The art production and process of The House That Herman Built create platforms for mobilizing, and function as instigative forms of communication that ensure the continued efforts to mobilize against the ever-expanding prison-industrial complex. —Nasrin Himada
Continue Reading...The Indian Act defined Indigenous peoples as “Indians” with criteria that specifically excluded Indigenous women and their children, as well as the female children of Indian men… While the Indian Act is the worst example of federally imposed colonial legislation that will lead to the legislative extinction of Indigenous peoples, it is also the federally controlled access point for the necessities of life for many Indigenous peoples. —Pamela Palmater
Continue Reading...To strive for abolition is to acknowledge that under the current regime, social justice can’t be accomplished by simply extending privileges, one niche market at a time, until we are all equally free to choose between one bleak life sentence or another. In this issue, the thematic of abolition is fleshed out through an eclectic collection of case studies and histories characterized by their insistence on addressing exploitation holistically.
Continue Reading...We are comrades with Hysteria. We believe in truth but not His truth. We present here our reflections on the dilemma of identity and liberation. We suggest that communization theory, a tendency within the tradition of left or anti-state communism, offers us some tools for thinking through the seeming conflict between autonomy and abolition as approaches to our own liberation. Yet we also point to the limits of this theory as it currently exists, and show how we might draw upon feminist, queer and anti-racist theoretical and political traditions to begin the project of developing a more rigorous and complex theoretical framework. —Folie à Deux
Continue Reading...With the States of Postcoloniality series, FUSE set out to engage the roles of artists and the arts in a global politics of decolonization. With this issue, we are concerned with art’s contribution to Indigenous sovereignty in the North.
Continue Reading...The word “occupy” has understandably ignited criticism from Indigenous people as having deeply colonial implications. Its use erases the brutal history of genocide that settler societies have been built on. This is not simply a rhetorical or fringe point; it is a profound and indisputable matter of fact that this land is already occupied. —Harsha Walia
Continue Reading...To Shine: Our major cultural artefacts, or at least those endorsed by dominant culture, such as museums, monuments, statues and the like, suggest through their passive advocacy of stainlessness a paradoxical commitment to both permanence and progress. —Etienne Turpin
Continue Reading...The Carrotworkers’ Collective are a London-based group of current or former interns, cultural workers and educators primarily from the creative and cultural sectors who regularly meet to think together around the conditions of free labour in contemporary societies. They undertake participatory action research around voluntary work, internships, job placements…
Continue Reading...Contributors: Harsha Walia, Syed Hussan, Max Haiven, Erin Konsmo & Louis Esme Cruz, Etienne Turpin, Kevin Smith & Clayton Thomas-Muller, Nasrin Himada w/ Red Channels, Haseeb Ahmed, Peter Morin, Chase Joynt & Alexis Mitchell, Linda Grussani, Natalie Kouri-Towe, Julian Jason Haladyn & Miriam Jordan, Nahed Mansour
Continue Reading...“The thing is, the library is not a collection of the coolest or best art books coming out of the Middle East—although we may possess many of them—it is in fact a material critique of cultural production and the discourses that presuppose such books…They are no longer just the transparent envelopes for discourse, they are objects—and as objects are subject to the pressures and incentives of material production and a wide range of material objectives; economic, historical and political.” —Babak Radboy (Bidoun Library)
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