There has been a mass migration to online platforms due to Covid-19 with many cultural institutions providing digital programmes in lieu of their regular activities. We’re aware of the consequent oversaturation of content currently available and are figuring out how to balance the responsibilities of social provision with a committed resistance to overproduction. We’ll keep bringing what we have here but with the intention, however, to not produce for production’s sake and to keep programming with an ethics of redistribution and decoloniality.
2.1. What’s Ahead, What’s Known
To try and keep a little safer, our last physical gallery-space show closed a couple weeks early and due to the age of our current website, we’ve had to find a more flexible means of hosting material during Covid-19. This section will contain the projects we’re working on currently. For the moment, we’ve been able to partially reproduce the texts that were being show at Transmission as part of What’s Ahead, What’s Known. Due to the unforseen early closure, we’ve produced a pdf available for viewing below. The texts are available in frame directly below but there is a link to the pdf of the publication as well which allows for zooming and screen reading. You can magnify the in frame publication by clicking on the page and can further zoom by clicking again.︎︎︎ CLICK HERE TO ACCESS PDF ︎︎︎
︎ SYNOPSIS & LIST OF WORKS ︎
What’s Ahead, What’s Known is Transmission’s attempt to make public the research around our ongoing reimagining of what institutional decolonisation can mean. Transmission has worked with a group of five artists who have written various texts responding to the conception of the institution that were physically presented on the walls of the gallery. This has stemmed from an interest in examining how we perform different languages of critique and resistance when engaging in institutional working practice. In addition to this, there was a series of film works by some of the participating artists in the basement of the gallery and a billboard on Trongate with a text by Sulaïman Majali.
Sulaïman Majali, apparitions at noon, 30, 04, 48, Green and pleasant land, walking home after, diaphragm; cyphers in the dream (2019), 8m0s. Fannie Sosa, A White Institution’s Guide for Welcoming People of Colour and Their Audiences*; Curatorial Practices; I Need This In My Life (2017), 7m23s. Meenakshi Thirukode, Institutiting Otherwise Manifesto. Alberta Whittle, Biting the Hand That Feeds You; A study in vocal intonation (2018), 8m25s. Rehana Zaman, Policies. Rehana Zaman and The Liverpool Black Women Filmmakers, How does an Invisble Boy Disappear (2018), 25m0s. *Text retracted for online publication at the author’s request.
2.2. Free School
Contemporary Contexts for Yoruba and Ancient Indian Ideas on Space, Creativity and Self
︎ WHAT Eight illustrated lectures and two seminars. This course has been created and will be delivered by Dr. Ranjana Thapalyal.
︎ WHEN Every Wednesday, 18:00 - 19:30. Commencing Wednesday 5th August 2020.
︎ COST FREE, please email us at firstname.lastname@example.org to register.
︎︎︎ FOR REGISTERED PARTICIPANTS CLICK HERE TO ACCESS COURSE MATERIALS ︎︎︎
︎︎︎ INTRODUCTION TO THE COURSE ︎︎︎
︎︎︎ INTRODUCTION TO THE COURSE ︎︎︎
Not all is justified by the name of old,
Nor is the new poem never extolled-
(the wise) examine, then select the best from both,
but fools merely parrot other’s quotes.
From the Sanskrit play Malavika and Agnimitra: Kalidasa, c 500 CE.
Within an inter-cultural, inter-textual and inter-sectional framework, this course charts a postcolonial, feminist and holistic route to nurturing ideas from two of the world’s earliest civilisations. This is done through an introduction to the philosophical foundations of Yoruba culture (originating in Southwest Nigeria, present in the Americas through the African diaspora) and ancient India (originary site of Hindu, Buddhist and Jain thought).
The course will draw from many examples that demonstrate the centrality of creativity and criticality in ancient African and South Asian world views. It will also discuss ways of reading selected objects and texts more fully and contextually; and critique conventional art historical approaches that have historically obscured meaning. In this process, complex concepts of ‘self’, spirituality and social responsibility will emerge, embedded in the works or discourse around them.
While it is important to remember that Yoruba and ancient Indian cultures are distinct, and are generally studied separately, many interesting resonances between them exist. Also evident are startling echoes of modern and postmodern critical thought. These resonances hold radical and transformative potential for application to contemporary dilemmas and ways of being.
Here, you’ll be able to live stream events that we’re hosting. We’ll be using YouTube to host the videos and the will embed them into the site below. News of these events will be posted on our socials. Enjoy!