Who’s defining the terms and conditions of our transit(s) & How are new commodities freeing us? Are questions underscored on Paris’ work produced between Colon, Portobelo and Panama province. Drawing haptic tensions around civil construction, military action and transatlantic emotional geographies in homage to Angolan folkloric and electronic hymns.
J Paris prolonged historical characters and televised performance footage into containers some rendered in red wax, others marked by tactile movements and decay.
His investigation attends processes that mark impulses, opacities and corporealities; thinking different contact points between human touch and media technology, bodies and their voices as vessels for civil rights enactment. Anti-colonial propagandas seen in dance choreographies and sound tracks emerging between late 1970s and 2005 (before and after independence) during colonial tensions — interrogating both, the formation of national identity and Black aesthetics across the Atlantic Ocean, prompting reflections around culture production during moments of war from relational views.
J Paris prolonged historical characters and televised performance footage into containers some rendered in red wax, others marked by tactile movements and decay.
His investigation attends processes that mark impulses, opacities and corporealities; thinking different contact points between human touch and media technology, bodies and their voices as vessels for civil rights enactment. Anti-colonial propagandas seen in dance choreographies and sound tracks emerging between late 1970s and 2005 (before and after independence) during colonial tensions — interrogating both, the formation of national identity and Black aesthetics across the Atlantic Ocean, prompting reflections around culture production during moments of war from relational views.