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dayday July 15, 2020 Critical Communion, Vol. 5, No. 3: Summer 2020

A New World World

The following text appears in white letters on a reddish-brown background: dayday, Critical Communion

by dayday

The words "WILL YOU JOIN ME IN A NEW WORLD?" appear in thick white san-serif letters on a black background, with a white border around the image.

In this black and white photograph, the camera looks down the center of two sets of double-dutch jump rope, held by young Black women, some wearing face-masks in light of the coronavirus pandemic. Two of the women, standing on the right of the photograph, look ready to jump into each set of ropes.
Portal

White san-serif text on a black background reads: Imagine a world where you have to jump to get in. Imagine the doorway to liberation is constructed out of twin layers of double dutch rope, guarded by black sisters, daughters, aunties and mothers. Imagine a new world where black joy is the key to get in; and to be black and joyous is to be black and alive, and to be black and alive is the essence of freedom itself. Can you imagine with me? Imagine no more chalk outlines of lifeless black bodies silhouetted on the ground. The only chalk that you see hit the floor, is the "x" drawn between two ropes. Guiding your feet at they levitate one by one. Transporting you through space and time, until finally your reach a new world — a black world.

 

 

dayday

dayday is a Los Angeles native, currently based in Brooklyn, New York, with a multidisciplinary artistic practice consisting of film, design and photography. Their work explores themes and motifs surrounding queerness and the black experience.

www.dayday.studio/
Posted in Critical Communion, Vol. 5, No. 3: Summer 2020. Bookmark the permalink.

About The Chart

The Chart is an online arts journal dedicated to tenderness, visibility, and urgency in arts writing. Through slow publishing from the edge of the continent, we support critical artistic dialogue from the margins in the forms of online publishing, annual printed anthologies, and visiting critic programming.

A Detective in the Anthropocene: in the studio with Asata Radcliffe

At night, we see the blue glow of a house-shaped sculpture, illuminated from within. The sculpture sits on a pedestal in front of a wooden fence, with small blue glowing orbs scattered on the ground around it.
Interdisciplinary artist Asata Radcliffe looks to futurisms, science fiction, land ethics, and dharma in her work and writing. Hilary Irons visits Asata in her studio to delve into her detective-like approach.

Presence, Performance, and Pregnancy

Jacquelyn Gleisner, The Chart’s 2019 Critic in Residence, considers a history of performance art and its request for “noble attention” throughout her pregnancy.

Letters and Souvenirs: Elizabeth Atterbury in conversation with Gordon Hall

A detail of an embossed print of various shapes on white paper. The shapes, which are not inked, include a silhouette of someone smoking a pipe, a palm frond, a tube sock, wavy Xs, zig-zag shapes, geometric curves, and more.
On the occasion of Elizabeth Atterbury’s solo exhibition at DOCUMENT, Atterbury speaks with Gordon Hall about the connections between object-making and death, arrangements and memorials.

Walking Portland: A Reflection on “ecologies of the local”

A view of a bend in the Presumpscot River just after dawn. Sunlight is just beginning to light up the trees that frame the rocky riverbanks, and there is a layer of white mist that sits on top of the dark water, which reflects the stones along the bank, the trees, and some sky above.
Julie Poitras Santos’ PLATFORM PROJECTS/WALKS: ecologies of the local offered artist-led walks for the public to get closer to the ecologies of which they are a part. Elyse Grams reflects on six of the walks she attended and what she learned about the land, its history, and herself.

Recent Issues

  • Critical Communion
  • Vol. 6, No. 1: Winter 2021
  • Vol. 5, No. 4: Fall 2020
  • Vol. 5, No. 3: Summer 2020
  • Vol. 5, No. 2: Spring 2020

What The Pandemic Reveals About Future Opportunities for Accessibility in Craft

The following text appears in white letters on a reddish-brown background: Bukola Koiki, Critical Communion
“Times had changed. We had to adapt and so did Craft.”

A New World World

The following text appears in white letters on a reddish-brown background: dayday, Critical Communion
“Will you join me in a new world?”

Five Days in Spring

The following text appears in white letters on an orange background: Gelare Khoshgozaran, Critical Communion
“How does one prepare for mourning?”

What revelations or rebirths are underway?

The following text appears in white letters on a reddish-brown background: Eli Nixon, Critical Communion
“An unexpected benefit of giving up.”

On Refusal & Better Questions

The following text appears in white letters on a light green background: Shaun Leonardo, Critical Communion
“Who have we not been paying attention to?”

In This Time of Survival and Into the Future

The following text appears in white letters on a pale blue background: Theresa Secord, Critical Communion
“As Indigenous artists, our ancestors possessed remarkable resilience to overcome pandemics, extermination policies, and staggering land losses due to broken treaties.”

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The Chart is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Chart must be made payable to Fractured Atlas only and are tax-deductible to the extent permitted by law.

Regarding the Relevance of Art

The following text appears in white letters on a reddish-brown background: Bukola Koiki, Critical Communion
“Art is relevant because it is human.”

The Affidamento of Bianca Beck and Sascha Braunig

Installation shot of Extra Spectral, with a collaborative sculpture in the foreground: Bianca Beck & Sascha Braunig, Untitled, 58 x 54 x 29 in wood, wire, papier-mâché, acrylic, oil, and epoxy, 2019
Bianca Beck and Sascha Braunig’s two-person show at SPACE explores the political and feminist power of difference.
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