Lafayette Anticipation associate curator Anna Colin talks to artist Tyler Coburn about Ergonomic Futures, a speculative project engaged with art, design, science, anthropology and writing. In this interview, Coburn discusses the research, production process and network of collaborators of a multilayered project ultimately concerned with the futures of humankind. Anna Colin: When one comes across your museum seats Ergonomic Futures (2016—) in contemporary art exhibitions—and soon in natural history, fine art, and anthropology museums—they look… [read more »]
Virginia-based Elysia Crampton remixes the lead track from Sim Hutchins’ ‘I Enjoy To Sweep A Room‘ (out now on No Pain In Pop), bringing some of her American Drift signatures (FX hits, breathless trap chant samples and wind/brass MIDI preset). She ends her remix with a recital of names of transwomen murdered in the US this year. See a statement by the artist below.
“Today, trans rights and trans advocacy are more crucial than ever, existing in direct opposition and in contrast to the fast-enclosing, restrictive, highly-policed ideas of trans visibility and trans legitimacy being circulated within the public/media sphere. The murders of trans women of color, particularly black trans women, are being reported at a much higher rate than previous years in the United States – definitely more so than in La Paz, where trans deaths often go unreported (where police regularly assault sex workers and a trans campesina was stoned to death by a mob in El Alto just a few years ago). We, trans and gender non-conforming people from Bolivia and across South America, must stand together with our US comrades, in transnational solidarity. In Bolivia, we’ve come to use the acronym TLBG instead of LGBT, putting the T for trans first, as trans women in particular have been vital to the entire movement as a whole since the beginning. And this is how it was in the United States, at watersheds like Stonewall, with figures like Marsha P Johnson, Miss Major, and Sylvia Rivera. These were trans women of color leading the movement in a white patriarchal carceral state, in a queer community still largely governed by misogyny, racism, and gay-centrism. It’s sad to see the continued white/cis-washing of not only the LGBTQIA movement but also the disappearance of the real history of that movement. This is why i maintain the significance of putting names back into our work, the names of our influencers and our collaborators, because it is only us that can preserve those histories, those names, should they be lost to future generations.”
– Elysia Crampton