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Claudio Parentela:Contemporary Art with a Freakish Taste!

By Steve Knopper

Malteros are the porters who transport luggage and goods between the border of the US and Mexico. Working with a group of maleteros in 2005, artist Mark Bradford collaborated on a system of maps and signs that placed the marginalized work of the unofficial maleteros alongside that of the sanctioned labor of policemen and taxi drivers.

“Baraye,” the anthem of Iran’s “Woman, Life, Liberty” protest movement—a song woven together entirely from a Twitter hashtag trend in which Iranians express their investment in the current protests—continues to unite Iranians in their opposition to the Islamic Republic several weeks after it was first released online.

Opponents of military rule in Myanmar have marched, observed "flower strikes" and sought alternative ways to communicate after most users were cut off from the internet, undaunted by the bloody suppression of protests during the past two months.

The term “Afrofuturism” was coined in the 1990s by the cultural critic Mark Dery, who recognized a preoccupation with the future in the work of a number of black artists. Ever since, it has remained a term that is retrospectively applied to seemingly disparate artists, from Missy Elliot to Toni Morrison. What unites the movement is a shared fascination with the black experience, particularly in America.

Strap into your scuba gear — this museum is worth it. Installation began on Museo Atlantico — the latest project of underwater sculptor James deCaires Taylor — this week, 14 meters underwater in Lanzarote, one of the Spain’s Canary Islands off the coast of West Africa. Taylor, whose creations have spanned the waters from the Bahamas to London, calls it the first underwater contemporary art museum in Europe and the Atlantic Ocean.

The artist in close collaboration with AMI (Assembly of Indigenous Migrants of Mexico City) has created a series of monographs made by students, through ‘tequio’: a communal system of organisation expressed in collaborative practices, mandatory and unpaid work. The goal of the project is to offer information about the lifestyle and culture of these indigenous communities, which live in Mexico City.

“I am a silkworm.” Liang Shaoji has repeatedly used this phrase to describe his work, underscoring his preoccupation with the materiality of silk and the technology of sericulture, or silk farming. For more than twenty-five years, Liang Shaoji has raised silkworms and trained them to spin silk onto different objects in his Nature series.