While becoming the tallest skyscraper in the nation after its completion, Emek İşhanı uniquely amalgamated the opposing sentiments of anti-imperialism and pro-American rhetoric that marked the Cold War in Turkey through the commission of a public artwork by leftist Turkish-Ethiopian artist Kuzgun Acar (1928-1976) to be hung on its entrance facade in 1965.
Over the next six months, Conversations on Sound and Power will gather exchanges from a wide variety of contemporary artists, scholars, writers, activists, and interdisciplinary practitioners concerned with how sound and ideas about sound shape our historical, experiential, juridical, intersubjective, and current socio-political entanglements.
Mind over matter in the grammars of Enlightenment geology became, in the practical geology of colonialism, mine overmatter, that is, matter recognized by the imperative to extract and accumulate through subtending stratal relations.
What can we learn from water? Fluidity, impermanence, ease of movement, care, methods to listen, tenderness. Screening for the month of November, UMBILIC is an offering – forever incomplete; an entry point into uncovering different (hi)stories that can help to situate our liquid selves.
The Manguebit movement and their “Crabs with Brains” manifesto is a conceptual paradigm that brings the notion of maternity, fertility, diversity, and productivity together with the notion of a technology, digital media, and computation; that can facilitate syncretism, that can bridge the gap not only across the Atlantic, but between those that survived on land and those still locked up in the gouffre.
Can we criticize colonialism without criticizing capitalism? Once we understand the division of domains and shared responsibilities between imperial rule, private investors, and a global market, the factor linking 16th-century colonialism to contemporary forms of neo-colonial and extractivist policies becomes evident.
Originally commissioned by Manifesta 13, Group-Think is a sports and civic education program developed by Stine Marie Jacobsen in collaboration with the French contemporary circus Archaos, tested by students in several schools in Marseille – and now a pocket-sized bilingual handbook.
MARCH is pleased to announce our first long term inquiry, Publishing As Protocol, which aims to explore the relationship between self-organizational models and technological sovereignty.
Written in Cap-Haïtien, Haïti between July and August of 2021 (after the July 7th assassination of President Jovenel Moïse and before a devastating 7.2 magnitude earthquake struck the southern peninsula on August 14th), this creative nonfiction essay navigates complicated socio-political frictions following the assassination of a nation’s leader while negotiating the personal sentiments of a heart tethered to a place in constant strife.
In the wake of the pandemic, our screens remain the central point of almost everything relating to spectatorship including the networks that facilitate our hyper-connectedness and circulate data generated by our inner worlds. Spectatorship then becomes a process of self-identification.
If there is an oxymoron, a vulgar beast hidden in plain sight in postcolonial Zimbabwe, it is the black market, an ever-shifting diabolic Wall Street located on the streets. What do we hear when we slow down and listen to the culture in these spaces where the nation’s wealth is captured and eaten by a select few?
On occasion of her exhibition Slippery When Wet at Artists Space and publication Too Salty Too Wet 更咸更濕, Karen Cheung speaks with Tiffany Sia on the futurity of Hong Kong.
Visionary artists, curators, activists, designers, architects, and arts organizers from around the globe discuss their work in creating groundbreaking new models for the arts sector over four thematic panels curated by Ceci Moss and hosted by Emily Carr University of Art + Design.
“The feeling of being ‘apart together’ is an exceptional situation, of sharing something important or mutually withdrawing from the rest of the world and rejecting the usual norms, retaining its magic beyond the duration of the individual game.” – Ray Oldenburg, The Great Good Place
We are pleased to announce the next issue of MARCH will be edited by Imani Jacqueline Brown, an artist, activist, and researcher from New Orleans whose work investigates the continuum of Extractivism, from settler-colonial genocide and slavery to contemporary gentrification, fossil fuel production, and police and corporate impunity.
“In what I am calling the weather, antiblackness is pervasive as climate. The weather necessitates changeability and improvisation; it is the atmospheric condition of time and place; it produces new ecologies.” – Christina Sharpe
Held online December 12, 2020, this roundtable discussion on “art & strategy” brought together perspectives from Nora N. Khan, Serubiri Moses, Zoé Samudzi, Andrea Steves, MARCH founders Sarrita Hunn and James McAnally, and was moderated by Gelare Khoshgozaran with Human Resources (and thanks to Hugo Servantes) in Los Angeles.
Filmmaker Isiah Medina’s adaptation of Nick Srnicek and Alex Williams’s 2015 manifesto (of the same title) prefigures the emancipation of our time in a post-work future.
An overlap between the experience of temporality in the contemporary condition of burnout and time-flow in relation to social change has emerged.
We are pleased to announce our distribution collaboration with Reliable Copy, an independent, non-profit publishing house dedicated to the realization and circulation of works, projects and writing by artists based in Bangalore, India.
To celebrate this partnership, all Subscription Members who have joined by the end of February will receive both MARCH 01 and Reliable Copy’s newest publication, The 1Shanthiroad Cookbook.
Nihaal Faizal and Elaine W. Ho discuss their artist-run publishing strategies operating Reliable Copy in Bangalore, India and Display Distribute in Kowloon, Hong Kong.
A Roundtable Discussion on Art & Strategy
Saturday, December 12 @ 1PM PST/4pm EST/9pm GMT
The conversation brings together perspectives from Nora N. Khan, Serubiri Moses, Zoé Samudzi, Andrea Steves, MARCH founders Sarrita Hunn and James McAnally, and is moderated by Gelare Khoshgozaran with Human Resources for the occasion of MARCH: a journal of art & strategy’s inaugural print edition.
Valentina Vella reports back from Casco Art Institute: Working for the Commons’ second annual assembly “Our House is On Fire” (2019) and Climate Justice Code work ahead of their third assembly “We Owe Each Other Everything” that will take a new format online December 11-12, 2020.
Training for the Future was an initiative developed by Studio Jonas Staal in conjunction with the 2019 Ruhr Triennale curated by Florian Malzacher.
Caitlin Berrigan narrates how living with a virus reveals the structural inequalities of profit-oriented biomedicine.
It is a difficult task to learn how to debunk the myth of ‘protection’ promised by policing, militarization, concrete national borders and governance by finance when our education system operates under the same structures. The emergence of a subject capable of refusing these terms is a primary task of antifascism.
“This protest phase will need to increase its durability to make the kinds of cultural and social transformations needed. It has to grow into a bigger second phase; one that’s focused on the many arrangements of American life that produce black death.” – Design Studio for Social Intervention
Umi Hsu and Theodore (ted) Kerr share their thoughts about the recently published zine “What Does a Covid-19 Doula Do?” within the larger context of the ongoing COVID-19 crisis and resurgence of powerful Black Lives Matter activism sweeping the world.
How are you doing today? How is your breathing? Have you checked the news yet? Is this what you expected from your year? Do you think we’ll still have elections by the end of it? What have you been cooking? Are you taking the appropriate number of supplements? Are you getting in your steps? Are we living in a failed state? Do you like my YSL knockoff mask my friend sent? What art is bringing you solace? Are you still consolable? Do you want to share a cocktail over FaceTime later? When are we anyway? Are we already too late?
Andrea and James