In Restos-Traces, the Puerto Rican Washington, DC-based artist Marta Pérez García raises specters, figuratively and formally constellating creative cycles under thematic auspices of personal and political endurance, and disrupting the definition of remains or ruins (restos).
Populated by past and present imaginaries, Cassins sculpturesall made of repurposed woodare sites whereat idea and visual diction are not covalent; rather, they contest among each other along discrete planes of figuration and activity.
Petridess other sculptures are ironically laconic in every sense.
Even in conversation, ehh hahahwhose real name is Wojtekis resistant to classification, preferring to define his work simply by what it is not. I dont like that deconstructed club thing, he miffs, not without reason.
Every genre of music has its myths, and drum and bass is no different. Renegade Snares joins a bibliography of recent titles, not to mention reissues and repackages, taking to task a resurgent interest in junglism, its origins, and its cultural legacy. Written jointly by Ben Murphy and Carl Loben, it uneasily stakes ground between hagiography and oral history.
The ex-American theorist and musician DeForrest Brown, Jr. has waged what feels like a worldwide one-man guerrilla campaign, challenging the nature of globalized capital in the art and music industries through protest and presence. His latest project as Speaker Music, the album Black Nationalist Sonic Weaponryreleased in 2020 by Planet Mudrew praise for its uncompromising sonic and social vision, while his Make Techno Black Again collaboration with HECHA / 做his partner Ting Ding 丁汀 and Luz Angélica Fernándezs apparel brandhas re-centered a necessary conversation about race in contemporary music.
While perhaps telling, The 83rd's coded use of culture is just as instructive as his near-militant posture of independence. As the founder of the multi-pronged media organization Sermon 3 Recordings, through which he self-releases his music via Bandcamp, The 83rds sui generis trajectory seeks the kind of valanced heat that the real and art worlds seem to so rarely offer to self-styled enfants terrible.
The thread between structure and consciousness weighs on the mind of Sebastián Maria, the Colombian-American composer, producer, and DJ based in New York City.