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Triple Canopy

Triple Canopy Read Unknown States, our latest issue, which dissects the myths, stories, and fictions that give rise to nations and nationalities. Now online: http://canopycanopycanopy.com/issues#27

Triple Canopy is a nonprofit 501(c)3 organization and a member of Common Practice New York. Triple Canopy is certified by W.A.G.E.

How, in the past hundred years, did billions of people come to not only be subjects of nations but to define themselves ...
05/12/2022
Triple Canopy – Empires in the Sky by Atossa Araxia Abrahamian & Rana Dasgupta

How, in the past hundred years, did billions of people come to not only be subjects of nations but to define themselves as Kenyan, Iraqi, German, or Ukrainian? Join us this Saturday at 5:00 p.m. EDT for an IRL and livestreamed conversation with the writers Atossa Araxia Abrahamian and Rana Dasgupta, who will consider how nations have been invented through stories, symbols, and utopian tracts, and how to reinvent them so as to prevent the future from being determined by cabals of financiers, tyrants, and tech bros.

A conversation about the decline of nations and the task of imagining an alternative that serves people and the planet.

Tomorrow, May 5, at 6:00 p.m., join us IRL at Maysles Documentary Center for The Memory of a Memory, which we’re co-pres...
05/04/2022
Triple Canopy – The Memory of a Memory by Karthik Pandian, Andros Zins-Browne, Yasmina Price & Prismatic Ground

Tomorrow, May 5, at 6:00 p.m., join us IRL at Maysles Documentary Center for The Memory of a Memory, which we’re co-presenting as part of Prismatic Ground, a festival centered on experimental documentary. The screening will feature Karthik Pandian and Andros Zins-Browne’s Three Songs without Z, an adaptation of “Four Songs without Z,” which the duo created with Zakaria Almoutlak for Triple Canopy’s twenty-seventh issue, Unknown States. The work is a portrait of Almoutlak, a sculptor and media activist from Homs, Syria, who fled the civil war in 2015.

Three Songs without Z will be presented alongside Camila Galaz’s Vecino Vecino (2021), Younes Ben Slimane’s We Knew How Beautiful They Were, These Islands (2022), Miatta Kawinzi’s SHE GATHER ME (2021), and Kamila Kuc’s What We Shared (2021). The screening of Three Songs without Z will be followed by a conversation with Pandian and the film critic and scholar Yasmina Price.

Prismatic Ground will take place virtually and in person—at Maysles Documentary Center as well as the Museum of the Moving Image and Anthology Film Archives—from May 4 to 8.

A screening of a portrait of a sculptor and activist who fled the civil war in Syria.

Tomorrow, May 4 at 264 Canal Street, we’re co-presenting an in-person and livestreamed screening with Electronic Arts In...
05/03/2022
Triple Canopy – First World Order by Ilana Harris-Babou, Yasmina Price & Electronic Arts Intermix

Tomorrow, May 4 at 264 Canal Street, we’re co-presenting an in-person and livestreamed screening with Electronic Arts Intermix (EAI), featuring works by Ilana Harris-Babou and Ulysses Jenkins. The screening will be followed by a conversation with Harris-Babou and Yasmina Price.

A screening and conversation about the use of rituals, symbols, and lore to forge identities that defy the logic of the nation.

Tonight at 6:30 p.m. EDT! Join us IRL at 264 Canal Street—or via livestream (below)—for a conversation with Lou Cornum, ...
04/28/2022
Triple Canopy – Stopping Time by Lou Cornum, Raven Chacon & Audra Simpson

Tonight at 6:30 p.m. EDT! Join us IRL at 264 Canal Street—or via livestream (below)—for a conversation with Lou Cornum, Raven Chacon, and Audra Simpson about how Indigenous people are restructuring the relationship between people and the planet.

A conversation about Indigenous models of life, art, and activism that seek to remake the world (and abolish the nation-state).

This Thursday, April 28 at 6:30 p.m. EDT at our venue in Manhattan, the writer Lou Cornum will speak with Raven Chacon, ...
04/26/2022
Triple Canopy – Stopping Time by Lou Cornum, Raven Chacon & Audra Simpson

This Thursday, April 28 at 6:30 p.m. EDT at our venue in Manhattan, the writer Lou Cornum will speak with Raven Chacon, an artist and composer, and Audra Simpson, a political anthropologist, about how Indigenous people are restructuring the relationship between people and the planet. They’ll discuss how the relationship between Indigenous people and nature is often romanticized, reflecting a desire for authenticity that manifests in progressive protests against pipelines as well as in the claims of libertarian ranchers to “ancestral rights” over the land. Drawing on experiences of art as well as activism, Cornum, Chacon, and Simpson will ask how to imagine alternative forms of governance, whether through the speculative narratives of Indigenous Futurism or the protests that halt the world in order to enable the construction of a different one.

Stopping Time is a free in-person event and will be livestreamed.

https://www.canopycanopycanopy.com/issues/27/contents/stopping-time

A conversation about Indigenous models of life, art, and activism that seek to remake the world (and abolish the nation-state).

The invention (and constant reinvention) of Brazilian identity is the story of colliding races, sagas, idioms, rites, an...
04/07/2022
Triple Canopy – Impure Speech by Katrina Dodson

The invention (and constant reinvention) of Brazilian identity is the story of colliding races, sagas, idioms, rites, and translations—and of Mário de Andrade’s frenetic modernist masterpiece Macunaíma: The Hero with No Character (1928), as Katrina Dodson writes in a sweeping essay, “Impure Speech.”

Andrade’s novel is famous for its shapeshifting, superhuman title character’s ability to capture the complexities of the Brazilian condition and the aspirations and shortcomings of the nation. Macunaíma may have “no character,” but that isn’t so much about “a lack as a multitude of attitudes, cultures, and backgrounds that are constantly morphing and converging in ways that exceed definition,” observes Dodson, whose English translation of Macunaíma will be published next year by New Directions. “Dwelling in the haunted legacy of colonization entangled with slavery and immigration, Andrade’s novel resonates with experiences across the Americas and in postcolonial nations elsewhere, but remains largely unknown beyond Brazil, in part because its deeply Brazilian context and language are fiendishly difficult to translate.”

Visit the link in our profile to read Dodson’s essay, which reflects on the relevance of the novel in the age of right-wing nationalism and to the work of Indigenous artists reckoning with the legacy of colonialism. The essay features paintings by the late Makuxi artist Jaider Esbell, whose work is on view at this year’s Venice Biennale. (In February, we published an excerpt from Dodson’s translation and presented her film series on the legacy of Brazilian modernism with BAM.)

An essay on demigod and country, the Brazilian nation as a mythic antihero born from colliding races, sagas, idioms, rites, and translations.

“Because of the fundamental challenge posed by the presence of Indigenous people to the coherence of the United States, ...
03/18/2022
Triple Canopy – Who Belongs to the Land? by Lou Cornum

“Because of the fundamental challenge posed by the presence of Indigenous people to the coherence of the United States, politicians of all persuasions and milquetoast NGOs carefully moderate our presence within the climate movement. Even those who believe we must make change in order to prevent further ecological collapse tend to subscribe to the settler stories of Indigenous people as symbolic victims rather than movers of history.”

“If the land is not given back, it will soon be the sea.” An essay on camps, blockades, and Indigenous models of remaking the world in the face of climate collapse.

Save the date! We’re honoring Mel Chin at our spring benefit. Join us on May 24 at Rule of Thirds in Brooklyn for drinks...
03/07/2022
Triple Canopy – A Benefit for Triple Canopy, Honoring Mel Chin

Save the date! We’re honoring Mel Chin at our spring benefit. Join us on May 24 at Rule of Thirds in Brooklyn for drinks, a seated dinner, and celebrations of Chin’s extraordinary work—which has expanded the bounds (and possibilities) of socially engaged art.

Visit our website to purchase tickets and read more about the event. The complete lineup of performers, speakers, and artists creating works for the occasion will be announced shortly.

Triple Canopy honors Mel Chin at the magazine’s spring benefit.

“The sense of a foreign incursion tends to coincide with the appearance of foreign restaurants, churches, flags, and wor...
03/02/2022
Triple Canopy – The Look of a Nation by April Zhu

“The sense of a foreign incursion tends to coincide with the appearance of foreign restaurants, churches, flags, and workers. But China’s foray into Kenya has had a more subtle, disorienting effect: people have gradually realized that everything around them, from clothing to infrastructure, is being replaced by foreign versions—and that applies even to the cultural objects that they had taken for granted as their own.”

An essay on Kenya’s search for a national dress and discomfort with made-in-China heritage.

"recent immigrants wander place to place. no country must let them in, no country to stay in. only three countries i exp...
03/01/2022
Triple Canopy – Moomins in Exile by Yoko Tawada with Margaret Mitsutani

"recent immigrants wander place to place. no country must let them in, no country to stay in. only three countries i experienced. no time to learn three different languages. might mix up. insufficient space in brain. so made new language. homemade language most scandinavian people understand.”

Read an excerpt from Yoko Tawada’s Scattered All Over the Earth (New Directions, 2022) in our current issue, Unknown States.

“Sauna, Sibelius, Sushi.” A tale of vanishing nations, homemade languages, and climate refugees (human and cartoon).

Cinema Novo provocateur Glauber Rocha’s Antônio das Mortes (1969) is a revolutionary allegory about a conflict between l...
02/14/2022
Antônio das Mortes

Cinema Novo provocateur Glauber Rocha’s Antônio das Mortes (1969) is a revolutionary allegory about a conflict between landowners and peasants, the battle for an old man’s soul, and Brazil’s future. Once a fearsome assassin of revolutionary and populist leaders, Antônio das Mortes (Maurício do Valle) comes out of retirement to take out a young idealist (Lorival Pariz). In a striking rural landscape, Antônio confronts the charismatic outlaw, challenging him to a duel with machetes, but he begins to chafe at the idea of carrying out the will of the Europeanized elite.

Antônio das Mortes is screening Tuesday, February 15 at 7:00 p.m. as part of Brazilian Modernism at 100, a film series programmed by Katrina Dodson and organized in collaboration with BAM. Tickets are $16 for general admission and $8 for BAM members.

Cinema Novo provocateur Glauber Rocha’s revolutionary allegory about a conflict between landowners and peasants, the battle for an old man’s soul, and Brazil’s future. Once a fearsome assassin of revolutionary and populist leaders, Antônio das Mortes (do Valle) comes out of retirement to take...

Written in a mixture of Portuguese and the Indigenous language Tupi, Mário de Andrade’s notoriously untranslatable moder...
02/08/2022
Triple Canopy – Piaimã the Giant by Mário de Andrade with Katrina Dodson

Written in a mixture of Portuguese and the Indigenous language Tupi, Mário de Andrade’s notoriously untranslatable modernist classic, Macunaíma: The Hero with No Character (1928), is a picaresque tour of Brazil that crams four centuries and a continental expanse into a single mythic plane that bends the rules of time and geography.

In a chapter excerpted from Katrina Dodson’s forthcoming translation for New Directions, the title character has lost a magic amulet called the muiraquitã, a memento from his lover, Ci, who left him to become a star in the sky. The hero journeys with his brothers to São Paulo to retrieve the talisman, which has fallen into the hands of Venceslau Pietro Pietra, an Italo-Peruvian captain of industry who is also a cannibal giant known as Piaimã.

Despite the centrality of the book to Brazilian literature and to more general debates about what (and who) defines national identity, Macunaíma remains largely unknown in the Anglophone world, in part because of its sweeping set of mythological references and dizzying use of languages and dialects from across Brazil.

The publication of the excerpted chapter, “Piaimã the Giant,” coincides with Brazilian Modernism at 100, a film series programmed by Dodson and organized in collaboration with BAM. Cinema Novo pioneer Joaquim Pedro de Andrade’s adaptation of Andrade’s novel is screening Friday, February 11 at 7:00 p.m., followed by a discussion with Dodson, filmmaker Rodrigo Séllos, and writer Ananda Lima, moderated by Triple Canopy senior editor Matthew Shen Goodman.

“Ogoró! ogoró! ogoró!” A shape-shifting demigod visits an industrializing São Paulo, bathes in enchanted water, and meets a cannibal giant.

Limite (1931) is a masterful early work of independent Latin American filmmaking and the only feature from Brazilian dir...
02/07/2022
Limite

Limite (1931) is a masterful early work of independent Latin American filmmaking and the only feature from Brazilian director and author Mário Peixoto. An extraordinary silent film filled with luscious images and glorious Brazilian scenery, Limite loosely follows two women and a man adrift at sea, conjuring their pasts to the music of Erik Satie, Claude Debussy, Igor Stravinsky, and others.

Limite is screening Sunday, February 13 at 7:00 p.m. as part of Brazilian Modernism at 100, a film series programmed by Katrina Dodson and organized in collaboration with BAM. Tickets are $16 for general admission and $8 for BAM members.

New cinematic techniques constantly unfold in this extraordinary silent film, a masterful early work of independent Latin American filmmaking and the only feature from Brazilian director and author Mário Peixoto. Lost for decades until it resurfaced in the 70s and became a major influence on genera...

In Miramar (1997), the director Júlio Bressane, a key figure in São Paulo’s radical Cinema Marginal movement during the ...
02/04/2022
Miramar + Of Murals & Mosaics

In Miramar (1997), the director Júlio Bressane, a key figure in São Paulo’s radical Cinema Marginal movement during the late 1960s, offers a loose take on the modernist writer Oswald de Andrade’s bildungsroman Sentimental Memories of João Miramar (1924). The film tells the story of a young man who takes up a 16mm camera after his parents die and determines to record anything that moves in a quest to capture the world as it is. The young cinephile sifts through the influences of Einstein, Jean Cocteau, and Hollywood in Bressane’s boundary-pushing, free-flowing film.

Of Murals and Mosaics (2010) explores Brazil’s midcentury modernist architecture of the 1950s and 60s with an inventive video collage about groundbreaking muralist Paulo Werneck’s incredible mosaics.

Miramar and Of Murals and Mosaics are screening Sunday, February 13 at 4:30 p.m. as part of Brazilian Modernism at 100, a film series programmed by Katrina Dodson and organized in collaboration with BAM. The screening will be introduced by Of Murals and Mosaics director Vivian Ostrovsky. Tickets are $16 for general admission and $8 for BAM members.

Júlio Bressane's loose take on Oswald de Andrade’s 1924 bildungsroman, Sentimental Memories of João Miramar, screens with a video collage on mid-century muralist Paulo Werneck.

In the fantasy comedy Brazilwood Man (1982), the iconic Brazilian modernist writer Oswald de Andrade is played by two ac...
02/03/2022
Brazilwood Man

In the fantasy comedy Brazilwood Man (1982), the iconic Brazilian modernist writer Oswald de Andrade is played by two actors—representing his feminine anima and his masculine side. A poet, playwright, novelist, socialist agitator, and revolutionary,Andrade was one of the organizers of Brazil’s legendary 1922 Week of Modern Art. Brazilwood Man takes its title from Andrade’s literary manifesto Pau-Brasil (Brazil Wood), a rejection of Portuguese literary and social artifice. The final film by Joaquim Pedro de Andrade (no relation to Oswald), Brazilwood Man is a series of collage-like fragments woven together by the writer’s words and matching his audacious spirit.

Brazilwood Man is screening Sunday, February 13 at 2:00 p.m. as part of Brazilian Modernism at 100, a film series programmed by Katrina Dodson and organized in collaboration with BAM. Tickets are $16 for general admission and $8 for BAM members.

The iconic Brazilian modernist writer Oswald de Andrade is played by two actors—representing his feminine anima and his masculine side—in this fantasy comedy that satirizes the passions and hypocrisies of the Brazilian modernist movement. The film weaves together quotes from Oswald’s “Brazil...

“I wanted this series to highlight questions that Brazilian artists and writers continue to ask about history and the ef...
02/03/2022
The Groundbreaking Cinematic Legacy of Brazilian Modernism

“I wanted this series to highlight questions that Brazilian artists and writers continue to ask about history and the effects of colonialism, which connect to the 1920s modernist movement, when artists were trying to expand their ideas of how to represent Brazil and what it meant to be Brazilian by looking beyond the dominant European or North American aesthetics and incorporating rural folk traditions, Indigenous cultures, and African influences,” Dodson told Hyperallergic.

On the bicentennial of the nation's independence, the Brooklyn Academy of Music will show six films traversing six decades of Brazilian cinema.

Searching for Makunaíma (2020) follows Brazil’s most famous fictional character, the eponymous hero of Mário de Andrade’...
02/02/2022
Searching for Makunaíma

Searching for Makunaíma (2020) follows Brazil’s most famous fictional character, the eponymous hero of Mário de Andrade’s modernist novel Macunaíma (1928), back to his origin as the mythic figure Makunaíma, as he is known to Indigenous people in the northern Amazon. Winner of Best Film Award at the Brasília Film Festival 2020, Rodrigo Séllos’s documentary traces Andrade’s hero across Brazil’s sweeping landscapes and over hundreds of years, letting his story unfold through interviews in Portuguese, German, Spanish, and the indigenous languages Macuxi and Taurepang.

Searching for Makunaíma is screening Saturday, February 12 at 7:00 p.m. as part of Brazilian Modernism at 100, a film series organized in collaboration with BAM. The screening will be followed by a Q&A with the director, moderated by series programmer Katrina Dodson. Tickets are $16 for general admission and $8 for BAM members.

Follow Brazil’s most famous fictional character, the hero of Mário de Andrade’s modernist novel Macunaíma, back to his origins as Makunaíma, the mythic ancestor of Indigenous people in the northern Amazon. Winner of the Best Film Award at the 2020 Brasília Film Festival, Séllos’ documenta...

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Excerpt from Untitled by Jibade-Khalil Huffman
Excerpt from Untitled by Jibade-Khalil Huffman

Read "Listening" by Mei-mei Berssenbrugge
Read "Listening" by Mei-mei Berssenbrugge

We've just published Mei-mei Berssenbrugge's "Listening," a poem on perception (and an exaltation of the senses), as part of our latest issue. https://bit.ly/2XbLrh7

“The notion of diasporas taking shape online and touching down in Honduras or Taiwan might seem far-fetched. But COVID-19 is accelerating the shift toward remote work and is likely to expand the number of people who can think flexibly about where they live. And the virus has inflicted on the world a concentrated experiment in comparative governance, exposing the strengths and weaknesses of each jurisdiction and political system. How will cities and nation-states respond if more and more people can change where they live?” Read “On the Next Economy,” Christopher Kulendran Thomas’s contribution to #PartsofSpeech, published in collaboration with Public Fiction. The work is a fairytale about the origins and eventual demise of nations, and the role of technology in transforming conceptions of home, work, and governance, punctuated by a series of “video polemics” made in collaboration with Annika Kuhlmann . “On the Next Economy” also acts as a manifesto for the Berlin-based R&D studio New Eelam, which is developing a co-op-esque housing network that will enable members to freely access homes in multiple cities. (Kulendran Thomas, an artist and entrepreneur, is part of the Tamil diaspora; he named New Eelam after a term that translates as “home” but also refers to the historic Tamil homeland in what is now Sri Lanka.) https://www.canopycanopycanopy.com/issues/26/contents/i26-on-the-next-economy

“Over time, the evolution of the species through technologies for transportation, logistics, and communication enabled more and more humans to make the whole world home. Then a devastating plague descended, threatening hundreds of millions of lives. Rulers had always been charged with protecting their citizens, whether from barbarians or natural disasters. But this plague threatened people around the world, at the same time. Each ruler of each nation was tested simultaneously. And, thanks to new communication technologies, people everywhere saw which nations, governments, and political systems really could protect them and which couldn’t.” Experience “On the Next Economy,” by Christopher Kulendran Thomas: a fairytale about nation-states, migration, and technological upheaval, punctuated by a series of “video polemics” made in collaboration with Annika Kuhlmann. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-the-next-economy

“As more and more jobs are automated, the future of work looks increasingly like what artists do: move from project to project, from city to city, tethered to a laptop rather than an office or factory. Perhaps, then, the home, rather than the office or factory, is becoming the primary site and means of production—and of the transformation of the economy beyond waged labor. Which raises the question: how could the home be reorganized through collective ownership?” Read “On the Next Economy,” Christopher Kulendran Thomas’s contribution to #PartsofSpeech, published in collaboration with Public Fiction. His fairy tale and series of “video polemics,” made in collaboration with Annika Kuhlmann, questions the origins and future of nations and homelands. The project is also a manifesto for the Berlin-based R&D studio New Eelam, which is developing a co-op-esque housing network that will enable members to freely access homes in multiple cities. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-the-next-economy

COVID-19 is testing the competence of governments, testing the ability of nations to protect their citizens. And if they fail, citizens might leave for more capable, equitable states—or look for something else entirely, something other than states. For #PartsofSpeech, Christopher Kulendran Thomas envisions a world after the pandemic in which citizenship is untethered from borders, networks replace nations, and streamable homes are inhabited by “reverse diasporas.” His contribution, “On the Next Economy,” is a fairy tale about an ancient civilization, technological upheaval, and the unraveling of nation-states. The work is punctuated by a series of “video polemics” made in collaboration with Annika Kuhlmann, and accompanied by a conversation with Glen Weyl, the coauthor of Radical Markets: Uprooting Capitalism and Democracy for a Just Society and founder of Radical Exchange. “On the Next Economy” is adapted from a speech of the same name delivered on May 21, 2019, as a contribution to “Parts of Speech,” an exhibition organized by Triple Canopy and Public Fiction with the Museum of Contemporary Art Chicago. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-the-next-economy

On Labor and Management by Julio Torres
On Labor and Management by Julio Torres

“When you see a hog, you see a garbage disposal; when you see a little bird, you see … whatever he wants to be.” In “On Labor and Management,” the comedian and writer Julio Torres gives voice to Maurice—the hog that lives under the sink in the Flintstones’ bedrock house—who works day and night as a garbage disposal for the family’s waste. He petitions the boss (Wilma Flintstone) for a promotion, only to realize that his dead-end job is destiny. The publication consists of a video of the speech with an animation by Lucy Jones, commissioned for the occasion, as well as the script. “On Labor and Management” is adapted from a speech of the same name, which Torres delivered on May 24, 2019 at the Museum of Contemporary Art Chicago as a contribution to Parts of Speech, an exhibition at the museum organized by Triple Canopy and Public Fiction. Visit the link in our profile to view the project in full. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-labor-and-management

On Onomatopoeia by Tomeka Reid
On Onomatopoeia by Tomeka Reid

“This music, at the core, proves that being an individual and being a collective aren’t at odds. It proves that creative human expression and creative humanistic exchange can happen for reasons other than profit and wealth. It proves that we all are better as human beings than we are told we are. And that’s a dangerous notion; it’s one we have to fight for.” For Parts of Speech, the cellist and composer Tomeka Reid improvises music and words with Taylor Ho Bynum (cornet), Mike Reed (drums), and Ugochi Nwaogwugwu (vocals), who reflect on audiences of accountants and doctors, improvisation as speech and resistance, and “great Black music” after Armageddon. The publication consists of a video documenting the performance and an edited transcript of the conversation. “On Onomatopoeia” is adapted from a performance of the same name, which occurred on May 17, 2019, at Rebuild Foundation's Stony Island Arts Bank, as a contribution to “Parts of Speech,” an exhibition organized by Triple Canopy and Public Fiction with the Museum of Contemporary Art Chicago. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-onomatopoeia

On Similitude by Steffani Jemison with Garrett Gray
On Similitude by Steffani Jemison with Garrett Gray

“A friend of mine who performs as a mime reminded me that, as a form of public speech, pantomime evolved similarly across cultures because the problems to be solved are fundamental. How do you amplify messages across distances too vast to be traversed by speech? How do you extend speech beyond the sound of the voice?” In a performance and lecture, the artist Steffani Jemison and the mime Garrett Gray ask how, without language, we speak and are heard; how we know and are known by the world; and how information passes from body to body to body to body. The publication consists of the script of the initial lecture, video documentation of Jemison and Gray’s rehearsals, and a new series of drawings by Jemison. “On Similitude” is adapted from a performance of the same name, which occurred on April 26, 2019, at Chicago’s South Shore Cultural Center, as a contribution to “Parts of Speech,” an exhibition organized by Triple Canopy and Public Fiction with the Museum of Contemporary Art Chicago. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-similitude

On What We Owe by Astra Taylor with Laura Hanna
On What We Owe by Astra Taylor with Laura Hanna

As the saying goes: If you owe the bank one hundred dollars, the bank owns you. But if you owe the bank one hundred million dollars, you own the bank. On February 15, 2019, Astra Taylor and Laura Hanna convened an assembly of the indebted at Chicago’s Jane Addams Hull-House Museum. Participants shared accounts of predatory lenders and machinic collectors, of being shamed and isolated. And, together, they asked how to make themselves heard above the speech bought by creditors. As Hanna asserted during the convening: “We can’t pay—and, at a certain point, we’re going to need to say, ‘We’re not going to pay.’” Organized under the auspices of the Debt Collective, a membership organization that has cancelled hundreds of millions of dollars in medical and student debt, the assembly aimed to change the way debt is understood and debtors are treated. The publication consists of a video with excerpts of the assembly and a conversation between the organizers and Triple Canopy senior editor Maya Binyam. “On What We Owe” is adapted from a speech of the same name, as a contribution to Parts of Speech, an exhibition organized by Triple Canopy and Public Fiction with the Museum of Contemporary Art Chicago. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-what-we-owe

On the Difficulties in Writing the Truth by Hari Kunzru
On the Difficulties in Writing the Truth by Hari Kunzru

“When all the talk is of who is a real American, it takes courage to ask: who is unreal?” For Parts of Speech, Hari Kunzru, a novelist and critic, details how to write the truth under fascism, as uniformed brutes round up dissenters and politicians insist on an alternative reality. Kunzru rewrites Bertolt Brecht’s 1935 essay “Five Difficulties in Writing the Truth,” and relates the emergence of twentieth-century fascism to the situation in today’s so-called democracies. Kunzru offers antidotes to the distractions, distortions, misinformation, and harassment campaigns that hamper our capacity to speak—and spread and weaponize—the truth. And he identifies those who decry barbarism and risk nothing, those who merely crave “the status of being a truth teller.” The publication of “On the Difficulties in Writing the Truth” consists of an essay and a video that represents—or misrepresents—a speech of the same name. Kunzru’s speech was delivered on March 12, 2019, at Chicago’s Music Box Theatre as a contribution to “Parts of Speech,” an exhibition organized by Triple Canopy and Public Fiction with the Museum of Contemporary Art Chicago. https://www.canopycanopycanopy.com/issues/26/contents/i26-on-the-difficulties-in-writing-the-truth

Trailer for Triple Canopy’s If the Limbs Grow Too Large for the Body, 2019.
Trailer for Triple Canopy’s If the Limbs Grow Too Large for the Body, 2019.

How do artworks and decor—as well as fictions and fashions—give rise to nations and nationalities? What do they tell viewers about how to look and act, what and whom to value? How has the United States been shaped through the consumption and display of such goods, as well as the subjugation of the people whose labor or likenesses mark them? For “Raid the Icebox Now,” an exhibition at the RISD Museum, Triple Canopy created Can I Leave You?, a multimedia installation that considers the role of early American decorative arts in the formation of a common identity. Triple Canopy also commissioned a capsule collection and campaign video by the collective and fashion label CFGNY, which are included in the installation. Can I Leave You? centers on the efforts of Americans to define themselves through products and portrayals of China, whether via porcelain bowls or travelogues, whether out of admiration or animus. The installation is divided between the Museum’s Pendleton House and a nearby gallery. Multiple works are linked by an epistolary narrative that scrutinizes facile fictions of China and Chinese people from the Colonial era to the present, as well as expressions of dissonance and harmony in early American rituals and music. Now on view at the RISD Museum through July 19, 2020. https://www.canopycanopycanopy.com/series/can-i-leave-you/contents/can-i-leave-you-at-the-r-i-s-d-museum

The conclusion of issue 25, Resentment
The conclusion of issue 25, Resentment

We’ve just closed issue 25, Resentment, our issue devoted to reclaiming resentment, especially as harbored by those who are used to fits of anger and bitterness being called unproductive, petty, selfish, even pathological. Read (or revisit) essays, poems, conversations, readings, digital artworks, and recordings by Goldin+Senneby & Lina Ekdahl, Saretta Morgan, mouthfeel (S*an D. Henry-Smith & Imani Elizabeth Jackson), The New Red Order, Aki Sasamoto, and Wendy Xu, among others. https://www.canopycanopycanopy.com/contents/the-conclusion-of-issue-25-resentment

Triple Canopy Benefit After-Party, with Riobamba and Donis
Triple Canopy Benefit After-Party, with Riobamba and Donis

Calling all disciples of the dance floor: Our 2019 benefit after-party is only one week away! Dance with us at Jing Fong Restaurant on Tuesday, November 12 from 9:30pm-1am. DJ sets by RIOBAMBA_dj & Donis. Entry is free 💥 Photo of Riobamba by Guarionex Rodriguez, Jr. Photo of Donis by RAVERBABA. More information here: https://bit.ly/2oQMx4b

On Resentment: A Film Series
On Resentment: A Film Series

Tonight, at 6:45PM, we’re showing Spike Lee’s “Bamboozled.” It’s the last night of On Resentment, a series of films on identity and representation, violence and ownership, revolutions and dead ends, presented with BAM!

This weekend, On Resentment, our film series with @bamfilmbrooklyn continues. The wide-ranging series examines political anger, identity and representation, revolutions and dead ends, through the following films: “Petition,” “Who Killed Vincent Chin?,” “Zama,” “A Separation,” “Dr. Strangelove,” “If…,” and “Manila in the Claws of Light.” Come for the resentment-fueled films, with introductions by scholar Paul Nadal & TC senior editors Maya Binyam (@new__trick) and Emily Wang. To buy tickets, follow the link in bio. • [Clip from "A Separation (dir. Asghar Farhadi, 2011).]

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Tomorrow, May 4th at 6:30pm, join #WarholGrantee Triple Canopy for a screening of work by the artist Ilana Harris-Babou alongside videos by Ulysses Jenkins from the collection of Electronic Arts Intermix (EAI), which is co-organizing the event. The screening will be followed by a conversation between Harris-Babou and the film critic and scholar Yasmina Price. EAI has made the videos—along with a selection of related works by Anthony Ramos and Philip Mallory Jones that will not be shown at the event—available to the public for free for a limited time. This is event is available in person or via livestream. Visit their website for more information.
Artist Ilana Harris Babou '09 is screening her newest video, Leaf of Life, on Wednesday, May 4th at 6:30pm, with Triple Canopy and Electronic Arts Intermix (EAI). After the screening, she will be in conversation with the writer and researcher Yasmina Price. You can RSVP at the link.
Starting tonight, #warholgrantee Triple Canopy has collaborated with Brooklyn Academy of Music (BAM) to present a film series curated by translator and writer Katrina Dodson entitled "Brazilian Modernism at 100", that commemorates the bicentennial of Brazil’s independence and the one hundredth anniversary of the legendary 1922 Modern Art Week, which inaugurated a new, uniquely Brazilian sensibility. "Brazilian Modernism at 100" coincides with Triple Canopy’s forthcoming publication of an excerpt from Dodson’s new translation of Macunaíma (New Directions, 2023) as part of Unknown States, an issue on the fictions that make up nations and nationalities.
🔸Miasma, Plants, Export Paintings | A Screening with Bo Wang🔸⁣⁣ ⁣⁣ Join Triple Canopy and AAA-A this Sunday 1/30 from 1:00-2:30pm EST for virtual screening of recent works by the artist and filmmaker Bo Wang. ⁣⁣ In his films, Wang considers the spatial reorderings and epistemological reclassifications accompanying the West’s imperial incursions—as well as the immense profits garnered, particularly through the o***m trade. With an eye to the reverberations of these encounters in the present, Wang asks how people understand themselves and others through the circulation of goods, the filming of fictions, and the invention of systems to contain and categorize the wares, tales, and peoples of foreign nations.⁣ ⁣⁣ Wang will be joined in conversation by Triple Canopy senior editor Matthew Shen Goodman following the screening. Sign up now here: https://us02web.zoom.us/webinar/register/8716418309775/WN_C71Ii2UvT8i99fSLaLNcCw ⁣⁣ ⁣ Images: 1. Video Still, Bo Wang, “Miasma, Plants, Export Paintings" (2017). Courtesy of the Artist. 2. Video Still, Bo Wang, “Reporting on the 70th Anniversary of Empress of China Reached Canton, 1853”. Courtesy of the Artist.
In episode 5 of Triple Canopy's podcast Medium Rotation, "Set It Off" artist Jeremy Toussaint-Baptiste guides you to tune your ears to the frequencies at and below the threshold of human hearing 🎧 Medium Rotation features artists, writers, musicians, and scholars probing the conditions and countering the received ideas of our time (and other times), along with Triple Canopy editors. Each season is animated by the concerns of an issue of the magazine. The first season, Omniaudience, asks how we understand ourselves and others through listening—and what the obstacles to listening reveal about our society. LISTEN NOW ↓ https://bit.ly/3q3quDV
EAI has relocated! Please note our new address: Electronic Arts Intermix (EAI) 264 Canal Street #3W New York, NY 10012 We have departing after many happy years in Chelsea and a rewarding residence with Dia Art Foundation – a period that saw the blossoming of our public programs. Over the last two decades, we have hosted an incredible range of events, connecting attentive audiences with artists and their moving-image works. It is the engagement and collective participation nurtured at 535 West 22nd street that we will be bringing with us to our new space. The pandemic created a strong network of peer organizations in NYC, and one exciting outcome was an opportunity to share a space at 264 Canal with Triple Canopy, the highly-regarded and influential magazine and publishing platform, which has been operating in the space since 2016. The neighborhood immediately situates EAI in a vibrant and dynamic community, both within the arts and the city itself. We are also delighted to partner with a small arts organization that, like EAI, is committed to nurturing exploration and resisting easy classification. Alternative means of distributing and providing access to information is at the core of both of our missions, and we can support each other to that end. There are many rich potentials for programmatic collaborations, drawing from an incredibly diverse and international roster of scholars, writers, designers, and artists. The beautiful shared space, designed by Leong Leong, is built out to comfortably host classes, events, staff, and visitors. EAI is thrilled to bring its singular collection of over five decades of video and media art to this gathering place. We look forward to welcome you to future events when it feels safe to gather! https://mailchi.mp/eai/electronic-arts-intermix-eai-is-moving
"I’m thinking about models of acting and being activated that have nothing to do with the stage, or with scenery, or with props, or with anything more or less than the moving body itself." STEFFANI JEMISON, this year's Light Work UVP commissioned artist, considers the practice of mime and mimicry in relation to language, expression, empathy, and violence in ON SIMILITUDE, which she created for Triple Canopy this past summer. #SteffaniJemison will be in conversation with her collaborator Alexis Page in a public talk hosted by Light Work THIS THURSDAY, APRIL 15 on ZOOM. Register here: https://www.lightwork.org/.../my-body-is-opaque-special.../
"I’m thinking about models of acting and being activated that have nothing to do with the stage, or with scenery, or with props, or with anything more or less than the moving body itself." STEFFANI JEMISON, this year's Light Work Urban Video Project commissioned artist, considers the practice of mime and mimicry in relation to language, expression, empathy, and violence in ON SIMILITUDE, which she created for Triple Canopy this past summer. Register for #SteffaniJemison's talk THURSDAY on ZOOM: https://www.lightwork.org/.../my-body-is-opaque-special.../
MIDNIGHT SUN is the third episode in Frank Heath's ON THE BEACH series, an ongoing project inspired by Nevil Shute’s eponymous 1957 postapocalyptic novel and commissioned by the curatorial platform Triple Canopy. In connection to our upcoming exhibition, the film is presented as part of a two-part video program that responds to questions surrounding the environment, access, and mobility.
Beowulf Triple canopy,
This week in essays, Harmony Holiday shares a hybrid essay that meditates on the origins, uses, and power of Black silence at Triple Canopy, Naomi Jackson writes on her own experience in a health care system where unfair levels of self-advocacy are required of Black women just to give birth safely for Harper's Magazine, and more.
BLACK LIVES MATTER: Hyperallergic features the theatres, museums, and art institutions that have opened their doors to #JusticeForGeorgeFloyd and #BlackLivesMatter protestors, including The Public Theater, Studio Theatre, Woolly Mammoth Theatre Company, Brooklyn Museum, MoMA PS1, The Invisible Dog Art Center, Asian American Writer's Workshop, and Triple Canopy.