Our Skin Is A Monument (2020), specially designed for frieze and incorporating a promotional still from Carmen Jones (1954), starring Harry Belafonte and Dorothy Dandridge.
The Sachairi & Peaches Show - S1E17 - Your Sidekick Has Arrived: Nimona's Unique Journey
(Hey there folks! Tumblr is apparently having issues with showing Spotify preview embeds, at least on my end, so for the time being, a link to the episode in question will be provided instead. You can listen to The Sachairi & Peaches Show through various podcast platforms, including Spotify, iHeartRadio, Audacy, TuneIn, Goodpods, Pocket Casts, and others.)
Following his trip to the Washington, DC area, Adrian rejoins Emma as they share about the latter's new internship and other life updates, and the former's aforementioned vacation in the DMV (DC, Maryland and Virginia). Afterwards, they dive into the Netflix animated film, Nimona, and discuss about its unique journey throughout the film and behind the scenes, and Adrian shares his thoughts about Ghanian-British artist and filmmaker John Akomfrah's installation, Purple, currently showing at the Smithsonian's Hirshhorn Museum.
This week's discussion on Nimona contains themes which contain thoughts and depictions of self-harm and suicide. Help is available if you or someone you know is experiencing those thoughts. In the US, you can call the Suicide and Crisis Lifeline at 9-8-8; and The Trevor Project's TrevorLifeline for LGBTQ+ youth and adults by calling 1-866-488-7386 or by texting the word "START" to 678-678. In the UK, you can call the Samaritans at 116-123. Other resources are available in your community and online from the International Association for Suicide Prevention at iasp.info/suicidalthoughts, and from Netflix's own support resources website at wannatalkaboutit.com.
Question of the week: What are your thoughts about Nimona?
Reply now under this recap entry or reblog it with your answer, or if you listen via Spotify, through their Q&A feature!
Border/Talks: A Conversation with John Akomfrah on Sea-Migration, Borders, and Art
"You only manage to escape that void of history by just invoking things in relation to each other, they need to seem as if they are talking to each other, that one is not simply like an absent figure but has resonance, precursors, prehistories, and that they bring all of that to the table when the conversation take place...
The blurring of boundaries and borders is in fact an ethical and an aesthetic strategy."
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"...we need to have a conversation that distinguishes between the two definitions of freedom that underpins these discussions about migration. No one asks this question about capital. No one asks the question about money or goods. Can goods move? Of course, that's just accepted as natural. People? Oh well... And there's something wrong with that neoliberal logic where people make goods, services, commodities more important than human beings. I'm about trying to reverse that logic. It's about how one describes the world, and what you think is of value in the world."