Carlos Martiel, Encomienda (2018), CCK, Buenos Aires, Argentina.
Do you remember the last time you experienced a live, in-person performance? Neither can we. This is why we are so excited to open our doors to the public for the first in-person presentation by the Museum in over two years with artist Carlos Martiel’s durational performance, Pink Death on June 2nd, 6-8 pm (EDT). We are also thrilled to host Dayna Danger for our final virtual program of the season in our experimental performance series, Remote Intimacies, followed by a conversation with the artist and curator Regan de Loggans on May 27th, 7-8:30 pm (EDT).
Building on Cuban and international histories, Martiel’s artistic repertoire offers visceral political critiques on social tensions while both embodying and challenging commonly perceived limitations. The performance will gesture toward the vulnerabilities of Black and Latinx LGBTQ people in HIV/AIDs discourse where structural stigmatization, systematic racism, poverty and lack of access to adequate healthcare continue to adversely weigh down marginalized communities who are immensely affected by such inequities. Martiel’s point of departure is the history of the pink triangle, originating in Nazi Germany as an inverted triangle of pink cloth, which was used to identify homosexuals in concentration camps.
Decades later, during the AIDS pandemic of the 1980s in the United States, the pink triangle was reappropriated in a vertical position as a symbol of resistance and solidarity, at a time when people living with HIV/AIDS were met with silence and indifference by institutions worldwide. Pink Death inherently triggers a visual reflection in the context of the current global COVID19 pandemic on the violences still experienced today by gay, queer Black, and Latinx people living with HIV/AIDs in the United States and the global south.
Carlos Martiel (b. 1989, Havana) lives and works in NY. Martiel’s works have been shown in the biennials of Venice, Sharjah, and Vancouver; at the Stedelijk Museum, Walker Art Center, Padiglione d’Arte Contemporanea, MOLAA, Frost Art Museum, and the National Museum of Fine Arts of Havana, and elsewhere. His works are included in the collections of the Guggenheim Museum; Museu de Arte do Rio, and the PAMM, among others.
For this iteration of our Remote Intimacies performance series Danger will draw their performance/screening from their immersion in the hide tanning traditions passed down from their great-grandmother. Danger will join from the Buckskin Babes Hide Tanning Camp in Tio'tia:ke, or so-called Montreal, Canada, where they are currently in residence. Following the screening, they will be in conversation with artist and curator Regan de Loggans.
Dayna Danger is a 2Spirit/Queer, Metis/Saulteaux/Polish visual artist raised in so called Winnipeg, MB. Using photography, sculpture, performance, and video, Danger‘s practice questions the line between empowerment and objectification by claiming space with their larger-than-life scale work. Their current use of BDSM and beading leather fetish masks explores the complicated dynamics of sexuality, gender, and power in a consensual and feminist manner. Danger is currently based in Tio'tia:ke. Danger holds an MFA in Photography from Concordia University. Danger has exhibited her work in Santa Fe, Winnipeg, Ottawa, Montreal, Peterborough, North Bay, Vancouver, Edmonton, and Banff. Danger currently serves as a board member for the Aboriginal Curatorial Collective (ACC/CCA).
Regan de Loggans (they/them) (Mississippi Choctaw/ Ki’Che Maya) is a two-spirit agitator, art historian, curator, and educator based in Canarsie land in so-called Brooklyn. Their work relates to decolonizing, indigenizing, and queering institutions and curatorial practices. They are a member of the Indigenous Kinship Collective: NYC. They have staged actions at the Whitney Biennial, American Museum of Natural History and on the MTA Subway in response to continued settler colonialism and institutionalized racism and violence.
Remote Intimacies is a series of experimental performances created specifically for online viewing and commissioned and co-organized by the ONE Archives at USC Libraries and the Museum.