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Josèfa Ntjam
Metal structure, Plexiglas, clay, neons, 2 screens
Unknown Aquazone draws upon water-related mythologies, from Mami Wata, voodoo figures and fish-woman divinities, to imagine speculative futures.
The work is named after Detroit techno duo Drexciya’s fourth EP (1994), which built upon the musicians’ imagined technological universe comprising an underwater society formed by the offspring of pregnant African women who were thrown overboard from the ships that traversed the Atlantic during the slave trade.Ntjam combines imagery relating to this and other aquatic mythologies with archival materials that depict revolutionaries who fought for Cameroonian independence, creating large photomontages that are printed on the sides of an ‘aquarium’.*
From the exhibition
RE/SISTERS: A Lens on Gender and Ecology
(October 2023 — January 2024)
A major group exhibition that explored the relationship between gender and ecology, and highlighted the systemic links between the oppression of women and the degradation of the planet.
Featuring around 50 international women and gender non-conforming artists, RE/SISTERS featured work from emerging and established artists across photography and film.
Works in the exhibition explored how women’s understanding of our environment has often resisted the logic of capitalist economies which place the exploitation of the planet at its centre. They were presented alongside works of an activist nature that demonstrated how women are regularly at the forefront of advocating and caring for the planet.
Reflecting on a range of themes, from extractive industries to the politics of care, RE/SISTERS viewed environmental and gender justice as indivisible parts of a global struggle. It addressed existing power structures that threaten our increasingly precarious ecosystem.
...RE/SISTERS surveys the relationship between gender and ecology to highlight the systemic links between the oppression of women and Black, trans, and Indigenous communities, and the degradation of the planet. It comes at a time when gendered and racialised bodies are bending and mutating under the stresses and strains of planetary toxicity, rampant deforestation, species extinction, the privatisation of our common wealth, and the colonisation of the deep seas. RE/SISTERS shines a light on these harmful activities and underscores how, since the late 1960s, women and gendernonconforming artists have resisted and protested the destruction of life on earth by recognising their planetary interconnectedness.
Emerging in the 1970s and 1980s, ecofeminism joined the dots between the intertwined oppressions of sexism, racism, colonialism, capitalism, and a relationship with nature shaped by science. Ecofeminist scholars have long critiqued feminised constructions of ‘nature’ while challenging patriarchal and colonial abuses against our planet, women, and marginalised communities. Increasingly, feminist theorists recognise that there can be no gender justice without environmental justice, and ecofeminism is being reclaimed as a unifying platform that all women can rally behind.
Uniting film and photography by over 50 women and gendernonconforming artists from across different decades, geographies, and aesthetic strategies, the exhibition reveals how a woman-centred vision of nature has been replaced by a mechanistic, patriarchal order organised around the exploitation of natural resources, alongside work of an activist nature that underscores how women are often at the forefront of advocating for and maintaining our shared earth.
Exploring the connections between gender and environmental justice as indivisible parts of a global struggle to address the power structures that threaten our ecosphere, the exhibition addresses the violent politics of extraction, creative acts of protest and resistance, the labour of ecological care, the entangled relationship between bodies and land, environmental racism and exclusion, and queerness and fluidity in the face of rigid social structures and hierarchies. Ultimately, RE/SISTERS acknowledges that women and other oppressed communities are at the core of these battlegrounds, not only as victims of dispossession, but also as comrades, as protagonists of the resistance.
[*Barbican Centre]
Taken in Barbican Centre
yet another tagless plant.
Photographed at the Mt Tomah Botanic Gardens, NSW, Australia. February 5th, 2006.
Photo taken at the 2010 Chowan Fair in North Carolina.
This photo is licensed creative commons, please feel free to use for any purpose.
Photo's by www.ideonexus.com.
Cover art commissioned by ‘The Unknowns,’ for their album ‘No Idea.’
They broke up the night of the release party.
"Trust is like an eraser it gets smaller and smaller after every mistake"
www.thebestlovequotes.net/life-quotes-217/
Find many more great Quotes at www.thebestlovequotes.net
#ImageQuotes, #LifeQuotes
Title: Unknown House
Identifier: PD.UH.001
Creator: Unknown
Date: Unknown
Medium: color photographs
Provenance: Paul Dorpat Collection of the Queen Anne Historical Society
Access: Flickr
Copyright status unknown. This work is accessible for purposes of education and research. This work may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, its reproduction may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing, and trademarks. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Responsibility for any use rests exclusively with the user.
Queen Anne Historical Society (QAHS) attempted to find rights holders but was unsuccessful in this search. In any case, QAHS is eager to hear from rights holders or representatives of rights holders so that we may obtain permission. Digitized works can be removed from public view upon request if there are rights issues that need to be resolved. Contact info@qahistory.org with any questions or concerns.
Unknown people. Negatives in envelope from Globe Photo Service, Greenville, SC. Aug 14, 19--. Possibly belonging to Paul Hand
I scanned negatives and then fixed them up in photoshop.
Unknown fungi growing on the shore at Inverbervie.
www.flickr.com/groups/863334@N25/
Identification invited.
Pic taken on a very productive day photo trip to Rattlesnake Springs in far southern New Mexico USA. Appreciate any help on the ID.
Unknown - petals shed after pollination leaving the ovary surrounded by red sepals. I thought it might be one of 10 Saint John's Wort occurring in the British Isles, but the very long styles arising from the ovaries 'sowed the seed of doubt' in my mind.
Note by Vernon Francis
The sea in Shoreham reflecting the sun beneath the footbridge which reminds me of the iconic cover art of Joy Division's Unknown Pleasures.
Unknown toddler girl in chair with dark blonde or light brown wavy hair. The chair is the same as in other photos taken outside 126 St. Balliet Street. This is almost certain one of the children of John and Senora Hinkle. Based on the shoes and hairstyle, and the photo paper, I would guess this is one of their youngest children, either Kathryn (Catherine) or Marie.
Unknown people. Negatives in envelope from Globe Photo Service, Greenville, SC. Aug 14, 19--. Possibly belonging to Paul Hand
I scanned negatives and then fixed them up in photoshop.
Three unknown males in a studio portrait. Possibly brothers. Postcard on back reads Arcade Studio 75 S. Howard St. Akron, Ohio.
I think that disclosure means that new unknown things are coming into the world and I think that this picture represents disclosure because the hidden information (the secret) is in this alley and it is coming out and into the world. My vantage point in this picture is standing and looking down an alley. The light in this picture is warm because of the sun. There are many lines in this picture that show the end of the alley pipes and the edges also make you stop and look at them for a while. There are very little organic shapes in this picture, there are more geometric shapes in the picture.