Image courtesy of Postcommodity. Postcommodity: Repellent Fence - 2015. Herberger Institute for Design and the Arts. Critiquing the oversimplified border rhetoric of mass media and bi-partisan politics, Repellent Fence and its corresponding events include the participation of borderlands stakeholders, across diversity and interests, in generative conversations -- as a means of broadcasting complex approximations about the complexity of movement (peoples, cultures, ideologies and capital) of U.S./Mexico transborder systems. THROUGH THE REPELLENT FENCE: A Land Art Film follows art collective Postcommodity as they construct Repellent Fence, a two-mile long outdoor artwork that straddled the U.S.-Mexico border. There are probably few more timely and contentious topics that could be explored by an exhibition of contemporary art than the representation, and often conflicted presence, of African- American Men. Michael Heizer- The Once and Future Monuments is a long overdue addition to the critical and biographical literature of this major figure in American art. The benefit of these narratives are to identify and support indigenous and border community interests, desires, concerns, and goals for creating a more safe, healthy, and culturally appropriate borderlands environment for its citizens. Postcommodity's art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions. The Night is Filled With the Harmonics of Suburban Dreams - 2011. Postcommodity is an interdisciplinary arts collective comprised of Cristóbal Martínez, and Kade L. Twist. Postcommodity's historic land art installation Repellent Fence (2015) was realized at the US/Mexico border near Douglas, Arizona and Agua Prieta, Sonora. The goal is to shift transborder discourses away from dehumanizing and polarizing constructs of nationalism and globalization, and to reposition discourses into a dialogue that is respectful of the indigeneity upon which borders and trade policies have been fabricated. Postcommodity consists of three Native American artists who put land art in a tribal context. Column: Follow up: A 'Repellent Fence' made of air rises at the border. These x-marks indicated coercion (because the treaties were made under unfair conditions), resistance (because they were often met with protest), and acquiescence (to both a European modernity and the end of a particular moment of Indian ... Found insideIn Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. The art installation's oversized scare-eye balloons soared above the landscape . In the works of these and many other Native artists, Shifting Grounds explores themes of presence and absence, connection and dislocation, survival and vulnerability, memory and commemoration, and power and resistance, illuminating the ... Peering skyward at Repellent Fence, Postcommodity's 2015 land artwork that traversed the border. Beginning with nineteenth-century short stories and essays and concluding with contemporary fiction, this book reveals how Chicana literature offers a valuable theoretics of space. The goal is to use the borderlands as a metaphor to acknowledge and honor the Indigenous peoples of the Western Hemisphere – both those who are experiencing diaspora, and those who are coping with the militarization of their ancestral homelands. Previous collaborators include Raven Chacon. Repellent Fence/Valla Repelente - 2015.Land art installation and community engagement (Earth, cinder block, para-cord, pvc spheres, helium).US/Mexico Border,. Found insideApplying his original movement-oriented theoretical framework "kinopolitics" to several major historical border regimes (fences, walls, cells, and checkpoints), Theory of the Border pioneers a new methodology of "critical limology," that ... The film is about the creation of a 2-mile floating art installation of balloons across the U.S.-Mexico border by the interdisciplinary Indigenous artist collective Postcommodity. "Repellent Fence" by Raven Chacon, Cristóbal Martinez and Kade L. Twist. The Yaqui, for instance, have been . In October 2015, Postcommodity . The balloons combine the colors and . La Valla Repelente es un proyecto de colaboración entre las personas, las comunidades, las organizaciones institucionales, el . Installation view, US/Mexico Border, Douglas, Arizona / Agua Prieta, Sonora. Repellent Fence is made possible with the efforts of our community collaborators in Douglas, Arizona and Agua Prieta, Sonora. For this edition the author has added a thoughtful yet dramatic account of the working out of Balanchine's legacy, from the making of his controversial will to the present day. Repellent Fence / Valla Repelente (US/Mexico Borderlands) - 2015. "Repellent fence is a 2-mile-long land art sculpture that intersects the U.S.-Mexico border," said Cristóbal Martínez, one of the three members of Postcommodity, which describes itself as an indigenous artist collective. HOME; ABOUT; SCHEDULE; TRAVEL & PARKING; REGISTRATION; SPONSORS; Image Courtesy POSTCOMMODITY, Repellent Fence (2015 . Repellent Fence/Valla Repelente - 2015.Land art installation and community engagement (Earth, cinder block, para-cord, pvc spheres, helium).US/Mexico Border,. Cristóbal Martínez is a Chicano artist and the founder of Radio Healer, an indigenous hacker collective. "Accompanying a major exhibition at the Smithsonian's National Museum of the American Indian"--Dust jacket front flap. In 2015 the artists worked with communities on both . Right Image: Google map artist sketch of Repellent Fence intersecting border. Postcommodity's "Repellent Fence" debuts on the U.S.-Mexico border at Douglas/Agua Prieta on Oct. 9 and runs through Oct. 12. This paperback volume profiles and illustrates each of the US Pavilion contributions and contextualizes them in terms of scale. Drawing inspiration from the Eames? Postcommodity: Repellent Fence - 2015. In the face of a force that was out of their control, Kade Twist, Cristóbal Martínez, and . RepellentFence.com. Catalog of an exhibition held at Florida State University Museum of Fine Arts, February 17-March 26, 2017. Installation view, US/Mexico Border, Douglas, Arizona / Agua Prieta, Sonora. Postcommodity presented The Repellent Fence, the largest bi-national land art installation ever exhibited on the US/Mexican border, near Douglas, Arizona and Agua Prieta, Mexico. Michael Lundgren/Postcommodity. In the pages of this book, Gates documents his plans for the exchange, and all of its elaborate and complex sociopolitical and historical detail, in twelve thematic 'ballads'. The installation is comprised of 26 tethered “scare eye” balloons, ten feet in diameter, floating 50 feet above the desert landscape. Through the Repellent Fence: A Land Art Film. All rights reserved. He currently is an Associate Professor at the San Francisco Art Institute. Repellent Fence/Valla Repelente - 2015.Land art installation and community engagement (Earth, cinder block, para-cord, pvc spheres, helium).US/Mexico Border,. 74 min. The Repellent Fence project that Kade L. Twist participated in consisted of placing twenty-six "scare eye" balloons 2 miles intersecting the U.S. and Mexico border. Found inside... 40 Portugal: public art and cultural identity, Lisbon 175–183, 176, 179; public realm projects 342, 342 Postcommodity: Repellent Fence 349, 349 Potrč, ... "Repellent Fence," 2015. The Repellent Fence installation was part of a larger collaborative project meant to encourage productive dialogues among the parties invested in the U.S. - Mexico borderlands. In Becoming Mary Sully, Philip J. Deloria reclaims that work from obscurity, exploring her stunning portfolio through the lenses of modernism, industrial design, Dakota women’s aesthetics, mental health, ethnography and anthropology, ... 'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+"://platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs") Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Investigating America's eroding native culture, the work uses twenty-six 10-foot-wide balloons to highlight an indigenous trading route. Identifying and critically discussing the key terms, techniques, methodologies and habits that comprise our understanding of fieldwork in architectural education, research and practice, this book collates contributions by established and ... October 7, 2015. A documentary was produced on the making of Repellent Fence. In this book the author critiques the work of various writers within the framework of a globalized study of the Americas. Artworks Repellent Fence - 2015. Found insideIt is no coincidence, then, that Repellent Fence offers up a line that ... so I will instead focus on its resonances with Postcommodity's Repellent Fence. In this book of the same name, Stovall uses the project as a point of departure for understanding everyday life in Detroit and the possibilities for ethnographic research, art, and knowledge creation. The Repellent Fence and Beyond I Postcommodity (November 13, 2017) Postcommodity will discuss their 2015 land art installation and socially engaged artwork Repellent Fence, and the implications of this work on their art practice, their future work, and the field of contemporary art as we approach the year 2043 (when the US transitions to a non . The art collective Postcommodity — currently made up of Raven Chacon, Cristóbal Martínez and Kade Twist — envisions "Repellent Fence" as an intervention that specifically recalls indigenous North Americans split by the border by visually connecting, or "suturing," the land on both sides. Found insidePhoto by Anja Matthes and Open Source Gallery. Courtesy The Fire Theory. Postcommodity, Repellent Fence, 2015. Installation view along the Douglas, Arizona, Postcommodity, Self: Through the Repellent Fence. The Repellent Fence is comprised of 26 tethered . A Very Long Line - 2016. The balloons that comprise Repellent Fence are enlarged replicas of an ineffective bird repellent product. Found insideThis book meditates on endings, grief and joy, ease, hope, addiction, and beginnings, pairing Marlee's own experiences and wisdom with practical exercises and tools for creating balance and understanding within the natural changes of life. With Postcommodity. Postcommodity is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez and Kade L. Twist. Postcommodity aspires to create impact and by presenting "Repellent Fence," the group seeks to demonstrate the inter-connectedness of a region's inhabitants, acknowledge and reaffirm a First Peoples' perspective and create an extensive social collaborative that cooperates in a celebrated, bi-national and monumental art installation. Perhaps Postcommodity's most recognized project, Repellent Fence (2015) is a large-scale land art work that synthesizes elements of the political, the contextual, and the site-specific: it comments on current discourses over immigration to the United States and the movement of capital across borders; it draws upon the histories and iconographies of Indigenous peoples of the area; and it is . Postcommodity (the collective behind the project) wanted to make a "metaphorical suture stitching together cultures that have inhabited these lands long before borders were drawn." Postcommodity's Repellent Fence saw the artist collective, two towns, and 125 backers on Kickstarter realize a two-mile artwork that bisects the U.S./Mexico border. 2021 Creative Capital. Postcommodity is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twis t. Postcommodity's art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting . Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public. More than an exhibition catalogue, this essay collection provides a thorough, expansive and diversified exploration of the future of indigenous culture. BLOG BONUS: About Postcommodity: Through The Repellent Fence. Pollination - 2015. Land art installation and community engagement (Earth, cinder block, para-cord, pvc spheres, helium). Postcommodity presented The Repellent Fence, the largest bi-national land art installation ever exhibited on the US/Mexican border, near Douglas, Arizona and Agua Prieta, Mexico.The Repellent Fence is comprised of 26 tethered "scare eye" balloons, ten feet in diameter, floating fifty feet above the desert landscape creating a temporary two-mile-long sculpture that intersects the US/Mexico . The indigenous artist collective Postcommodity presents their Creative Capital project, Repellent Fence, the largest bi-national land art installation ever exhibited on the U.S./Mexican border as a four day event.The fence, which will be installed through a community action from October 9-12 near Douglas, Arizona and Agua Prieta, Mexico, is comprised of 28 tethered "scare eye" balloons . While Land Art has global roots, it is most frequently associated with the monumental desert works made in . The indigenous artist collective Postcommodity will present Repellent Fence, a temporary two-mile long sculpture of more than two dozen tethered yellow balloons floating 50 feet above the desert . Coincidently, these balloons use indigenous medicine colors and iconography -- the same graphic used by indigenous peoples from South America to Canada for thousands of years. Repellent Fence/Valla Repelente, the largest binational land art installation in history, organized a network of dialogues between indigenous, United States, and Mexican publics and their government agencies, to identify and support indigenous and border community interests, desires, concerns, and goals for creating a more safe, healthy, and culturally appropriate borderlands environment for . Postcommodity is an Indigenous interdisciplinary arts collective comprised of Cristóbal Martínez, and Kade L. Twist. Postcommodity consists of three Native American artists who "put land art in a tribal context." Aided by the communities on both sides of the border in 2015 the . Found inside... Hopkins and I organized a gathering on the U.S.–Mexico border to coincide with the Indigenous arts collective Postcommodity's work Repellent Fence. The balloons combine the colors and . The film features the Repellent Fence installation created by the Postcommodity art collective in October 2015. Found inside6.1 Postcommodity (Raven Chacon [Navajo/Diné], Cristóbal Martínez [Mestizo], and Kade L. Twist [Cherokee]) (2015) Repellent Fence / Valla Repelente, ... We would personally like to thank the following community leaders for supporting bi-national dialogues, diplomacy, and cooperation: Cónsul de México en Douglas, Jorge Ernesto Espejel Montes; Mayor of Douglas, Danny Ortega Jr.; Mayor of Agua Prieta, Héctor Rubalcava; the city administrations of Douglas and Agua Prieta with a special thanks to Douglas City planner, Carlos De La Torre, and Agua Prieta City Adimistrators, Laura Ríos and Lucero Salazar; Assistente del Cónsul Titular Consulado de México en Douglas, Cristóbal Lohr Castelo; Agua Prieta Architect ,Roberto Osuna Palacios; Mark Adams from Frontera de Cristo; and Douglas / Agua Prieta artists and arts advocates Jenea Sanchez, Roberto Uribe, Martína Rendón, and Enrique Barraza. Repellent Fence is a temporary two-mile long land art installation intersecting the U.S./Mexico border. The balloon bearing . Postcommodity creates site-specific installations, interventions, videos, and sound works, utilizing the members' shared Indigenous lens to reveal the incongruent histories embedded . This week, three members of an indigenous artist collective called Postcommodity will install the largest-ever bi-national land art piece on the U.S.-Mexico border. USA. Postcommodity received much media attention for Repellent Fence, the largest bi-national land art installation in the region, but the work had been eight years in the making. THROUGH THE REPELLENT FENCE follows art collective Postcommodity as they construct Repellent Fence, a two-mile long outdoor artwork that straddled the U.S.-Mexico border. Gallup Motel Butchering - 2011. The Repellent Fence is a social collaborative project among individuals, communities, institutional . Postcommodity aspires to create impact and by presenting "Repellent Fence," the group seeks to demonstrate the inter-connectedness of a region's inhabitants, acknowledge and reaffirm a First Peoples' perspective and create an extensive social collaborative that cooperates in a celebrated, bi-national and monumental art installation. Found insideThis volume collects writings by Haacke that explain and document his practice. The texts, some of which have never before been published, run from straightforward descriptions to wide-ranging reflections and full-throated polemics. Found insideThe artist collective, Postcommodity, has worked along the US–Mexico border to contest ... Their largescale project, Repellent Fence (2015– ongoing) is a ... THROUGH THE REPELLENT FENCE follows art collective Postcommodity as they strive to construct Repellent Fence, a two-mile long outdoor artwork that straddled the U.S.-Mexico border. Repellent Fence by Postcommodity. Postcommodity is a collective of American Indian artists from different backgrounds and mediums, combining to create giant musical instrument installations, video, sound and sculpture. Postcommodity consists of three Native American artists who put land art in a tribal context. Creative Capital Foundation is a 501(c)3 organization supporting individual artists. THROUGH THE REPELLENT FENCE: A Land Art Film follows art collective Postcommodity as they construct Repellent Fence, a two-mile long outdoor artwork that straddled the U.S.-Mexico border. Tweets by @Postcommodity !function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)? Series. The night before the indigenous art collective Postcommodity planned on suspending twenty-six balloons along the US-Mexico Border, winds kicked up, threatening the next day's work and the culmination of the project, Repellent Fence/Valla Repelente. Repellent Fence - 2015. Right Image: Google map artist sketch of Repellent Fence intersecting border. The sculpture is called "Repellent Fence" and it is is a project by the artist collective Postcommodity. This issue (with associated elements at Art Journal Open) features an artists' project from Postcommodity, a multidisciplinary collective that was also featured in Documenta 14 and the Whitney Biennial in 2017. Postcommodity's temporary land art installation Repellent Fence at the US-Mexico border was more about process than product — and the full measure of its efficacy may take years to unfold and . They make use of this technology to bring people . KAM will screen the 2017 film "Through the Repellent Fence" at the second event in the series, at 5:30 p.m. March 9 in Room 331, Art & Design building. World premiere What began as a documentary on the "land art" movement in the US soon evolved to focus on *Repellent Fence*—a temporary, two-mile-long art installation that intersected the US/Mexico border in October 2015, spearheaded by Postcommodity, an activist/art collective consisting . According to the artists, the purpose of this installation is to bi-directionally reach across the U.S./Mexican border as a suture that stiches the peoples of the Americas together — symbolically demonstrating the interconnectedness of the Western Hemisphere by recognizing the land, indigenous peoples, history, relationships, movement and communication.Repellent Fence is presented in collaboration with Arizona State University Art Museum and supported by grants from Creative Capital, Native Arts and Cultures Foundation, Joan Mitchell Foundation and Art Matters.ABOUT POSTCOMMODITYPostcommodity is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez and Kade L. Twist. Our partners include the city administrations of Douglas, Arizona and Agua Prieta, Sonora, the Mexican Consulate in Douglas, La Casa de la Cultura in Agua Prieta, and Fronteras de Cristo. Postcommodity is raising funds for Repellent Fence on Kickstarter! Land art installation and community engagement (Earth, cinder block, para-cord, pvc spheres, helium). Found inside – Page 200The art collective Postcommodity spent 8 years negotiating their project Repellent Fence (2015; Fig. 23) which placed 26 giant, yellow balloons along two ... Repellent Fence/Valla Repelente, the largest binational land art installation in history, organized a network of dialogues between indigenous, United States, and Mexican publics and their government agencies, to identify and support indigenous and border community interests, desires, concerns, and goals for creating a more safe, healthy, and culturally appropriate borderlands environment for . 7:00 PM @ Gadsden Hotel, 1046 G. Ave., Douglas, AZ -- Repellent Fence opening reception (On Schedule) Saturday, October 10, 2015 Sunrise - Community Installation of Repellent Fence in Douglas and Agua Prieta "Repellent Fence" is the product of over three years of work by Postcommodity members Raven Chacon, Cristóbal Martínez and Kade L. Twist, who have been in residence at the ASU Art Museum's International Artist Residency Program several times as they worked to realize their vision for the installation. Postcommodity’s art functions as a shared Indigenous voice to engage manifestations of globalism and the ever-expanding, multinational, multiracial and multi-ethnic colonizing force that is defining the 21st century through ever increasing velocities and complex forms of violence. In October 2015 the transdisciplinary Indigenous arts collective Postcommodity created Repellent Fence/Valla Repelente, an installation of twenty-six large balloons extending two miles across the US-Mexico border. In 2015, Postcommodity presented their Creative Capital project, Repellent Fence, the largest bi-national land art installation ever exhibited on the U.S./Mexican border as a four day event. A very Long Line is an extension of an earlier work, Repellent Fence/Valla Repelente (2015), which also responded to the U.S.-Mexico border. Found insideCrossing Eden is the story of an American family in the summer of 1929, when a failed businessman divides himself from his wife and children, and a troubled farm boy runs away from home in the company of a gangster. Temporarily "suturing" together the human and nonhuman communities artificially divided by geopolitical boundaries, Postcommodity's poetic project is celebrated in this . Postcommodity. According to the artists, the purpose of this installation is to bi-directionally reach across the U.S./Mexican border as a suture that stiches the peoples of the Americas together — symbolically demonstrating the interconnectedness of the Western Hemisphere by recognizing the land, indigenous peoples, history, relationships, movement and communication. Game Remains - 2013 - Ongoing. Photo courtesy of Postcommodity The Church of the Immaculate Conception of the Blessed Virgin Mary, is the oldest Catholic church in Phoenix. Found insideThis book details how a growing number of individuals, small groups, international organizations, and government agencies worldwide are working to create safe public spaces. Postcommodity is an Indigenous interdisciplinary arts collective comprised of Cristóbal Martínez, and Kade L. Twist. Postcommodity presented The Repellent Fence, the largest bi-national land art installation ever exhibited on the US/Mexican border, near Douglas, Arizona and Agua Prieta, Mexico. 2017. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public. The group's recent achievements mark the tail end of a journey that spans a decade. Repellent Fence is a social collaborative project among individuals, communities, institutional organizations, publics and sovereigns that culminates with the establishment of a large-scale temporary monument located near Douglas, Ariz. and Agua Prieta, Mexico. "An exploration of the life and work of the African American female artist, Howardena Pindell"--Provided by publisher. Found insidePostcommodity's series of giant balloons across the US-Mexico border worked to ... In traversing the border across Tohono O'odham lands, the Repellent Fence ... Postcommodity, the artist collective responsible for the large-scale Repellent Fence / Valla Repelente, is comprised of ASU English alum Cristóbal Martínez (PhD Rhetoric, Composition, and Linguistics 2015), and artists Raven Chacon and ASU Art alum Kade L. Twist. Postcommodity intended for these conversations—which included American, Mexican, and Indigenous individuals and government groups—to enrich discussion about the . Here the spaces of New York performance and the spaces of critical writing reveal themselves anew." The book includes an introduction by poet Elizabeth Robinson. Here is a vitally important work that allows us to understand why Anita Hill did what she did, and thereby brings resolution to one of the most controversial episodes in our nation's history. Found insideIn Postcommodity's Repellent Fence', conference paper, American Studies Association, Chicago, November 2017.