difference as an inherent strength in creating forms of radical kinship. This kinship model is one that I name the “Black Brown Indigenous Subaltern Alien,” a kind of refrain that puts into view the ways these various bodies inhabit alterity and minoritarian subjectivity without separation or annexing. I name this kind of visionary work “speculative materialism,” insofar as it theorizes relation and connectivity amongst different historical subjectivities and material conditions. Given that the project of liberal modernity has taken up the work of classification, differentiation, and taxonomizing in the name of upholding structures of statist and majoritarian power, most especially white supremacy, I am especially drawn to the Constellation’s ability to maintain commitment to bridging respective and distinct histories for its future vision. “Our past is the western world’s future.” – Maikoyo Alley-Barnes YOUR FEAST HAS ENDED In the summer of 2014, Black Constellation was cemented as a creative force of the global underground, when three of its artists put on a major exhibition at the Frye Art Museum in the First Hill neighborhood of Seattle. The artists included Black Seattle-based artist, filmmaker, writer, and designer Maikoiyo Alley-Barnes; Punjabi-Sikh Toronto-based, sculptor, painter, and clothing designer Nep Sidhu; and indigenous Tlingit Alaska-based conceptual artist Nicholas Galanin. Their exhibition was titled YOUR FEAST HAS ENDED, with the earlier longer title, “O YE PARASITES, YOUR FEAST HAS ENDED.” This exhibition included critically-lauded hip hop duo Shabazz Palaces through a collaboration with the visual artists, where they added a one-day, four-hour long sonic sculpture titled “Expanding the Now: The Continual Line.” Having formed in 2010, Black Constellation is comprised of many artists working in [1]