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Tanio, N_ImperialValleyMural_Stakeholders

ntanio

Ernesto Yerena Montejano, currently a Boyle Heights resident and originally from Imperial County, and his team of fellow artists Arlene Mejorado and Ayerim Leon — complete with friends and families" painted the mura.

It belongs to the Imperial Valley, but was one of 14 California commissions art projects as part of a collaboration between the Governor's Office, CA Dept of Public Health and The Center at Sierra Health Foundation. The commissioning program aimed to raise awareness about Covid19 within the State's hardest hit areas. Each an governmental agency stakeholder in the project along with curators who selected the artist for this mural.

The building's owner, which appears to be a someone poised to sell it soon is also a stakeholder and most importantly, local resident are active stakeholders as they began adding names of family members who died because of Covid on the western corner of the mural unprompted and without explicit instruction or permission.

Tanio, N_ImperialValleyMural

ntanio

The mural is located at 739 N. Imperial Avenue in El Centro. It is precariously positioned because although the current owner of the building has promised to protect it for the next 6 months (per Jun 10, 2021), the next owner of the building may cover over the mural. The mural was completed over 1 week by 5+ painters under the direction of  the artist Ernesto Yerena Montejano on May 30, 2021.

It brings together community members to commorate the toll Covid 19 has taken on the community. It provides a public service message to continue masking and thereby taking care of the community. And it adds an element of beauty and artfulness to what was a run-down building exterior

Tanio, N_ImperialValleyMural_illustrated activities

ntanio

The mural covers the entire side of one building. The background is painted in purples, blue and yellow. One side of the wall is painted "Protege A Nuestra Comunidad!"|"Protect our Community!"

The centerpiece of the mural both figuratively and literally is a beautiful woman (anywhere beteween 20-40yo) in traditional dress with two long strands of brown braided hair holding a bouquet of colorful flowers tied together with a yellow sash. She is wear a face mask to back up the Covid-19 theme.

The flowers she holds is both a reference to the business--"Cynthia's Flower Connection" which has since moved as well as a tribute to the community and their deceased members who died of Covid. One indication is that community members began adding names to the side of the mural as a tribute to lost family members.

This mural is a public-works project commissioned by the State and agencies. It was created by an artist who has ties to the area. It is also meant to be a public health message, another way to reach local residents who have been "locked in"

“Right away we saw how powerful the mural was in bringing people together, especially after this year where we've been locked in and it's been hard to communicate with our community,” he said. Per David Varela, “People are slowly making their way to the mural and are able to mourn a little bit too,” Varela said. “It's really healthy to mourn and I think people are getting a chance to do that through the mural. I knew we'd not only get a beautiful mural, but a powerful message.”

A necessarily endless effort

tschuetz

"Scott and Chakrabarty’s critiques tell us less about postcolonial studies’ limits than about the difficulty even its most eminent scholars have keeping its history in mind"

"Advocating resistance and critiquing the conditions of resistance are not, contra Scott, inherently opposed or even separate activities"

"During his “ethical turn,” Derrida reconceived the ultimate point of such deconstructive reading: no longer articulating différance it became instead responding to the experience of the other (Derrida 2002: 230–98; Spivak 1999: 426–8)."

"It becomes instead the capacity and willingness to surrender its agency to the other, thus exposing itself to a future it cannot control. Levinas’s redefinition of the human attempted, in its own way, to place the Hegelian tradition on its feet again. Though Gramsci and Fanon are both frequently assimilated to that tradition (as Scott’s and Chakrabarty’s critiques illustrate), the intellectual’s relationship to the colonized in their work prefigures, if again inchoately, the ideas of responsibility and futurity evident in Levinas and Derrida."

"The problem with Orientalism is precisely its ontological—not ethical—approach: the Orientalist seeks knowledge of the other to master it, decidedly not to protect its epistemic difference. [... ] Orientalism thus declares an epistemological as well as ontological difference between the European and the non‐European. Indeed, the former is the very source of the latter: Europeans and Orientals are different types of being precisely because they have different ways of knowing."

"[T]o think of responsibility as a freedom, you need that very humanistic education which teaches rebellion against it” (Spivak 2012: 461).4 “Humanist education” in general trains the “ethical reflex” in precisely the same way literary study in particular does: it opens one to forms of consciousness fundamentally different from one’s own. Such openness eventually requires one to “rebel” against one’s training itself: the oth- erness of some text—indeed, perhaps every text—will exceed what one has been taught."

"If Marxism responded to capitalism dialectically, wanting to replace it with a single and even more universal system, anti‐globalization movements now respond to capitalism deconstructively, wanting instead to articulate the disparate demands of those who build the global economy but are neither seen nor heard there. If they remain so, who will crawl, Spivak asks, “into the place of ‘the human’ of ‘humanism’ at the end of the day, even in the name of diversity?” (Spivak 2005: 23)."

"[T]he genealogy of postcolonial theory recounted here—from Gramsci and Fanon through Said and Spivak to Chakrabarty and Scott—can be read as a necessarily endless effort to rethink the revolutionary principle of freedom from the perspective of those to whom it was never designed to extend."

 

Freedom

Duygu Kasdogan

shortly attaching this news article on "coronavirus lockdown protests" to this reading. should be an obvious one to all. 

Re: the discussion on "our" concepts of freedom

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Adding a popular quote - from Kafka's "A Report to an Academy

I fear that perhaps you do not quite understand what I mean by "way out." I use the expression in its fullest and most popular sense—I deliberately do not use the word "freedom." I do not mean the spacious feeling of freedom on all sides. As an ape, perhaps, I knew that, and I have met men who yearn for it. But for my part I desired such freedom neither then nor now. In passing: may I say that all too often men are betrayed by the word freedom. And as freedom is counted among the most sublime feelings, so the corresponding disillusionment can be also sublime. In variety theaters I have often watched, before my turn came on, a couple of acrobats performing on trapezes high in the roof. They swung themselves, they rocked to and fro, they sprang into the air, they floated into each other's arms, one hung by the hair from the teeth of the other. "And that too is human freedom," I thought, "self-controlled movement." What a mockery of holy Mother Nature! Were the apes to see such a spectacle, no theater walls could stand the shock of their laughter.

No, freedom was not what I wanted. Only a way out; right or left, or in any direction; I made no other demand; even should the way out prove to be an illusion; the demand was a small one, the disappointment could be no bigger. To get out somewhere, to get out! Only not to stay motionless with raised arms, crushed against a wooden wall.