There’s Something in the Water

Tia-Simone Gardner
This image is an aerial view, likely from a satellite or drone, showing a section of the Mississippi River and an adjacent industrial area. In the top left corner, there's a dark blue

In her book A Billion Black Anthropocenes or None, Kathryn Yussof (2018) describes a thick relationship between extractive capitalism, geologic time, and (anti)Blackness. She writes, “As the Anthropocene proclaims the language of species life – Anthropos – through a universalist geologic commons, it neatly erases histories of racism that were incubated through the regulatory structure of geologic relations.

Dreams as R-evolution

Coral Bijoux
This image depicts a striking art installation set within what appears to be a lush, semi-enclosed garden or greenhouse space. The overall impression is one of nature reclaiming or merging with human-made forms

Dreams as R-evolution—a visual art and single-use plastic installation of sculpture, drawings, and found objects—is an installation originally created in the University of KwaZulu Natal’s Westville campus plant nursery that now speaks to dreaming as a r-evolutionary act in an old colonial gallery, the IZIKO National Gallery in Cape Town.

Apertures

Ritika Ganguly and Alia Jeraj
This image is a screenshot displaying two stylized, dark purple-grey shapes against a soft, light pinkish-white background. The overall impression is that of a projection or a screen.

Apertures: A creative portrayal of domestic violence for SEWA-AIFW is a bricolage of stories and art forms. It draws on a variety of artistic disciplines to represent a spectrum of lived experiences of domestic violence in our societies, and the specter of patriarchy that shapes them. It tells four survivor stories from Minnesota through the lens of survivor stories in New Delhi and Chennai.

Baggage

Setareh Ghoreishi
This image is a four-panel grid, like a split screen from a video, with a warm, somewhat desaturated, vintage aesthetic dominated by shades of golden yellow, orange, and brown, contrasted with

In “Baggage,” I struggle with my baggage, all that I carry with me from home. Every day I carry my memories of Iran with me–with all the emotions and thoughts that brings. This performance shows the complexity inherent in both leaving and staying.

Fractured Threads (Script)

'Stories, Bodies, Movements' Class, Fall 2017
This image captures a diverse group of approximately 15-20 young adults and adults seated on the floor in a semi-circle, facing inwards, in what appears to be a classroom or flexible meeting

Access is provided to a full copy of the script for Fractured Threads.