politics of hair, art therapy, performance activism
This month features a conversation with Ghanaian painter and performer Onsoh Edward. We speak about discrimination against people wearing dreadlocks, the differences between painting for money and painting for therapy, and how he explores his indigenous roots through painting and performance.
Onsoh Studio Instagram: https://www.instagram.com/onsoh_studio/ Onsoh Studio Website: https://onsoh.blogspot.com/p/blog-page_8.html?m=1 Toile Backdrops: https://www.instagram.com/toile_backdrops/ PerfocraZe International www.crazinistartist.com Gofund me campaign for perforcraZe international: https://www.gofundme.com/f/xx48d3-save-piar?qid=cedd48679846198a99f2d784f362af81 HYENAZ Reading Group: https://www.hyenaz.com/art-and-extractivism-reading-group/
We all sweat as we provide care, as we labour, as we perform our work, as we fuck, as we survive and as we sacrifice one choice for the other. How exactly do we define our work and how does that work entangle and circumscribe our sexual identities, our racialized bodies, our creative lives and the ways in which we provide care? How do we perform both tasks and identities within the framework of that which we consider work? These conversations are a means to speak between intersectionalities by anchoring through our (always, already, and ever pervasive) sexualized and racialized bodies, our working bodies, our artistic bodies and our performative bodies. I hope that they contribute to dialogues which normalize sex work as work, and all work as deserving of respect, healthy conditions, and a living wage.
You can find out more https://www.alfabus.us/s-w-e-a-t/
Mad Kate (they/them) is an electronic producer, sound designer, performance artist and writer who began working the Berlin performance and club scene in 2004, expanding their unique identity-queering, genderfcking and sexpositive performative work throughout music, theatre and film. Their explorations of borders between/within bodies, audibility, consent, proximity, and touch as political practice have brought them to theaters, communes, technomansions, prisons, dungeons, squats and galleries around the world.
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