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.
London (1960-1970), by Al Vandenberg
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
by / Nakeya Janice Brown
The pot is a tool in which we cook and curl. Domestic duties and beauty rituals converge into a shared time and space.
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.
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— Binyavanga Wainaina | “On Aid, Power and the Politics of Development" The Guardian
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.