I’ve known rivers: I’ve known rivers ancient as the world and older than the flow of human blood in human veins
December 2 – December 30, 2018
I’ve known rivers: I’ve known rivers ancient as the world and older than the flow of human blood in human veins
Carolina Caycedo and Sky Hopinka
Curated by Suzy Halajian
Opening night on December 1, 2018 at Disjecta Contemporary Art Center
Member Preview: 5:30-6pm
Curator and Artist Conversation: 6-7pm
Exhibition on display December 2 – December 30, 2018
I’ve known rivers: I’ve known rivers ancient as the world and older than the flow of human blood in human veins is a two-person exhibition that presents a dialogue between the artistic practices of Carolina Caycedo and Sky Hopinka.
Both artists’ works consider the violence of land appropriation, privatization, and excavation, often in the name of progress, and the consequent effects of displacement on communities that continue to resist the long-term destructive ramifications of development efforts. Borrowing its title from the opening line of Langston Hughes’ poem, The Negro Speaks of Rivers, found in Caycedo’s homage video work, Que nuestras almas se hagan profundas como ríos / Let Our Souls Grow Deep Like Rivers (2017), the exhibition emphasizes how ecological destruction is deeply rooted in imperial and patriarchal histories, which lead to the erasure of communities and the lands they inhabit. And as Hughes impresses, similar to river water, the history of people does not flow in a single direction. Stories move forward and then wrap back around on themselves, oftentimes shifting their intended meaning and/or leading back to the beginning.
Sky Hopinka’s moving image work addresses considerations around homeland, the preservation of language, and the undefinable spaces between the known, the sought after, and the unknowable. His film, Dislocation Blues (2017), refutes grand narratives and instead presents individual reflections from the Standing Rock protest in North Dakota, during the struggles to combat the construction of the Dakota Access Pipeline (2016-17). As characters recount their experiences of the resistance, they reveal the difficulty of understanding and communicating this historic event. Caycedo’s videos, drawings, and sculptures, including cast nets collected during her field research, address contexts and groups impacted by large-scale developmental undertakings. Her ongoing project, Be Dammed, investigates the effects that large dams have on natural and social landscapes in several American bio-regions. Aerial and satellite imagery, geo-choreographies and audio-visual essays intersect social bodies with bodies of water, exploring public space in rural contexts and conjuring water as a common good. The research also analyzes the social damage that results from the building of dams and gravely impacting the natural courses on water river ecosystems.
By means of both Hopinka’s and Caycedo’s involvement with groups and communities impacted by such acts, the artists propose an investigatory mode of engaging with people, lands, and environments afflicted by extraction and privatization. Through the methodical reveal of these resistance movements and violent realities, the artists impress the notion that it is through the continuous act of looking, searching, and researching alongside communities, that we might begin to understand and contend with the consequences of such ruinous acts over time. Another film by Hopinka, Anti-Objects, or Space Without Path or Boundary (2017), also articulates the necessity to observe. The artist employs the writings of architect Kengo Kuma in order to draw a relationship between the last speakers of Chinuk Wawa, the Chinookan creole, and the Chinookan people who inhabited the land around Portland. As images remain fragmented, and the space without a path or boundary comes together, the work expresses that “Everything is interconnected and intertwined,” and that the protection of places and communities could intrinsically offer protection for society at large.
The 2018-19 season is led by Curator in Residence Suzy Halajian and will include a series of three exhibitions, related programs, and a publication that builds upon the other, expanding the dialogue throughout the year. The central aim of the season is to present practices that engage with ecological politics and its implications on environmental sustainability by situating discourse in Western histories of gender- and race-based oppression and discrimination. Through the presentation of diverse works by national and international artists, works present counter-perspectives from various contexts to politicized instances of land use, property acquisition, and development.
Thursday, November 29, 6:30-8pm at PNCA
The MFA in Visual Studies program in collaboration with Disjecta Contemporary Arts Center is excited to welcome the Disjecta 2018-19 Curator in Residence, Suzy Halajian, as part of the 2018 Visiting Artist Lecture Series.
Location: Shipley/ Collins Mediatheque, 511 NW Broadway
Sunday, December 2, 2-4pm at c3:initiative
Published in 2017 by Caycedo, the Serpent River Book combines archival images, maps, poems, lyrics, satellite photos, with the artist’s own images and texts on river bio-cultural diversity, in a long and meandering collage. The fluctuating publication can frame many narratives. As a book it can be opened, pleated, and read in many directions. It has a performative potential to it, functioning as a score or as a workshop tool. The book gathers visual and written materials compiled by the artist while working in Colombian, Brazilian, and Mexican communities affected by the industrialization and privatization of river systems.
Location: c3:initiative, 7326 N Chicago Ave.
Tuesday, December 18, 7pm at Northwest Film Center,
$10 general, $8 Student/Senior, $5 Disjecta Members
Hopinka will present a selection of his moving images works, including Jaaji Approx. (2015), a film that approximates a relationship between audio recordings of the artist’s father and videos of landscapes through which they have individually passed. Additionally, I’ll Remember You as You Were, not as What You’ll Become (2016) presents an elegy to the poet Diane Burns on the shapes of mortality, and being, and the forms the transcendent spirit takes while descending upon landscapes of life and death. Following the screening, Hopinka will discuss his practice with curator Suzy Halajian.
This program is co-presented by the Northwest Film Center.
Location: Northwest Film Center’s Whitsell Auditorium, inside the Portland Art Museum, 1219 SW Park Ave.
About the Artists
Carolina Caycedo was born in London to Colombian parents and is currently based in Los Angeles. She transcends institutional spaces to work in the social realm, where she participates in movements of territorial resistance, solidarity economies, and housing as a human right. Caycedo’s practice has a collective dimension to it in which performances, drawings, photographs, and videos are not just an end result, but rather part of the artist’s process of research and acting.
She has developed publicly engaged projects in Bogota, Quezon City, Toronto, Madrid, São Paulo, Lisbon, San Juan, New York, San Francisco, Paris, Mexico City, Tijuana, and London. Her work has been featured in solo exhibitions and biennials worldwide, including São Paulo (2016), Berlin (2014), Paris Triennial (2013), and New Museum (2011). In 2012, Caycedo was a DAAD Artists-in-Berlin resident. She has received funding from Creative Capital, California Community Foundation, Los Angeles Department of Cultural Affairs, Harpo Foundation, Art Matters, Colombian Culture Ministry, Arts Council UK, and Prince Claus Fund. She received an MFA from the University of Southern California, Los Angeles, and a BFA from the Los Andes University, Bogotá. www.carolinacaycedo.com
Sky Hopinka (Ho-Chunk/Pechanga) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, Milwaukee, Wisconsin, and is currently based out of Cambridge, Massachusetts. In Portland he studied and taught Chinuk Wawa, a language indigenous to the Lower Columbia River Basin. His video work centers around personal positions of Indigenous homeland and landscape and designs of language as containers of culture.
His work has played at various festivals including ImagineNATIVE Film + Media Arts Festival, Images, Wavelengths, Ann Arbor Film Festival, Sundance, Antimatter, FLEX Fest, and Projections. His work was part of the Whitney Biennial (2017) and the Wisconsin Triennial (2016). Hopinka was awarded jury prizes at the Onion City Film Festival, the More with Less Award at the 2016 Images Festival, the Tom Berman Award for Most Promising Filmmaker at the 54th Ann Arbor Film Festival, the New Cinema Award at the Berwick Film and Media Arts Festival, and the Mary L. Nohl Fund Fellowship for Individual Artists in the Emerging artist category for 2018. He received an MFA from the University of Wisconsin-Milwaukee, and a BA from Portland State University. He is currently a fellow at the Radcliffe Institute for Advanced Study at Harvard University. www.skyhopinka.com
About the Curator
Suzy Halajian is an independent curator and writer based in Los Angeles. Her work begins at the intersection of art and politics, treating image making as steeped in colonial pasts and modern surveillance states. Additionally, her research interests center on the legacies of trauma and conflict in experimental documentary and performance practices from the Middle East and North Africa and their diaspora. Halajian has curated exhibitions and programs at LACE (Los Angeles Contemporary Exhibitions), Human Resources LA, ONE Archives at the USC Libraries, Hammer Museum, Los Angeles Contemporary Archive (all Los Angeles); Armory Center for the Arts, Pasadena; Sursock Museum, Beirut; Tanya Bonakdar Gallery, New York; UKS, Oslo, among others.
Halajian serves on the Programming Committee of Human Resources LA, and is the 2018-19 Curator-in-Residence at Disjecta, Portland. From 2015-16 she co-organized the invitation of sorts talk series in Los Angeles. In 2017 she was granted a Creative Capital | Andy Warhol Foundation Arts Writers Grant with Anthony Carfello and Shoghig Halajian for the journal Georgia, and in 2014 she received a Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts. Her writing has been published by ArtEast, BOMB, X-TRA, Ibraaz, among others.
About the Curator-in-Residence Program
The Curator-in-Residence program provides an opportunity for emerging curatorial talent to develop and expand the scope of their practice through a one-year residency. Curators engage with a broad range of artists to create a series of exhibitions in Disjecta’s dynamic 3,500-square-foot space. Past Curators-in-Residence include: Julia Greenway (2017-18), Michele Fiedler (2016-17), Chiara Giovando (2015-16), Rachel Adams (2014-15), Summer Guthery (2013-14), Josephine Zarkovich (2012-13), and Jenene Nagy (2011-12).
The 2018-19 Curator-in-Residence program is supported by the Oregon Cultural Trust.
Disjecta Contemporary Art Center is supported by Oregon Arts Commission, the National Endowment for the Arts, the Regional Arts & Culture Council, the Oregon Community Foundation, James F. And Marion L. Miller Foundation, the Arts Impact Fund and The Robert and Mercedes Eichholz Foundation. Other businesses and individuals provided additional support.
c3:initiative is a co-presenting partner with the Disjecta Contemporary Art Center Curator in Residence program for a second year during the 2018- 2019 season. The program lends studio and low residency space to artists exhibiting as part of the upcoming CiR season. When possible c:3 hosts open studios and partner events at our North Portland location, as part of the program.
Image: Sky Hopinka, Dislocation Blues, 2017, Color, HD video, 16:57 min. Courtesy of the artist.
Saturday, December 1, 2018
Friday – Sunday, 12 – 5pm
FREE and all ages