Volume 1. Issue 2. March 2012
Port-au-Prince’s second Ghetto Biennale in 2011 hosts a neighbourhood screening of ‘Planet Earth’, translated into Kreyol by Arcade Fire. Photo by Jason Metcalf
Alex Louis films from the roof of the Ghetto Biennale Tap Tap in Port-au-Prince
“How about completely abolishing the model of the biennial, so as to reopen the possibility of perceiving and bringing into focus the small, the overlooked, the locally produced, and the unclassifiable?” (Wullfen 106) . David Frohanpfel interrogates the Haiti Ghetto Biennial and how it functions as an alternative biennial model to make “visible the overlooked”.
“My Dear Daddy”
As a balm for loss and in retrieving a sense of self, artist Olivia McGilchrist performs constructed memories of her long last daddy. Cette image a donc été modelée par les bribes de mes souvenirs, les récits de ma mère et le fruit de mon imagination car j’étais avide de créer une icône paternelle pour [...]
“My Dear Daddy”
“My Dear Daddy” is the first chapter of exploration of Olivia McGilchrist’s sentiments and sense of self surrounding the premature loss of her father as it is connected to her Jamaican heritage.
Marsha Pearce looks at Rapso music as a practice of interconnectedness
Marsha Pearce looks at Rapso music as a practice of interconnectedness. Marsha uses an interview with the Rapso music group called 3canal to consider notions of space and place in relation to the Caribbean.
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