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@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
@okmaispersonnteteask Scroll Book — Prototype I
“I am like you—breathing in this horror unfolding halfway across our world—a horror that is bigger than all of us and, at the same time, fits in the palm of our hands, even when clenched in a fist.”
Self-conflicting, addictive, yet nonetheless informative, this book questions my relationship with social media platforms. In joining @j7md ’s micro-residency, I finally unearthed the “personneteask print” file where I’d been compiling memes I’ve found, made or edited; and posted on @okmaispersonneteask since 2014.There’s solace in persistently maintaining the whimsical experience of early IG, where meme posts liked by 9 of your friends were equally reflective of a valuable and sexy digital existence.
When I found myself oscillating, within the split second of a scroll, between laughter at a Dr. Umar meme and the stark realities of Gaza’s 470 days of resistance, Sudan’s bleeding to UAE’s normalization or the sacrificial land of Congo that enables me an iPhone in the first place… The discomforting angst of my positionality and privilege became a visceral confrontation.
As Jenna Hamed & I—Palestinian-American & Ghanaian-FrenchCanadian—publishers collaborated, our conversations explored the long lineage of Black/African and Palestinian solidarity, solidarity efforts in NYC, our homeland trips, commonalities in our respective ancestral practices, and shared experiences.
Timely, amidst our week-long residency, a ceasefire was announced, marking the end of a monumental cycle. Our struggle and solidarity are as endless as a mindless scroll; with the @okmaispersonneteask book, we aim to archive this historical moment. In provoking reflection, while eliciting a chuckle, we materialize the visual and screening culture of these turbulent times.
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
🫧NEWEST EDITION NOW AVAILABLE!
Edition IIl delves into evolving ‘Visages de Femmes’ [Faces of Women] (1985) through two contrasting tales set in Ivory Coast’s metropolitan [Abidjan] and rural [Koffikro] life. ‘Visages’ caused industry ruckus since its release and within African film critique for its 11-minute love-making scene; of a “licentious Eden in which bronze bodies dive and emerge lustfully and acrobatically in the luscious bed of a nearby river surrounded by dense, erect trees.” (Pfaff, 1996)
💥Pre-Order your copy with the link in bio NOW! NOW! NOW!💥
The mid-eighties feature disrupted ideas around censorship, taboo, nudity, and indecency. Edition III emphasizes the filmmaker’s cinematic adaptation of pre-colonial oral tradition with a lens focused on female pleasure and agency. Eros is repositioned within the cultural landscape as the chapbook relies on historical visual, practical and ritualistic evidences of erotic exuberance.
Concept, Words & Direction by Afi Venessa @afi.onl
Design by @juliette_duhe
Documentation by @maikorodrig
CopyEdits by @samricobatista
Binding and Assembly @bookart
Published with @anteism_books
Rooted in the published thesis “Within Double Restraint: the Aesthetics & Dialectics of Eroticism in African Cinema” — available to public (Library & Archives Canada)
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
Back this year as scholar-in-residence @thefreeblackwomenslibrary !!!!
Sharing programming info below for our first of 3 sessions this spring/summer☀️& link event in my bio.
Looking forward to sharing all I’ve been learning and thank you once again to The Free Black Women’s Library for continuously doing the Lord’s work.
—————————-
Session I
Archive, Memory & Erasure:
Who is Visible in African Cinema’s History?
Our first session questions the construction of Black African cinema’s history by centeringpioneering women whose contributions have been persistently fragmented or completely omitted. We engage with the lives, work, and legacies of Thérèse Sita-Bella(Cameroon), Safi Faye (Sénégal), Sarah Maldoror (Guadeloupe/Angola/Algeria), Lola Fani-Kayode (Nigeria), and Efua Sutherland (Ghana).
The lecture will be infused with screened fragments and excerpts from key works, including: Battle of Algiers (1966), Araba, the Village Girl (1967), Monangambée (1968), Sambizanga (1972), Kaddu Beykat (1975), Mirror in the Sun (1976–78), Fad’jal (1979), Dessert for Constance (1981), and Mossane (1996).
With segments from the filmmakers themselves from Sisters of the Screen (Beti Ellerson, 2002)
Moving beyond dominant historical narratives that simply would position them as “firsts”, we situate these filmmakers within broader networks of intellectual, artistic, and political labor. We aim to uncover how the normalized absence of women in cultural histories is produced, and how it might be challenged.
How do we write histories when the visual record is incomplete or absent? What forms of knowledge emerge through visual fragments and dispersed traces? And how might Afrofeminist and decolonial approaches to historiography allow us to reframe visibility not as a given, but as something actively contested and reclaimed? What does it mean to remember when you can’t always see?
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
In awe of the survey of seminal Sudanese artist Mohammad Omer Khalil. Grateful to the amazing curators Jenna Hamed and Amina Ahmed for the intimate Reading & Listening Room at @jayseveninc (open Mondays 1-8PM), and the chance to spend time with a living legend.
Part of ‘Common Ground’, spanning Blackburn Study Center, Twelve Gates Arts (Philly), and satellite exhibitions at Maqam Studio (Brooklyn), and the Arab American National Museum (Dearborn, MI), with displays at the New York Public Library and The Metropolitan Museum of Art.
Khalil shared how, in Sudan, Fridays meant the resonating voice of Egyptian songstress Umm Kulthūm would fill the airways; music he once resisted until seeing her live. After that, he’d turn the volume all the way up: “listening to her was like listening to Bob Dylan [for Americans].” Between laughter and necessary silences, we listened to Arab and African sounds on vinyl, sipped tea, and ate dates.
As part of the multitude of activations happening in light of the ‘Common Ground’ exhibition series; and in echo with Khalil’s collage painting, “Homage to Umm Kalthoum” (2013) ; join these scheduled programs:
Maqām Studio — Sunday, April 26, 3PM
A live tribute with vocalist George Ziadeh, reinterpreting the 13th-century quatrains of the Persian poet Omar Khayyam and the final song Umm Kulthum performed in 1973; guiding listeners into tarab, that state of musical enchantment.
Anthology Film Archive — May 5 at 6:15PM
This documentary follows the rise to widespread fame of Egyptian singer Umm Kūlthum: most powerful voices in Egypt and across the Arab world.
Les invitamos este domingo a la presentación de nuestro cuadernillo Emblematic Elusions IV en @thirdborn.mx
Habrá proyecciones (Machos, Bramadero, Una rata en la oscuridad) y un panel de discusión sobre cine y archivo.
Nos encantará verles por ahí 🖤
Les invitamos este domingo a la presentación de nuestro cuadernillo Emblematic Elusions IV en @thirdborn.mx
Habrá proyecciones (Machos, Bramadero, Una rata en la oscuridad) y un panel de discusión sobre cine y archivo.
Nos encantará verles por ahí 🖤
On Visualizing Black Women's Labour
Panel Discussion and Book Launch with Qiana Mestrich, Chiedza Pasipanodya and Afi Venessa Appiah, moderated by Liz Ikiriko
🗓️ Saturday, March 28, 2026
📍 Gallery TPW
⏰ 11AM-1PM
_CODA_ is only a few days away! ⚡️
On Saturday morning, join NY-based artist, writer and photo historian Qiana Mestrich, along with '___a lineage of transgression___' artist Chiedza Pasipanodya and writer/publisher Afi Venessa Appiah (afi press) as they draw on their own research and practices to discuss the underrecognized and often exploited labour (physical, intellectual and otherwise) practices of Black women.
Join us after for a book signing with Qiana Mestrich to celebrate the launch of 'Decolonization and Diversity in Contemporary Photography: The Dodge & Burn Interviews', published with Routledge.
🔗 Register now through the link in our bio!
—
📸 (1): Qiana Mestrich, 'Untitled (The Ideal File Clerk)' from 'Reinforcements', 2023. Courtesy of the artist.
On Visualizing Black Women's Labour
Panel Discussion and Book Launch with Qiana Mestrich, Chiedza Pasipanodya and Afi Venessa Appiah, moderated by Liz Ikiriko
🗓️ Saturday, March 28, 2026
📍 Gallery TPW
⏰ 11AM-1PM
_CODA_ is only a few days away! ⚡️
On Saturday morning, join NY-based artist, writer and photo historian Qiana Mestrich, along with '___a lineage of transgression___' artist Chiedza Pasipanodya and writer/publisher Afi Venessa Appiah (afi press) as they draw on their own research and practices to discuss the underrecognized and often exploited labour (physical, intellectual and otherwise) practices of Black women.
Join us after for a book signing with Qiana Mestrich to celebrate the launch of 'Decolonization and Diversity in Contemporary Photography: The Dodge & Burn Interviews', published with Routledge.
🔗 Register now through the link in our bio!
—
📸 (1): Qiana Mestrich, 'Untitled (The Ideal File Clerk)' from 'Reinforcements', 2023. Courtesy of the artist.
On Visualizing Black Women's Labour
Panel Discussion and Book Launch with Qiana Mestrich, Chiedza Pasipanodya and Afi Venessa Appiah, moderated by Liz Ikiriko
🗓️ Saturday, March 28, 2026
📍 Gallery TPW
⏰ 11AM-1PM
_CODA_ is only a few days away! ⚡️
On Saturday morning, join NY-based artist, writer and photo historian Qiana Mestrich, along with '___a lineage of transgression___' artist Chiedza Pasipanodya and writer/publisher Afi Venessa Appiah (afi press) as they draw on their own research and practices to discuss the underrecognized and often exploited labour (physical, intellectual and otherwise) practices of Black women.
Join us after for a book signing with Qiana Mestrich to celebrate the launch of 'Decolonization and Diversity in Contemporary Photography: The Dodge & Burn Interviews', published with Routledge.
🔗 Register now through the link in our bio!
—
📸 (1): Qiana Mestrich, 'Untitled (The Ideal File Clerk)' from 'Reinforcements', 2023. Courtesy of the artist.
On Visualizing Black Women's Labour
Panel Discussion and Book Launch with Qiana Mestrich, Chiedza Pasipanodya and Afi Venessa Appiah, moderated by Liz Ikiriko
🗓️ Saturday, March 28, 2026
📍 Gallery TPW
⏰ 11AM-1PM
_CODA_ is only a few days away! ⚡️
On Saturday morning, join NY-based artist, writer and photo historian Qiana Mestrich, along with '___a lineage of transgression___' artist Chiedza Pasipanodya and writer/publisher Afi Venessa Appiah (afi press) as they draw on their own research and practices to discuss the underrecognized and often exploited labour (physical, intellectual and otherwise) practices of Black women.
Join us after for a book signing with Qiana Mestrich to celebrate the launch of 'Decolonization and Diversity in Contemporary Photography: The Dodge & Burn Interviews', published with Routledge.
🔗 Register now through the link in our bio!
—
📸 (1): Qiana Mestrich, 'Untitled (The Ideal File Clerk)' from 'Reinforcements', 2023. Courtesy of the artist.
Muy felices de presentar oficialmente nuestro booklet en colaboración con @afi.onl ✨
Este proyecto nace del trabajo continuo de Archivo Jotxs y se materializa en Emblematic Elusions IV: A Glimpse into Archivo Jotxs, una publicación que reúne parte de este proceso de investigación.
Gracias a @okmaispersonneteask y a todo el equipo de @thirdborn.mx por hacerlo posible, así como a @oona.zyman y a todas las personas que acompañaron este proceso 💛
La presentación tendrá lugar el domingo 29 de marzo en @thirdborn.mx, acompañada de una serie de proyecciones y un panel de conversación.
Nos emociona especialmente contar en el panel con:
@leondaniel_mx
@elinsulto
@alvareztostado
Nos vemos ahí ✨
Póster por @dani.el.h
Muy felices de presentar oficialmente nuestro booklet en colaboración con @afi.onl ✨
Este proyecto nace del trabajo continuo de Archivo Jotxs y se materializa en Emblematic Elusions IV: A Glimpse into Archivo Jotxs, una publicación que reúne parte de este proceso de investigación.
Gracias a @okmaispersonneteask y a todo el equipo de @thirdborn.mx por hacerlo posible, así como a @oona.zyman y a todas las personas que acompañaron este proceso 💛
La presentación tendrá lugar el domingo 29 de marzo en @thirdborn.mx, acompañada de una serie de proyecciones y un panel de conversación.
Nos emociona especialmente contar en el panel con:
@leondaniel_mx
@elinsulto
@alvareztostado
Nos vemos ahí ✨
Póster por @dani.el.h
Muy felices de presentar oficialmente nuestro booklet en colaboración con @afi.onl ✨
Este proyecto nace del trabajo continuo de Archivo Jotxs y se materializa en Emblematic Elusions IV: A Glimpse into Archivo Jotxs, una publicación que reúne parte de este proceso de investigación.
Gracias a @okmaispersonneteask y a todo el equipo de @thirdborn.mx por hacerlo posible, así como a @oona.zyman y a todas las personas que acompañaron este proceso 💛
La presentación tendrá lugar el domingo 29 de marzo en @thirdborn.mx, acompañada de una serie de proyecciones y un panel de conversación.
Nos emociona especialmente contar en el panel con:
@leondaniel_mx
@elinsulto
@alvareztostado
Nos vemos ahí ✨
Póster por @dani.el.h
Muy felices de presentar oficialmente nuestro booklet en colaboración con @afi.onl ✨
Este proyecto nace del trabajo continuo de Archivo Jotxs y se materializa en Emblematic Elusions IV: A Glimpse into Archivo Jotxs, una publicación que reúne parte de este proceso de investigación.
Gracias a @okmaispersonneteask y a todo el equipo de @thirdborn.mx por hacerlo posible, así como a @oona.zyman y a todas las personas que acompañaron este proceso 💛
La presentación tendrá lugar el domingo 29 de marzo en @thirdborn.mx, acompañada de una serie de proyecciones y un panel de conversación.
Nos emociona especialmente contar en el panel con:
@leondaniel_mx
@elinsulto
@alvareztostado
Nos vemos ahí ✨
Póster por @dani.el.h
You are invited to the ‘Abundance/Scarcity’ Conference at Martin Scorsese’s Dept. of Cinema Studies, organized by its new PhD cohort: yours truly, Jorge Luis Borregales Vélez, Yuxin He & Clone Wen.
Friday Feb 27-March 1st
Keynote Speaker: Dr. Debashree Mukherjee
Between too much and not enough, cinema and media studies move within the paradoxes of care and neglect, curation and erasure, framing and forgetting. It is within this unstable space that ethical, aesthetic, and material questions emerge about how we preserve, circulate, and engage with images across uneven global infrastructures. This graduate conference invites scholars, artists, archivists, and practitioners to think dialectically about abundance and scarcity as material reflections, fiscal realities, epistemic conditions, and aesthetic strategies across cinema and media. Rather than lamenting scarcity or celebrating abundance, this conference asks what kind of zone of potentiality scarcity delineates, and how it enables us to encounter the abundant possibilities of methodologies;
Ultimately, how could we turn insufficiency itself into a critical and creative abundance for studying cinema and media?
big shoutout @maxitype_com for posters and fonts
You are invited to the ‘Abundance/Scarcity’ Conference at Martin Scorsese’s Dept. of Cinema Studies, organized by its new PhD cohort: yours truly, Jorge Luis Borregales Vélez, Yuxin He & Clone Wen.
Friday Feb 27-March 1st
Keynote Speaker: Dr. Debashree Mukherjee
Between too much and not enough, cinema and media studies move within the paradoxes of care and neglect, curation and erasure, framing and forgetting. It is within this unstable space that ethical, aesthetic, and material questions emerge about how we preserve, circulate, and engage with images across uneven global infrastructures. This graduate conference invites scholars, artists, archivists, and practitioners to think dialectically about abundance and scarcity as material reflections, fiscal realities, epistemic conditions, and aesthetic strategies across cinema and media. Rather than lamenting scarcity or celebrating abundance, this conference asks what kind of zone of potentiality scarcity delineates, and how it enables us to encounter the abundant possibilities of methodologies;
Ultimately, how could we turn insufficiency itself into a critical and creative abundance for studying cinema and media?
big shoutout @maxitype_com for posters and fonts
You are invited to the ‘Abundance/Scarcity’ Conference at Martin Scorsese’s Dept. of Cinema Studies, organized by its new PhD cohort: yours truly, Jorge Luis Borregales Vélez, Yuxin He & Clone Wen.
Friday Feb 27-March 1st
Keynote Speaker: Dr. Debashree Mukherjee
Between too much and not enough, cinema and media studies move within the paradoxes of care and neglect, curation and erasure, framing and forgetting. It is within this unstable space that ethical, aesthetic, and material questions emerge about how we preserve, circulate, and engage with images across uneven global infrastructures. This graduate conference invites scholars, artists, archivists, and practitioners to think dialectically about abundance and scarcity as material reflections, fiscal realities, epistemic conditions, and aesthetic strategies across cinema and media. Rather than lamenting scarcity or celebrating abundance, this conference asks what kind of zone of potentiality scarcity delineates, and how it enables us to encounter the abundant possibilities of methodologies;
Ultimately, how could we turn insufficiency itself into a critical and creative abundance for studying cinema and media?
big shoutout @maxitype_com for posters and fonts
You are invited to the ‘Abundance/Scarcity’ Conference at Martin Scorsese’s Dept. of Cinema Studies, organized by its new PhD cohort: yours truly, Jorge Luis Borregales Vélez, Yuxin He & Clone Wen.
Friday Feb 27-March 1st
Keynote Speaker: Dr. Debashree Mukherjee
Between too much and not enough, cinema and media studies move within the paradoxes of care and neglect, curation and erasure, framing and forgetting. It is within this unstable space that ethical, aesthetic, and material questions emerge about how we preserve, circulate, and engage with images across uneven global infrastructures. This graduate conference invites scholars, artists, archivists, and practitioners to think dialectically about abundance and scarcity as material reflections, fiscal realities, epistemic conditions, and aesthetic strategies across cinema and media. Rather than lamenting scarcity or celebrating abundance, this conference asks what kind of zone of potentiality scarcity delineates, and how it enables us to encounter the abundant possibilities of methodologies;
Ultimately, how could we turn insufficiency itself into a critical and creative abundance for studying cinema and media?
big shoutout @maxitype_com for posters and fonts
You are invited to the ‘Abundance/Scarcity’ Conference at Martin Scorsese’s Dept. of Cinema Studies, organized by its new PhD cohort: yours truly, Jorge Luis Borregales Vélez, Yuxin He & Clone Wen.
Friday Feb 27-March 1st
Keynote Speaker: Dr. Debashree Mukherjee
Between too much and not enough, cinema and media studies move within the paradoxes of care and neglect, curation and erasure, framing and forgetting. It is within this unstable space that ethical, aesthetic, and material questions emerge about how we preserve, circulate, and engage with images across uneven global infrastructures. This graduate conference invites scholars, artists, archivists, and practitioners to think dialectically about abundance and scarcity as material reflections, fiscal realities, epistemic conditions, and aesthetic strategies across cinema and media. Rather than lamenting scarcity or celebrating abundance, this conference asks what kind of zone of potentiality scarcity delineates, and how it enables us to encounter the abundant possibilities of methodologies;
Ultimately, how could we turn insufficiency itself into a critical and creative abundance for studying cinema and media?
big shoutout @maxitype_com for posters and fonts
You are invited to the ‘Abundance/Scarcity’ Conference at Martin Scorsese’s Dept. of Cinema Studies, organized by its new PhD cohort: yours truly, Jorge Luis Borregales Vélez, Yuxin He & Clone Wen.
Friday Feb 27-March 1st
Keynote Speaker: Dr. Debashree Mukherjee
Between too much and not enough, cinema and media studies move within the paradoxes of care and neglect, curation and erasure, framing and forgetting. It is within this unstable space that ethical, aesthetic, and material questions emerge about how we preserve, circulate, and engage with images across uneven global infrastructures. This graduate conference invites scholars, artists, archivists, and practitioners to think dialectically about abundance and scarcity as material reflections, fiscal realities, epistemic conditions, and aesthetic strategies across cinema and media. Rather than lamenting scarcity or celebrating abundance, this conference asks what kind of zone of potentiality scarcity delineates, and how it enables us to encounter the abundant possibilities of methodologies;
Ultimately, how could we turn insufficiency itself into a critical and creative abundance for studying cinema and media?
big shoutout @maxitype_com for posters and fonts
You are invited to the ‘Abundance/Scarcity’ Conference at Martin Scorsese’s Dept. of Cinema Studies, organized by its new PhD cohort: yours truly, Jorge Luis Borregales Vélez, Yuxin He & Clone Wen.
Friday Feb 27-March 1st
Keynote Speaker: Dr. Debashree Mukherjee
Between too much and not enough, cinema and media studies move within the paradoxes of care and neglect, curation and erasure, framing and forgetting. It is within this unstable space that ethical, aesthetic, and material questions emerge about how we preserve, circulate, and engage with images across uneven global infrastructures. This graduate conference invites scholars, artists, archivists, and practitioners to think dialectically about abundance and scarcity as material reflections, fiscal realities, epistemic conditions, and aesthetic strategies across cinema and media. Rather than lamenting scarcity or celebrating abundance, this conference asks what kind of zone of potentiality scarcity delineates, and how it enables us to encounter the abundant possibilities of methodologies;
Ultimately, how could we turn insufficiency itself into a critical and creative abundance for studying cinema and media?
big shoutout @maxitype_com for posters and fonts
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
aaaaah @pioneerworks‘ Press Play 2025 was so much funnnn!!!
Big, big shoutout to the new and familiar souls who stopped by the @afi.onl / @anteism_books table, your fruitful exchanges, laughs, and genuine curiosity truly carried the weekend.
Big ups to our fellow bookmakers keeping the love of print eternal, especially my wonderful table neighbors, @thirdplacezine @_venndiagramm @51personaeproject 📖♾️
It’s such a joy to be able to showcase the incredible titles we’ve created over the years with inspiring artists & collaborators who make our table a maximalist square of gems; @sougwen , @saintheron, @afrotectopia @ibiyane, @nicholasgrenier, @archivojotxs @letramuertainc @j7md , Nick Montfort, Nicholas Grenier, Casey Reas , @book_arts_solidarity
Endless thanks the organizing team at Press Play for holding such a beautiful space for kinship in print 🩶
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
A slightly delayed dispatch, but some moments ask to be carried slowly. From table sisters at Press Play Book Fair 2024 to this gathering late 2025 within the @afrotectopia universe, such full-circle moments are what I live forrr.
It was truly an honor to contribute my film essay “Space’s Sensuousness” to this living constellation of radical imagination, futurity, and Black speculative thought.
Here’s a look back from the screening of ‘Black Metal’ and the post-screening conversation between exhibition curator @ariciano and myself. Hosted and organized by @montclair_galleries in celebration of the exhibition ‘The Age of Black Metal’, this gathering moved through vibrant and necessary conversations, connecting the ‘Black Metal’ film to wider canons of consciousness and culture, from Judith Butler to Frantz Fanon.
Together, we considered what it might mean to expand towards the design of ideal futures we can actively author together, all while remaining grounded in our immediate societal urgencies.
Endless shout of love to Ari for the invitation, trust, and care. I’m continuously in awe of your vision and dedication to it, to @afrotectopia’s luminous community, and to Alyssa and Eric of Montclair University for their spectacular work on this exhibition. ✨
***Please DM if you’d like a zine kept for you, we have extras***
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
!!! 𝗡𝗘𝗪 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 𝗘𝗗𝗜𝗧𝗜𝗢𝗡 𝗢𝗨𝗧 𝗡𝗢𝗪 !!!
𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝: 𝘈 𝘎𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘈𝘳𝘤𝘩𝘪𝘷𝘰 𝘑𝘰𝘵𝘹𝘴
words by @inakimori · edited by @afi.onl
This fourth and bilingual edition of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 casts its eye toward Mexican cinema’s queer undercurrent with @archivojotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen.
Across three seminal film essays:
𝘔𝘢𝘤𝘩𝘰𝘴 (1990),
𝘜𝘯𝘢 𝘙𝘢𝘵𝘢 𝘦𝘯 𝘭𝘢 𝘖𝘴𝘤𝘶𝘳𝘪𝘥𝘢𝘥 (1979), and
𝘉𝘳𝘢𝘮𝘢𝘥𝘦𝘳𝘰 (2007),
this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iñaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema.
From Enrique Gómez Vadillo’s subversion of the ‘cine de ficheras’ genre, to Alfredo Salazar’s sapphic horror, to Julián Hernández’s tender reimagining of male-to-male intimacy; these texts unearth the contradictions that have shaped Mexican cinema’s negotiation of sexuality, colorism, nationalism, and class.
The pages of 𝘌𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤 𝘌𝘭𝘶𝘴𝘪𝘰𝘯𝘴 𝘐𝘝 unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.
༒CLICK SHOP ON AFI.ONL NOW NOW NOW༒
—
Research & Words · @inakimori of @archivojotxs
Edited · @afi.onl
Design · @afi.onl with the help of @julietteduhe & @dani.el.h
Spanish Title Logo · @letramuertainc
Printed and Binded · @bookartca | @anteism_books
Copy-edited in English · @nataliewco
Copy-edited in Spanish · @inakimori
Publishing & Distribution Collaborators · @anteism_books & @letramuertainc
Photos · @samorius of @letramuertainc
*A special thank you to filmmaker Julian Hernandez for sharing original and unrevealed images as well as the original poster of ‘Bramadero’, which we offer in the special edition.*
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
Yes yes, the first woman to publish on Turtle Island (North America) was a Black woman in Canada.
In 𝙱𝚕𝚊𝚌𝚔 𝙲𝚊𝚗𝚊𝚍𝚒𝚊𝚗 𝙿𝚛𝚒𝚗𝚝 𝙲𝚞𝚕𝚝𝚞𝚛𝚎𝚜: 𝙾𝚏 𝚀𝚞𝚒𝚎𝚝 𝚊𝚗𝚍 𝙴𝚗𝚍𝚞𝚛𝚒𝚗𝚐 𝙻𝚎𝚐𝚊𝚌𝚒𝚎𝚜 for @contemporaryand , I trace a lineage from Mary Ann Shadd Cary to the hands-on book-vessels of small Black Canadian presses, and onward to my own practice in independent publishing today.
With a focus on presences that both preserve and create the futures of Black print in the “True North”, including spaces like @anteism_books and @artexte , the essay reflects on a quiet yet enduring legacy of creation, care, and archival insistence.
Thank you @artofetheltawe and Teresa Sigmund for your thorough editorial process
Read the essay on @contemporaryand
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.