“All the West knows as ‘art’ since the Enlightenment is an ecology of criteria for inclusion which relies on the colonial subsumption of Black and brown aesthetics.” – Manuel Arturo Abreu
The desire for “inclusion and diversity” are features of an aesthetic deficiency rooted in the erotic lack of the colonial libido. Black and brown participation in an exchange of capital is a sorrowful striving towards health, and might be better understood as the accumulation of moral capital. Here whiteness operates with a sadomasochistic inertia and hypochondria that I will call white death. Technologies subsumed into whiteness can no longer satiate a colonial libido, relegating them to a regulated known. In contemporary art the objectivist perspective required to view the poetic inconclusivity of white death can only be enjoyed from a black and brown perspective. We have been watching a civilisational collapse from the very beginning, these are our stories. — Hamishi Farah
Cheyenne Julien lives and works in The Bronx, New York. Her work has recently been exhibited at Smart Objects in Los Angeles, Loyal Gallery in Stockholm, Arcadia Missa and White Cube Bermondsey in London.
Janiva Ellis was the 2018 recipient of the Stanley Hollander Award and the Rema Hort Mann Foundation Grant. Her paintings have been included in a solo presentation at 47 Canal, New York and the 2018 New Museum Triennial.
Lewis Hammond lives and works in London where he graduated from the Royal Academy of Art in 2017. Ruth Ige is a Nigerian artist living in New Zealand. Her paintings have recently been exhibited in Artspace and RM Gallery, Auckland.
Hamishi Farah is a Somali artist. Recent solo and duo presentations include White ppl think im radical (w Aria Dean), Arcadia Missa, London; Retirement, Gertrude Contemporary, Melbourne.