Install Theme
We’re screening THE FUTURE WEIRD: Remote Control at the Museum of Arts and Design Saturday 9 August 2014, @3PM & I’m vv excited about it!
Remote Control is four sci-fi/experimental films by four black & brown artists that deal with women negotiating patriarchy and its discontents. 
The films are set in, or draw material from, a range of geographies and cultural experiences - Nigeria / Philippines / UK / Morocco, and we’re alert to the cultural specificities. For instance, Zina Saro Wiwa’s film addresses “the unforgiving treatment of single women” in Nigeria and Nollywood specifically. There are also themes that prevail across the films: patriarchy & desire; the fraught relationship between a woman’s freedom & social convention;  the horrifying circularity of gendered power dynamics.
These images come to us from dystopian futures and/or via humanoids, androids and psychic vampires, but always telling us something about our present. In Shola Amoo’s film, a white woman experiences sexual liberation by using a black woman as her real-world avatar — why, hello Miley Cyrus / Lily Allen / Iggy Azalea!
Our screenings are always followed by lively, hype, fun discussion — not a Q&A — because there are no experts at The Future Weird, so come talk with us.
R S V P \ Facebook \ Tumblr \ Twitter 

We’re screening THE FUTURE WEIRD: Remote Control at the Museum of Arts and Design Saturday 9 August 2014, @3PM & I’m vv excited about it!

Remote Control is four sci-fi/experimental films by four black & brown artists that deal with women negotiating patriarchy and its discontents. 

The films are set in, or draw material from, a range of geographies and cultural experiences - Nigeria / Philippines / UK / Morocco, and we’re alert to the cultural specificities. For instance, Zina Saro Wiwa’s film addresses “the unforgiving treatment of single women” in Nigeria and Nollywood specifically. There are also themes that prevail across the films: patriarchy & desire; the fraught relationship between a woman’s freedom & social convention;  the horrifying circularity of gendered power dynamics.

These images come to us from dystopian futures and/or via humanoids, androids and psychic vampires, but always telling us something about our present. In Shola Amoo’s film, a white woman experiences sexual liberation by using a black woman as her real-world avatar — why, hello Miley Cyrus / Lily Allen / Iggy Azalea!

Our screenings are always followed by lively, hype, fun discussion — not a Q&A — because there are no experts at The Future Weird, so come talk with us.

R S V P \ Facebook \ Tumblr \ Twitter 

manufactoriel:

London (1960-1970), by Al Vandenberg

manufactoriel:

London (1960-1970), by Al Vandenberg

Opening Ceremony Blog: A London Art Collective Takes On The Brooklyn Beauty Parlor →

westindians:

uslonelylondoners:

Kareem, who finished his university film degree last year, met fellow Lonely Londoner Rianna, a writer and feminist activist, and Pelin, a foodie who studied international development, the way lots of artists do today: on Tumblr. All in their early twenties and the children of first- or second-generation immigrants, the three finally met in person at a meditation class after following each other’s accounts for years. Since, the collective––which actually prefers the label “art house” in tribute to ballroom culture’s houses––has organized film screenings, group shows, and performance pieces on topics like the racial experience of albino families in Puerto Rico and rising unemployment among UK youth. Queenies, Fades, and Blunts was their first project in NYC, and next month, they’ll be turning it into a zine.

In an age when it seems like every 20-something artist is part of A COLLECTIVE, it’s refreshing to find one based not only on aesthetic similarities but shared political goals. “Our work is based on real aspects of culture and trying to make things as unpretentious as possible,” said Kareem. “We all need to get our hair cut. We all need to get our nails done. Everybody wants to look pretty––everybody can relate to that.”

got interviewed for a feature for Opening Ceremony! <3 

<3

On Saturday 9th August at 3PM, THE FUTURE WEIRD presents REMOTE CONTROL at the Museum of Arts and Design’s MAD Biennale, in association with Spectacle Theater
REMOTE CONTROL is a program of short films concerning witches & bitches – women who see, take, and sell things they cannot grasp. Whether they wield powers to possess, or are somehow controlled, the technologies these films document are deployed without regard for reciprocity or consent. 
Presenting shorts by Zina Saro WiwaFyzal Boulifa and Shola Amoo, we’re talking possession, surveillance, “brain to brain interface”, and the human use of human beings. 
THE FUTURE WEIRD is a screening series dedicated to speculative, experimental and weird film by directors from Africa and the Global South. 
WHEREMuseum of Arts and Design, 2 Columbus Circle
WHEN: Saturday 9th August 2014 @3PM
TIX: $10/$5 concessions

by / Nakeya Janice Brown

by / Nakeya Janice Brown

(Source: nakeyab)

nakeyab:

The pot is a tool in which we cook and curl. Domestic duties and beauty rituals converge into a shared time and space.
image

onegirlfiftybraidings:

Aminata, School exam work, Gaye Njorro School of Hairdressing and Beauty Cosmetology, the Gambia. Photo Valeria Herklotz.

(via okmalume)

It’s almost August, so here are some things from June.

The beach on my birthday & birthday flowers. The Lonely Londoners & friends spend time in my apartment asking me questions, and bringing me joy like Anita Baker. Time in Baltimore and DC with friends who teach me again and again to really commit to living. And the essay and talk that resulted from Hannah Black forcing me to write about my Queen Elizabeth I wallet. 


Queenies, Fades, &amp; Blunts is an pop-up QTPOC beauty space curated by The Lonely Londoners featuring original works from Mojuicy (Mohammed Fayaz), Quilombo (Bryan Rodriguez), and Kareem Reid &amp; Khaleb Brooks.
Curating a production of film and artwork from these local artists of color, The Lonely Londoners invite you to indulge in these abstract ideas of un/safe cultural spaces, herstories, hair stories, beautification and how these processes are experienced socially, culturally and politically. Submissions for a following zine are now open for print and online publication in August, which you can find here.
We want to see you all there. Join us for an early evening of refreshments &amp; the sweetest vibes followed by papijuice​ Volume 14 at One Last Shag, with guest DJs Beto and Ushka of iBomba.
Click attending on Facebook. 

Queenies, Fades, & Blunts is an pop-up QTPOC beauty space curated by The Lonely Londoners featuring original works from Mojuicy (Mohammed Fayaz), Quilombo (Bryan Rodriguez), and Kareem Reid & Khaleb Brooks.

Curating a production of film and artwork from these local artists of color, The Lonely Londoners invite you to indulge in these abstract ideas of un/safe cultural spaces, herstories, hair stories, beautification and how these processes are experienced socially, culturally and politically. Submissions for a following zine are now open for print and online publication in August, which you can find here.

We want to see you all there. Join us for an early evening of refreshments & the sweetest vibes followed by papijuice​ Volume 14 at One Last Shag, with guest DJs Beto and Ushka of iBomba.

Click attending on Facebook

Civil society has become so anti-politics, because of course politics is so evil, so toxic. But politics is what you do to make the world better, not “spreading awareness to communities”. It’s in the political that these things happen. The utter cynicism of it [aid/development] is that there’s no politics in Africa so you simply bypass it.

Binyavanga Wainaina | “On Aid, Power and the Politics of Development" The Guardian

asiawerbel:

backstage fashionscoutlondon ss14 ©AsiaWerbel2013

asiawerbel:

backstage fashionscoutlondon ss14 ©AsiaWerbel2013


Interviewer: One could say for the American negro to achieve the middle class white American standard is a revolution.
Grace Lee Boggs: I don’t think that whites understand the degree to which negroes do not want their whiteness. I’m trying to suggest that the negro is striving to become equal to a particular image of himself that he has achieved. That he is not trying to become equal to whites.


from &#8220;American Revolutionary" a documentary about Grace Lee Boggs, available to watch online here until July 30th 2014

Interviewer: One could say for the American negro to achieve the middle class white American standard is a revolution.

Grace Lee Boggs: I don’t think that whites understand the degree to which negroes do not want their whiteness. I’m trying to suggest that the negro is striving to become equal to a particular image of himself that he has achieved. That he is not trying to become equal to whites.

fromAmerican Revolutionary" a documentary about Grace Lee Boggs, available to watch online here until July 30th 2014

Painter painting in our land pictures of only white angels
Painter painting in our time in shadows of yesterday

Painter, if you paint with love, paint me some black angels now
For all good blacks in heaven, painter show us that you care

Eartha Kitt - Angelitos Negros (1970 performance)

(Source: foxwin, via xanku)