Read Two Ears and One Mouth, our latest issue, which is devoted to the entanglement of speaking and listening. Now online: http://canopycanopycanopy.com/issues#26
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.
Mission: Triple Canopy is a magazine based in New York. Since 2007, Triple Canopy has advanced a model for publication that encompasses digital works of art and literature, public conversations, exhibitions, and books. This model hinges on the development of publishing systems that incorporate networked forms of production and circulation. Working closely with artists, writers, technologists, and designers, Triple Canopy produces projects that demand considered reading and viewing. Triple Canopy resists the atomization of culture and, through sustained inquiry and creative research, strives to enrich the public sphere.
Answers with Questions Episode 3: The Comedian—featuring Gregg Bordowitz, Morgan Bassichis, and The Illustrious Pearl—is now streaming. awithq.live/episode3
Music: “We won't calm down” by Morgan Bassichis, from More Protest Songs! Morgan Bassichis Live at St. Mark's Church (2018).
Tonight at 8:00 p.m. EST, on the final episode of Answers with Questions, Gregg Bordowitz, Morgan Bassichis, and The Illustrious Pearl address canine incontinence, the erotic field of living one’s worst nightmare, the limits of friendship, and the social uses of humor.
The episode features appearances by several people seeking advice from Bordowitz and his guests, including the theorist and educator Lauren Berlant; the artist and scholar Vaginal Davis; the scholar and performer Malik Gaines; the cultural theorist Sianne Ngai; the artists Jason Simon and Moyra Davey; and the artist Buzz Slutzky.
Tune in at awithq.live/episode3
Answers with Questions Episode 2: The Rabbi—featuring Gregg Bordowitz, Joy Ladin, and Kendall Thomas—is now streaming. awithq.live/episode2
Music: “My Father’s Nigun” by Isle of Klezbos, from Greetings from the Isle of Klezbos (2003).
On tonight’s episode of Answers with Questions, Gregg Bordowitz is joined by Joy Ladin , a poet, scholar, and leading thinker on Judaism and transgender identity, to discuss the liturgy on gossip, the relationship between divine intervention and human action, and the importance of asking questions that beg more questions. Kendall Thomas, a vocalist and legal scholar, performs a song from My Queer Jazz Songbook, an ongoing series of performances at Joe’s Pub in New York City.
The episode features questions from readers as well as appearances by the filmmaker and activist Jean Carlomusto, Rabbi Miriam Grossman of Kolot Chayeinu, and the theorist Fred Moten, all of whom seek counsel from Bordowitz and his guests.
Tune in tonight at 8:00 p.m. EST: awithq.live/episode2
Tune in tonight at 8:00 p.m. EST for the premiere of Answers with Questions, an advice show hosted by Gregg Bordowitz. On tonight’s episode, Bordowitz will be joined by Jasmine Nyende and Vivien Goldman to address questions about music, political grief, navigating awkward encounters, and enlivening the collective struggle for radical change. Tonight’s episode features cameos—in the form of solicitations of advice—by the poets Hanif Abdurraqib, Ari Banias, and Pamela Sneed.
Stream the episode at awithq.live/episode1
What advice are you seeking? For Answers with Questions, an advice show, Gregg Bordowitz & friends will address your questions, whether about quelling inner turmoil or navigating societal collapse. Call 201-467-8592 or email [email protected] to submit, and tune in to the premiere on November 18 at 8:00 p.m. EST. https://bit.ly/3mzRUNm
A special request from Gregg Bordowitz.
Answers with Questions is an advice show hosted by Gregg Bordowitz with Jasmine Nyende, Joy Ladin, and Morgan Bassichis, plus musical guests Vivien Goldman, Kendall Thomas, and The Illustrious Pearl.
Submit questions—about matters existential and mundane, about patience and revolt—by calling 201-467-8592 or emailing [email protected]. Tune in to the premiere of episode 1, with Nyende and Goldman, on November 18 at 8pm EST. https://bit.ly/3mzRUNm
“In Cuba, unlike in nearly every other country, digital media circulates through in-person transfers more often than through networked technologies. For roughly a decade, a majority of Cubans have accessed movies, TV shows, music, publications, and advertisements through El Paquete Semanal (the Weekly Package): a system for sharing hard drives full of files that are copied and distributed by hand. In a world where transnational internet behemoths leverage personal data to influence our viewing, spending, socializing, and voting, Cuba shows us an exceptional and extraordinary alternative.”
https://www.canopycanopycanopy.com/issues/26/contents/proyecto-data
A research report on El Paquete Semanal, Cuba’s offline media distribution system.
Next month, Triple Canopy is premiering Answers with Questions, a three-episode advice show hosted by Gregg Bordowitz with Jasmine Nyende, Joy Ladin, and Morgan Bassichis, plus musical guests Vivien Goldman, Kendall Thomas, and The Illustrious Pearl.
Send Bordowitz your questions, whether existential or mundane, political or personal, ribald or somber, by emailing [email protected] or calling 201-467-8592.
Answers with Questions follows from Some Styles of Masculinity, an ongoing series of performances (originally commissioned by the New Museum in 2018) in which Bordowitz probes the personas of the rock star, rabbi, and comedian, which are fundamental to his formation as an artist and activist. The series has been included in “Gregg Bordowitz: I Wanna Be Well,” a retrospective organized in 2019 by the Douglas F. Cooley Memorial Art Gallery, Reed College, and subsequently presented at The Art Institute of Chicago; the exhibition will open at MoMA PS1 in the spring of 2021.
https://bit.ly/3mzRUNm
An advice show, artworks, and a book: Triple Canopy celebrates the inimitable artist, activist, writer, and educator.
We’re thrilled to announce a suite of programs celebrating the artist, activist, writer, and educator Gregg Bordowitz.
In lieu of our annual benefit, we’ve organized an array of activities with Bordowitz and in recognition of his extraordinary work. In November, join us for Answers with Questions, a three-episode advice show, hosted by Bordowitz and a cast of interlocutors including Morgan Bassichis, Joy Ladin, and Jasmine Nyende, that invites questions from viewers about existential and mundane matters. Leidy Churchman, Rashid Johnson, Amy Sillman, and Christopher Williams will contribute artworks for the occasion. We're also working with Bordowitz on a book that adapts “Some Styles of Masculinity,” a series of performances in which he probes the personas of the rock star, rabbi, and comedian, to be published next year.
https://www.canopycanopycanopy.com/contents/a-celebration-of-gregg-bordowitz
An advice show, artworks, and a book: Triple Canopy celebrates the inimitable artist, activist, writer, and educator.
“I'm creating a voice and an accent that comes from being a conscious listener.” — Nour Mobarak on a recent composition that probes how listeners envision the people behind the voices on recordings. https://bit.ly/3dIzvus
Audiences assemble in Los Angeles, consider the role of listening, and strive to hear and comprehend everything.
"We don’t call the people who like the band fans: they’re accomplices; they’re committed to our ideas, not just the music. We want to align people with our politics through music.” — Jasmine Nyende in conversation with Nikita Gale for Omniaudience, our 2018–19 Public Engagement residency at the Hammer Museum. https://bit.ly/2TbR64y
Audiences assemble in Los Angeles, consider the role of listening, and strive to hear and comprehend everything.
"What are the acoustics of getting the hell out of here? How is that going to sound?”
Read documentation of a conversation between Harmony Holiday and Lynnée Denise for Omniaudience, our 2018–19 Public Engagement residency at the Hammer Museum. https://bit.ly/3m9fC2P
Audiences assemble in Los Angeles, consider the role of listening, and strive to hear and comprehend everything.
What is the sound of a piano replicating the energy, mannerisms, and intent of a pianist? What is the difference between a sensitive pianist balancing the interwoven melodies of a fugue, or channeling the melancholia of a concerto, and a computerized piano outputting the same techniques and emotions? The Los Angeles-based composer Tashi Wada takes up these questions in Table of Visions, a composition for the Steinway Spirio, a “high-resolution player piano” designed to record and replay live performances. Listen to a sketch from the composition and read an accompanying essay by TC editor Alexander Provan on the illusion of liveness and technologies that capture the “soulfulness” of performances.
A composition for a high-resolution player piano, with live accompaniment.
What do genetically modified pine trees have to do with the future of biological life on earth—and with writing fiction? We’ve just published documentation from Crying Pine Tree, a performance in which Triple Canopy’s editor, Alexander Provan, unpacked and planted four genetically modified pines while the author Katie Kitamura read the prologue to a novel that she’s writing about the trees. (An experimental geneticist in Florida modified the pines so as to overdrive their production of sap, which contains a chemical compound that can be converted into biofuel.)
The pines are components of a multifaceted work in progress by the artist duo Goldin+Senneby, who are concerned with biography in the most literal sense: life writing.
How does the “life writing” that occurs in laboratories—the alteration of genetic code to yield organisms for study or sale, to cure illnesses or save species—relate to the life writing that occurs in memoir, fiction, and poetry?
A story of a genetically modified pine, of life under threat and subject to enhancement (or even salvation) through engineering.
It can’t be taken for granted that we all share the same sense of time. Since the advent of mechanical playback technologies in the early twentieth century, blind scientists, experimental musicians, and radio engineers have sought to manipulate the speed of sound to different ends. As Jonathan Sterne and Mara Mills observe in “Second Rate,” their new essay for TC, experimental musicians are often credited as the progenitors of time compression—the speeding up or slowing down of recorded sound—while the contributions of obscure engineers and blind readers are overlooked. In chronicling the experiments of avant-garde composers (who harbored “managerialist fantasies of control” over sound) along with the technological efforts of blind people (who sought to manipulate playback speeds to learn and communicate as they wished), Sterne and Mills ask what counts as a radical use of technology.
A history of time stretching, from avant-garde composers with fantasies of control to blind people who sought to read at their own speed.
“To me, ‘River Deep—Mountain High’ represents a fantasy of defying musical genres, which were (and still are) largely defined by race and gender. The song was a flop in part because of the ways in which these categories are troubled through the production. What American gatekeepers of radio perceived in the song was not a triumphant integration of R&B and pop but rather sonic miscegenation. … The song captures the sound of being together—or of being packed together, forced together.”
Read “LITTLE GIRLS” a multimedia essay by the artist Nikita Gale on Tina Turner’s “River Deep—Mountain High,” sonic segregation, the power of the Top 40, and the prospect of being heard without being controlled.
An essay on Tina Turner and segregation, the power of the Top 40 and the prospect of being heard without being controlled.
As part of Triple Canopy’s contribution to “Raid the Icebox Now,” an exhibition at the RISD Museum (which is currently closed to the public), we created a digital publication that revises the lavish 1906 catalogue for Pendleton House, which was built to house Charles Pendleton’s vast collection of American furnishings, imported vases and candelabras, and other such treasures and follies.
The text of the catalogue might seem to be an anodyne description of styles and techniques, but this language is a manifestation of the rhetoric around taste, distinction, and progress that has fueled the formation of American identity and abetted the exercise of American power since the late nineteenth century. Our publication, “To Make New Bodies Out of Old Shapes,” dissects and gradually cannibalizes the catalogue: the pages are increasingly augmented by nationalistic speeches, nostalgic stories, messianic sermons, and other fictions and original sources that reflect this underlying agenda. (The publication also features imagery from the three-channel video installation we created for the exhibition.)
https://publications.risdmuseum.org/raid-icebox-now/triple-canopy-make-new-bodies-out-old-shapes
“In this age of excess speech and scarce conversation, of cycles of collective and individual trauma so surveilled as to nearly be glamorized, we’re all keeping secrets, withholding words, courting quietness, but we resist the poetry in that denial, the potential for the enjambment of joy and pain, suffering and redemption, awareness and oblivion.” Read Harmony Holiday's essay on the silencing of Black voices and the longing for emancipation in songs and screams.
“Now we have to learn to listen to the speechless ruins.” A meditation on Black silence.
In “A Cinder Block Falling on Concrete,” the artist Lawrence Abu Hamdan shares sounds and stories from Earwitness Inventory: a personal library of sound effects related to the testimony of earwitnesses in criminal investigations. Abu Hamdan considers how people remember (or misremember) sounds—gunshots, punches, squeaky prison doors—as well as the difficulty of describing such memories when precision is paramount, during interviews and courtroom hearings.
“A Cinder Block Falling on Concrete” consists of brief essays on many of the objects that make up Abu Hamdan’s sound library, which is derived from interviews the artist has conducted with earwitnesses as part of his work as a “private ear” on investigations with Forensic Architecture (and Amnesty International), as well as transcripts from trials across the globe. https://www.canopycanopycanopy.com/issues/26/contents/a-cinder-block-falling-on-concrete
“It didn’t sound like a punch.” A library of sound effects derived from the testimony of earwitnesses in criminal investigations, and notes on the “acoustic unconscious.”
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
“Inner space and world give rise to each other, photon and wave; a person alone is in a context.
It’s how a painting, real in itself, also reveals reality by connecting a blue scarf with a woman’s blue eyes, for example.”
Read “Listening,” the poet Mei-mei Berssenbrugge’s contribution to Two Ears and One Mouth, our issue devoted to the entanglement of speaking and listening. The poem is included in Berssenbrugge’s new collection, A Treatise on Stars, which was published earlier this year by New Directions.
https://www.canopycanopycanopy.com/issues/26/contents/listening
“I breathe in space lit by sunset and breathe out to any star.” A poem on perception, an exaltation of the senses.
Prompted by the poet Tsitsi Ella Jaji’s concept of “dubbing in stereo for solidarity,” “Stereomodernism,” DeForrest Brown, Jr.’s mix for Triple Canopy, reinstates techno’s original framing as embodied aural history from a Black theoretical perspective. In Brown, Jr.’s words, the mix “celebrates the sublimity of Detroit techno and its position in African American culture and history.”
Brown, Jr. created the mix in response to Rainald Goetz’s novel Rave, an ecstatic account of the 1990s German techno scene, now available in English for the first time from Fitzcarraldo Editions and excerpted in Two Ears and One Mouth, our issue devoted to speaking and listening.
https://www.canopycanopycanopy.com/issues/26/contents/stereomodernism
A mix that presents techno as an embodied aural history of Black life in America (and not as psychedelic delirium). With artwork by Abdul Qadim Haqq.
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Answers with Questions Episode 3: The Comedian—featuring Gregg Bordowitz, Morgan Bassichis, and The Illustrious Pearl—is now streaming. awithq.live/episode3 Music: “We won't calm down” by Morgan Bassichis, from More Protest Songs! Morgan Bassichis Live at St. Mark's Church (2018).
Tonight at 8:00 p.m. EST, on the final episode of Answers with Questions, Gregg Bordowitz, Morgan Bassichis, and The Illustrious Pearl address canine incontinence, the erotic field of living one’s worst nightmare, the limits of friendship, and the social uses of humor. The episode features appearances by several people seeking advice from Bordowitz and his guests, including the theorist and educator Lauren Berlant; the artist and scholar Vaginal Davis; the scholar and performer Malik Gaines; the cultural theorist Sianne Ngai; the artists Jason Simon and Moyra Davey; and the artist Buzz Slutzky. Tune in at awithq.live/episode3
Answers with Questions Episode 2: The Rabbi—featuring Gregg Bordowitz, Joy Ladin, and Kendall Thomas—is now streaming. awithq.live/episode2 Music: “My Father’s Nigun” by Isle of Klezbos, from Greetings from the Isle of Klezbos (2003).
On tonight’s episode of Answers with Questions, Gregg Bordowitz is joined by Joy Ladin , a poet, scholar, and leading thinker on Judaism and transgender identity, to discuss the liturgy on gossip, the relationship between divine intervention and human action, and the importance of asking questions that beg more questions. Kendall Thomas, a vocalist and legal scholar, performs a song from My Queer Jazz Songbook, an ongoing series of performances at Joe’s Pub in New York City. The episode features questions from readers as well as appearances by the filmmaker and activist Jean Carlomusto, Rabbi Miriam Grossman of Kolot Chayeinu, and the theorist Fred Moten, all of whom seek counsel from Bordowitz and his guests. Tune in tonight at 8:00 p.m. EST: awithq.live/episode2
Tune in tonight at 8:00 p.m. EST for the premiere of Answers with Questions, an advice show hosted by Gregg Bordowitz. On tonight’s episode, Bordowitz will be joined by Jasmine Nyende and Vivien Goldman to address questions about music, political grief, navigating awkward encounters, and enlivening the collective struggle for radical change. Tonight’s episode features cameos—in the form of solicitations of advice—by the poets Hanif Abdurraqib, Ari Banias, and Pamela Sneed. Stream the episode at awithq.live/episode1
What advice are you seeking? For Answers with Questions, an advice show, Gregg Bordowitz & friends will address your questions, whether about quelling inner turmoil or navigating societal collapse. Call 201-467-8592 or email [email protected] to submit, and tune in to the premiere on November 18 at 8:00 p.m. EST. https://bit.ly/3mzRUNm
A special request from Gregg Bordowitz. Answers with Questions is an advice show hosted by Gregg Bordowitz with Jasmine Nyende, Joy Ladin, and Morgan Bassichis, plus musical guests Vivien Goldman, Kendall Thomas, and The Illustrious Pearl. Submit questions—about matters existential and mundane, about patience and revolt—by calling 201-467-8592 or emailing questions[email protected]. Tune in to the premiere of episode 1, with Nyende and Goldman, on November 18 at 8pm EST. https://bit.ly/3mzRUNm
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
“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
“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
“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
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
“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
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
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
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
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).]
Tomorrow at Jane Addams Hull-House Museum in Chicago: Astra Taylor delivers the first lecture of our #PartsOfSpeech exhibition with Public Fiction at @Museum of Contemporary Art Chicago. She and Laura Hanna organize an assembly to amplify and organize the voices of debtors.
Inhale. Exhale. Register your resistance to discomfort. Release your tension, your anxiety, your fear. Feel the potential of your mind being unlocked as you enter “The Difference between the Signals,” a binaural-beats meditation by artist Sheree Hovsepian. (The full video can be experienced on our site: https://www.canopycanopycanopy.com/issues/24/contents/the-difference-between-the-signals/#title-page)
In the second part of our #RiskPool symposium, Carolyn Lazard will read from an essay in progress that asks why there is so little room for belief within biomedical healthcare. Lana Lin will then discuss and screen an excerpt of The Cancer Journals Revisited (2018), her experimental nonfiction film that reimagines Audre Lorde’s The Cancer Journals. Finally, Beza Merid will speak about the role of affective appeals and illness narratives in resisting the opposition to healthcare reform. After these presentations, the participants will be joined in conversation by Risk Pool guest editor Corrine Fitzpatrick.
Urinating ghosts with grudges, pulverized tempered glass, and baked goods. Watch and read Aki Sasamoto’s “Do Nut Diagram”: a video and poem on the biweekly board meeting in the woods (https://www.canopycanopycanopy.com/contents/do-nut-diagram).
Year five, 2012: Here’s a trailer from Invalid Format, published in 2012—the first volume in our anthology (designed by Project Projects) of the magazine’s widespread publishing activities, translating online and IRL projects into print. Support the publication of the books that don’t yet exist—the classics of the future—by becoming a member for $3, $5, or $10 per month. #VersionHistory #TripleCanopyTurnsTen #FundTheFuture https://www.canopycanopycanopy.com/membership
Year three, 2010: Inspired in part by the format and legacy of Aspen, the 1960s “magazine in a box,” we asked about the history and future of the new-media magazine. We staged numerous talks, conversations, and performances—one of which was The Medium Was Tedium at the New Museum with Rhizome in 2010. Artists Mel Bochner, Daniel Bozhkov, and Erin Shirreff discussed how the move from the exhibition space to the printed page has shaped the work of artists then and now, and been reflected in works for TV and the internet. Read Bochner's piece The Medium and the Tedium (https://www.canopycanopycanopy.com/contents/the_medium_and_the_tedium) and then make your way over to our membership page (https://www.canopycanopycanopy.com/membership) to support our work. #TripleCanopyTurnsTen #FundTheFuture
عمتـــــــــون چطـــــــــــــوره
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