Portrait: Unknown Maori Sitter
Bohemia/New Zealand (1874)
photo via supernaut.info
She had a dream and she realized it.
Hey wait but sit down
This is Megumi Igarashi
She’s a Japanese artist
Japan, the country with some of the most fucked up pornography and the penis festival
Where the vagina is basically illegal to talk about
So she did a bunch of art featuring 3D sculptures of her vagina, including this kayak, and was put in jail for it
She was indicted again in December on obscenity charges for selling vagina art to crowdfund for the kayak and could spend two years in prisonIn Japan, women’s vaginas are treated as though they are men’s property. The trains here usually display pornographic advertisements. As a woman, I find that blatant objectification to be humiliating. I’m disgusted by it. My body belongs to me.
So, with this project I wanted to release the vagina from the standard Japanese paradigm. Japan is lenient towards expressions of male sexuality and arousal, but not so for women. When a woman uses her body in artistic expression, her work gets ignored, and people treat her as if she’s some sex-crazed idiot. It all comes back to misogyny. And the vagina is at the heart of it.
The vagina is ridiculed. It’s lusted after. Men don’t see women as equals—to them, women are just vaginas. Then they call my vagina-themed work “obscene,” and judge me according to laws written by and for men. [x]
She plans to turn her trial in to a manga comic. She seems pretty sure she’s not going to do any jail time but if you’d like to help her pay for her inevitable fine and court fees, you can check out her online store. There are little glow in the dark vagina characters.
There is a way that violence shapes the body: Being conditioned to anticipate harm, being sensitive to signs that may be nothing, having the senses trained to news of a blow. In going to the pier every day to listen for a name, the days come to cycle around an absence. Maybe we can talk about this chemically, like a traumatic stress response, but pathology and PTSD is a discursive way of locating that violence in the body itself, as an anomaly that can be treated through greater care in the form of greater control. The settler desire to fix, improve, save, is the second half of the settler desire to kill, displace, conquer. In this way, signs of violence in the Indigenous body, as in the sick body, invite care as further incursion, and the body – inside and out – is brought more closely into the colonial order. Violence-and-care is a strategy of settler incursion; a transit of empire.
(Thoughts on readings: Lisa Stevenson, Life Beside Itself: Imagining Care in the Canadian Arctic (2014), and Jodi Byrd, Transit of Empire: Indigenous Critiques of Colonialism (2011). There is probably a lot of Foucault underlying both: The Birth of the Clinic and Madness and Civilization)
In July, 2012, Christi Belcourt, a Michif (Métis) artist who lives near Sudbury, made a Facebook appeal for help with a year-long collaborative art project called Walking With Our Sisters, to honour 600 missing or murdered aboriginal women. She hoped to assemble a show of 600 pairs of hand-made moccasin vamps (uppers) – but by year’s end had received 1,723 pairs, from artists and craftspeople all over North America and beyond. Sixty-five new beading circles sprang up around the project, and many people learned traditional crafts to participate – “a beautiful side-effect,” says Ms. Belcourt.
Achille Mbembe | Necropolitics
Love these questions…
Anna Mae Aquash was a Mi’kmaq activist from Nova Scotia who became a prominent member of the American Indian Movement (AIM) during the early 1970s. She was found murdered in 1976 on the Pine Ridge Indian Reservation. https://bit.ly/SiHUps
Jonathan Labillois. Still Dancing. 2014.
This powerful piece was created by Jonathan Labillois, member of the Listuguj Mi’gmaq First Nations in Gaspé Quebec. It was donated to the Montreal Native Women’s Shelter to help raise awareness of the 1000+ missing and murdered aboriginal women in Canada.
Coming back for the holidays SPECIFICALLY to seed the PM’s carpet with tiny legos.
You want to talk “transparency” and “accountability”? Start with yourselves, neocons.
Assimilation Aesthetic, By Ruth Hopkins
…And Native appropriation continues to evolve in ever more bizarre ‘fashion.’
Apparently putting scantily clad white women in warbonnets is losing its shock value, because designers are moving into a new phase of cultural assassination, in hopes of making genocide doubly lucrative.
Imagine my horror this morning, upon discovering Ralph Lauren’s latest venture. Let’s call it Assimiliation Era Chic.
Old portraits of Native men from the Allotment and Assimilation Era (1887–1943) are displayed like cover models among Ralph Lauren’s latest line for the 2014 Holiday season. I did a double take for an instant, because one of the men pictured looked like my ancestor.
Mr. Lauren, you can’t hide behind words like ‘vintage inspired’ and ‘rustic’ anymore. It’s plain to see that you’re right back in your comfort zone; the one where Natives are oppressed, voiceless, and extinct, to be used at your leisure to feed the beast that is pop culture consumerism and line your silken pockets.
You see, Ralph Lauren is a repeat offender. He’s been unapologetically making bank off American Indians for years. Just last Spring, we collectively cringed at Ralph Lauren shirts brandishing skulls bedecked in warbonnets, and lest we forget, old Ralphy welcomed Oprah herself into his tipi festooned RL Ranch back in 2012. He seeks to champion classic Americana. Fine. So be it. But, there’s one problem. We aren’t your token Indians.
Stop trying to put a price tag on our heritage and sell us, and make a mockery of the genocide our Native ancestors suffered at the hands of your forefathers, by forcing them to represent you just to boost holiday sales.
Mr. Lauren, these stylish Native men in your pictures are not your employees, nor your slaves. They lived. They have names. They come from a proud lineage of Native peoples older than America. Each warrior pictured is someone’s grandfather, and I guarantee they suffered mightily just to survive the genocidal holocaust European invaders inflicted upon them. Why do they look so stoic? They were brave Native warriors who witnessed the massacre of innocents, had their lands stolen from them, and faced an uncertain future after the Federal government broke every treaty they ever made with Native nations in this country. They were fighting for the survival of our kind.
What many people alive today fail to realize is Natives of the Assimilation Era wore western clothes because they were forced to do so. We were hunted by cavalry soldiers and made to give up our freedom and live on reservations. Our culture and language was ripped from us. Our ceremonies and religious practices were declared illegal. My own father and uncles, who were torn from their mother’s embrace and put in boarding school, were mercilessly beaten for speaking their Native tongue. They didn’t want to wear itchy woolen vests and tight narrow shoes made for white children. They had no choice. The fashion Ralph Lauren glorifies arose from oppression.
READ THE REST HERE: https://lastrealindians.com/assimilation-aesthetic-by-ruth-hopkins/
Before and after photos showing the extent of the damage they caused to the site. Everything in the red dotted line was Greenpeace.
So Greenpeace decided to destroy an ancient and sacred site to make a point. This is the kind of respect even environmental activists have for indigenous ancestors and land. The worst part is, couldn’t they have just photoshopped that to make their point? It looks terrible anyway.
Limited Edition of 20 Fine Art Prints.
Oil based enamel inks printed on High Quality Heavyweight Rives BFK paper. 11x14” decal edge. Navajo TeesNosBos rug design as background. $65
Shipping only to U.S. and Canada.
Tomorrow, November 20th at 6pm, Teresita Fernández will visit massmoca to discuss her artistic practice, touching on past work as well as her exhibition As Above So Below, in which she transforms materials and their settings into an enveloping perceptual experience. Get your ticket here.
Images: As Above So Below, Installation view, MASS MoCA; Hothouse, Installation view, Museum of Modern Art; and Installation view Kyoto University of Art and Design (top to bottom).
Teresita begins her talk at 6PM. Free for members / $7 not-yet-members. See you there!