{"id":14668,"date":"2021-07-06T10:06:30","date_gmt":"2021-07-06T10:06:30","guid":{"rendered":"https:\/\/hangar.com.pt\/online\/?p=14668"},"modified":"2021-12-07T21:23:20","modified_gmt":"2021-12-07T21:23:20","slug":"breaking-translations","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/online\/breaking-translations\/","title":{"rendered":"Breaking Translations"},"content":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text css=”.vc_custom_1625563150720{padding-left: 25px !important;}”]<\/p>\n

Breaking Translations<\/h1>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1625563786698{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-image: url(https:\/\/hangar.com.pt\/online\/wp-content\/uploads\/2021\/07\/Mother-Tongue-Mother-Master-16mm-film.-2018.jpg?id=14669) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_empty_space height=”1080px”][vc_column_text css=”.vc_custom_1625563811584{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]\u00a9 Mother Tongue, Mother Master 16mm film. 2018.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Info<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1614172912666{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Title[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1625563165997{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Breaking Translations[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205158832{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Curated by[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1625563171188{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Cindy Sissokho[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1598972101792{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Artists[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1625567302379{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Steffani Jemison, Tarek Lakhrissi and Phoebe Collings-James[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1598972106365{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Location[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205238787{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]HANGAR ONLINE[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205246127{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Opening[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1625828408745{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]July 17th | 7 pm[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205271348{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Dates[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1625655759930{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]July 17th to August 7th[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1601746603539{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Talk[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1626447211864{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]July 28th | 6 pm
\nTalk between Cindy Sissokho and Phoebe Collings-James<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205299977{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Videos[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1627765770842{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]July 17th 7 pm to July 24th
\nSensus Plenior – Steffani Jemison, 2017<\/p>\n

July 24th 7 pm to July 31th
\nMother Tongue, Mother Master – Phoebe Collings-James, 2018<\/p>\n

July 31th 7 pm to August 7th
\nHard To Love – Tarek Lakhrissi, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Synopsis<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_column_text]I am<\/p>\n

impossible to explain
\nremote from old and new interpretations
\nand yet
\nnot exactly[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/4″][vc_column_text]June Jordan[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]<\/p>\n

excerpt from Who Look At Me<\/em>, 1969<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]The daily language(s) that is limiting us, pushes us, to create new horizons. How to speak from and towards a place of equality? says French philosopher Jacques Ranci\u00e8re, in his published interview with Javier Bassas, titled Les Mots et les Torts (Words and Wrongdoings) [1]<\/em>. He further expands on the need for the erasure of a hierarchy between ideas and actions and from which to articulate equality as a possible concept between images and words.<\/p>\n

In four moments, through the works of Phoebe Collings-James, Steffani Jemison and Tarek Lakhrissi, Breaking Translations tend to offer direct and indirect interpretations around the codification and uses of language, its limits and the need for thinking about utopic spaces of being, from and for a place of margins. To refer to the words of the Afro-Brazilian curator Keyna Eleicson, \u2018[the] bod[y]ies that are constantly translating and being translated, and this state of being in translation also relates to the colonized body.\u201d [2]<\/em><\/p>\n

The body language that comes with words, the systems of knowledge and state\/institutional violence which comes with terms and expressions that drive artistic practices to address language as a space of possibilities and utopias for all of us to gather, to question, to heal and to dream. It is the carving of current, valuable and renewed identities as everyday refusal, as a collective and self-liberation in the articulation of future narratives of belonging through and with performative language(s).<\/p>\n

The three films and artists\u2019 common denominator is their intersection of performance and the use and interrogation of language when writings, as providing new fictional visions to belong and question (body) languages in movement, state of shifts and renewal.[\/vc_column_text][vc_separator][vc_column_text][1] Ranci\u00e8re J, Bassas, J, Les Mots et les Torts, 2021, La Fabrique Editions.<\/em><\/p>\n

[2] Keyna Eleison interviewed by Fernanda Brenner for Frieze, 18 September 2020. Available to read here: https:\/\/www.frieze.com\/article\/were-constantly-both-dancing-and-fighting-keyna-eleison-decolonizing-brazilian-institutions<\/a><\/em>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_column_text]Cindy Sissokho<\/strong><\/p>\n

Cindy Sissokho (b. Montreuil\/France) is a cultural producer, curator and writer with a specific interest in intellectual, political and artistic aspects of decoloniality within the arts, and culture. Her work is nurtured by the urgency to broadening and disseminating epistemologies and new cultural production from the Global South.<\/p>\n

Her curatorial work is a practice of disobedience contrary to hegemonic discourses and neoliberal institutional politics by implementing disorder. She does so by working through collaborative practices, accessible writing and everyday pedagogical tools and exchanges, amongst others.<\/p>\n

She currently works as a Curator and Special Projects Producer at the New Art Exchange in Nottingham (UK).[\/vc_column_text][vc_separator color=”black”][vc_column_text]<\/p>\n

Scientific coordination and organized by M\u00f3nica de Miranda
\nThis project is part of the project \u00a0Post-Archive<\/a>:\u00a0Politics of Memory, Place and Identity, CITCOM-CEC-FLUL
\nThis project was produced with national funding from the FCT-Funda\u00e7\u00e3o para a Ci\u00eancia e a Tecnologia, I.P. under the project UIDB\/00509\/2020.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_basic_grid post_type=”post” max_items=”10″ element_width=”6″ gap=”10″ order=”ASC” item=”11567″ grid_id=”vc_gid:1627765719482-c4d5702b-6dcb-0″ taxonomies=”6573″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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