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 »]
Meet Princess Nokia (Wavy Spice’s alter ego!), the bumpin’ new queen of femcore self-sufficiency. In “Versace Hottie,” the grimy, jungle-inspired beat resembles our accelerating heart-rate as we approach the goddess herself, trembling in sweat, just before getting turned down. Just like her bra and panties, no one can touch her. We are all equal in the eyes of this bossy introvert: equally disposable, that is. Princess Nokia raises the stakes of authentic vanity with righteous indignation — after all, why does everyone choose to be, as she lays bare, “a snitch over a whore?” Her emancipatory promiscuity, like Trina but more dreamy, presents us with the natural response to being overwhelmed by others’ desires… “I don’t like nobody,” because everyone likes me. Until you listen to “Versace Hottie,” you’ll never know what it really means to be told: you can’t sit with us.
Shifting gears from his smooth, crisp hit aesthetic in “Vicki Gotti,” producer Owwwls displays a fiery capacity to throw down thick and dirty dance grooves just as effortlessly as he shines in the R&B pop domain.