I don’t like the idea of giving voice to anyone. People have their own voice. Who the fuck am I to give voices to people? That’s very arrogant. I would just conceive it as this sculpture that has this potential in it, in which things can happen, and by placing it in a very specific way and a very specific moment, a very specific result may come out of it.


—Guillermo Calzadilla in “The Art of Response-ability: Allora & Calzadilla on Activism, Language, and Catalyzing Change”

I don’t like the idea of giving voice to anyone. People have their own voice. Who the fuck am I to give voices to people? That’s very arrogant. I would just conceive it as this sculpture that has this potential in it, in which things can happen, and by placing it in a very specific way and a very specific moment, a very specific result may come out of it.

—Guillermo Calzadilla in “The Art of Response-ability: Allora & Calzadilla on Activism, Language, and Catalyzing Change

Dread Scott writes an Artist Op-Ed on the killing of Michael Brown by Ferguson, Missouri, police:


  The only reason we are talking about the murder of Michael Brown today is because people stood up and stayed in the streets. In the face of increasing violence from various police forces, the only response is stepping up the struggle for justice. If you are the head of an empire and see that an unarmed youth is gunned down in cold blood by the police and your main advice is for people to be calm, your rule is illegitimate.

Dread Scott writes an Artist Op-Ed on the killing of Michael Brown by Ferguson, Missouri, police:

The only reason we are talking about the murder of Michael Brown today is because people stood up and stayed in the streets. In the face of increasing violence from various police forces, the only response is stepping up the struggle for justice. If you are the head of an empire and see that an unarmed youth is gunned down in cold blood by the police and your main advice is for people to be calm, your rule is illegitimate.

Artist James Bridle on terrorism, “deprivation” of citizenship,” and Hannah Arendt’s notion of the “right to have rights”:


  Citizenship is the right to have rights, and our attitude to citizenship, as states and individuals, defines and produces our attitude to other human beings. As we accelerate into the 21st century and the third millennium, citizenship, or the lack thereof, is going to be one of the defining issues. Look at the increasing ethnic and religious fractures of post-Imperial and post-Soviet nation-states, the coming age of sea-level rises and inevitable climate-change refugee crises, the rise of pan-global financial elites, and the increasing individual identification not with the nation-state but with digital space and corporate cloud-services. The cloud renders geography irrelevant—until you realize that everything that matters, everything that means you don’t die, is based not only on which passport you possess, but also on a complex web of definitions of what constitutes that passport. In the new battles over citizenship, those definitions are constantly under attack.


From "The Siege on Citizenship," the first installment in the Walker Art Center’s new series Artist Op-Eds. Next up: Metahaven, Liz Deschenes, Liam Gillick, others.

Artist James Bridle on terrorism, “deprivation” of citizenship,” and Hannah Arendt’s notion of the “right to have rights”:

Citizenship is the right to have rights, and our attitude to citizenship, as states and individuals, defines and produces our attitude to other human beings. As we accelerate into the 21st century and the third millennium, citizenship, or the lack thereof, is going to be one of the defining issues. Look at the increasing ethnic and religious fractures of post-Imperial and post-Soviet nation-states, the coming age of sea-level rises and inevitable climate-change refugee crises, the rise of pan-global financial elites, and the increasing individual identification not with the nation-state but with digital space and corporate cloud-services. The cloud renders geography irrelevant—until you realize that everything that matters, everything that means you don’t die, is based not only on which passport you possess, but also on a complex web of definitions of what constitutes that passport. In the new battles over citizenship, those definitions are constantly under attack.

From "The Siege on Citizenship," the first installment in the Walker Art Center’s new series Artist Op-Eds. Next up: Metahaven, Liz Deschenes, Liam Gillick, others.

walkerartcenter
walkerartcenter:

"Moving image is clearly still a term that’s up-for-grabs. Film, meanwhile, is an interesting case as a moving image because it’s static images that appear to move at 24 frames per second. Movement is an illusion. This history emerges out of photography, namely Eadward Muybridge who took sequential photographs of bodies in motion—the human body, of horses, of people wrestling, dancing, and so on—and animated them in his machine, the zoopraxiscope."
From cat gifs to Eadward Muybridge, what exactly does the term “the moving image” encompass?

walkerartcenter:

"Moving image is clearly still a term that’s up-for-grabs. Film, meanwhile, is an interesting case as a moving image because it’s static images that appear to move at 24 frames per second. Movement is an illusion. This history emerges out of photography, namely Eadward Muybridge who took sequential photographs of bodies in motion—the human body, of horses, of people wrestling, dancing, and so on—and animated them in his machine, the zoopraxiscope."

From cat gifs to Eadward Muybridge, what exactly does the term “the moving image” encompass?