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DTSTART;TZID=America/Los_Angeles:20260410T170000
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UID:10928-1775840400-1780851600@ias.ucsc.edu
SUMMARY:Visualizing Abolition Film Program: Beyond Access
DESCRIPTION:Curated by Visualizing Abolition Visiting Faculty Pooja Rangan \n\n\n\nRun time: 49 minutes \n\n\n\nPrisons deny and censor the access of those trapped inside them—to information\, to intimacy\, to community\, to meaningful work\, to nourishment of all kinds\, and perhaps most cruelly\, to care. This program assembles a series of films\, including works by filmmakers incarcerated in California as well as others without that lived experience. Together\, these works confront the debilitating impacts of these restrictions and reveal how the disabling logic of the prison is extended to other institutional spaces (the hospital\, the university)\, turning access into a scarce commodity by enclosing what should be held in common. Questioning the carceral and state-sponsored productions of disability and accessibility\, the short films together reveal the courage of people working despite limitations to produce collective access for one another\, described simply and beautifully by disability justice activist Leah-Lakshmi Piepzna Samarasinha as “revolutionary love without charity.”  \n\n\n\nThanh TranDying in Prison\, 2022HD Video (color\, sound)\, 3 minutesCourtesy of the artist \n\n\n\nCarolyn LazardPre-Existing Condition\, 2019HD video (color\, sound)\, 6 minutesCourtesy of the artist and Trautwein Herleth3 \n\n\n\nAnthony AlejandrezAnother Rainy Day\, 2023Phone video (color\, sound)\, 3 minutesCourtesy of the artist \n\n\n\nJordan LordAfter…After… (Access)\, 2018HD Video (color\, sound)\, 16 minutesCourtesy of the artist \n\n\n\nRahsaan “New York” ThomasFriendly Signs\, 2023Video (color\, sound) 21 minutesCourtesy of Tommy Wickerd\, Empowerment Ave & System Impact Media \n\n\n\nImage credit: Carolyn Lazard\, Pre-Existing Condition (still). ID: [A scanned document of a table of information pertaining to medical experiments conducted in a prison in 1963. The scan is an inverted image: white\, type-written text on a black background speckled with white dots and a white margin on the left side of the frame. The information presented includes the dates of these experiments\, the University of Pennsylvania doctors who facilitated them\, the number of inmates who participated in the experiments\, and the amount that inmates were paid\, ranging from one to fifteen dollars per study. Brief descriptions of each test is listed\, including “To obtain data on tolerance of Myagen\,” “To determine effectiveness of drug\, Grisactin” and “To determine toxicity of drug\, Wy-713”. At the bottom of the frame is a yellow subtitle\, “they classify people.”]
URL:https://ias.ucsc.edu/event/beyond-access/
LOCATION:Institute of the Arts and Sciences\, 100 Panetta Avenue\, Santa Cruz\, California\, 95060\, United States
CATEGORIES:Screenings,Visualizing Abolition
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DTSTART;TZID=America/Los_Angeles:20260507T180000
DTEND;TZID=America/Los_Angeles:20260507T193000
DTSTAMP:20260402T204536Z
CREATED:20260331T225830Z
LAST-MODIFIED:20260402T204536Z
UID:10942-1778176800-1778182200@ias.ucsc.edu
SUMMARY:Rasanblaj as Spirit Turn: Gina Athena Ulysse in Conversation with Jennifer González
DESCRIPTION:Please join us for a conversation between Gina Athena Ulysse and Jennifer González\, discussing Ulysse’s solo exhibition Redwoods Rasanblaj: Origins & Disentanglements. \n\n\n\n\n\n\n\n\n\n\n\nGina Athena Ulysse (b 1966) Haiti/United States is an artist-scholar\, Professor of Humanities and Founding Director of the Rasanblaj Praxis Project Lab (RPPL) at the University of California\, Santa Cruz. Concerned with the visceral in the structural\, her questions engage geopolitics\, historical representations\, aesthetics and the spiritual in the dailiness of Black diasporic conditions. In the last two decades\, her rasanblaj approach (the gathering of ideas\, things\, people\, and spirits) to her multidisciplinary art and writing practice entails ongoing crossings and dialogues in the arts\, humanities\, and social sciences. She has performed at The British Museum\, the Brooklyn Museum\, Cabaret Voltaire\, Gorki Theatre\, House of World Cultures\, LaMaMa\, Marcus Garvey Liberty Hall\, MoMA Salon\, among other venues. She has held residencies at the University of Buffalo\, Oregon State\, University of Zurich\, as well as the Bogliasco Foundation Study Center in Italy. In 2020\, she was an invited artist to the Biennale of Sydney. In 2024\, she was invited to participate in the Biennale de Dakar. She is a 2025 MacDowell fellow. Her major publications include the forthcoming A Year and A Day. Leonore Mau and Haiti (Oct 2025\, editor with Dora Imhoff and U5)\, a polyphonic inquiry into the photographs Leonore Mau (1916-2013) took in Haiti during the 1970s; Why Haiti Needs New Narratives: A Post-Quake Chronicle (2015); Because When God is Too Busy: Haiti\, me & THE WORLD (2017) – long-listed for the 2017 PEN Open Book Award and recipient of the 2018 Best Poetry Connecticut Center for the Book Award – and  A Call to Rasanblaj: Black Feminist Futures and Ethnographic Aesthetics(2023). She was the invited editor of e-misferica’s Caribbean Rasanblaj (2015)\, the Hemispheric Institute’s Journal for Performance and Politics. Her visual art has appeared on the covers of Feminist Formations\, Feminist Studies\, Frontiers\, and Meridians Journals. \n\n\n\n\n\n\n\nJennifer Gonzalez\n\n\n\n\n\nJennifer González writes about contemporary art with an emphasis on installation\, digital and activist art. She is interested in understanding the strategic use of space (exhibition space\, public space\, virtual space) by contemporary artists and by cultural institutions such as museums. More specifically\, she has focused on the representation of the human body and its relation to discourses of race and gender. González has received fellowships from the Ford Foundation\, the American Association of University Women\, and the American Council of Learned Societies. Her book Subject to Display: Reframing Race in Contemporary Installation Art was a finalist for the Charles Rufus Morey Book Award. She has published articles in numerous scholarly and art publications such as Journal of Visual Culture\, Frieze\, Bomb\, Diacritics\, Archives of American Art Journal\, Camera Obscura\, Open Space and Art Journal. Her second book\, Pepon Osorio\, received an International Latino Book Award. She served as chief editor of Chicano and Chicana Art: A Critical Anthology which was listed among the best art books of the decade by ArtNews in 2020. González also writes numerous exhibition catalog essays\, most recently for the exhibitions Diego Rivera’s America (2022)\, Amalia Mesa Bains: Archeology of Memory (2023)\, and Isaac Julien: I Dream a World (2025). She has lectured extensively at universities and art museums nationally and internationally and teaches regularly at the Whitney Museum Independent Study Program\, New York.
URL:https://ias.ucsc.edu/event/rasanblaj-as-spirit-turn/
LOCATION:Institute of the Arts and Sciences\, 100 Panetta Avenue\, Santa Cruz\, California\, 95060\, United States
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