Fannie Sosa is creating a new digital consciousness for the WIG. Taking the form of seven creatures found on the shores of the Black Atlantic, this piece is made with the intention of answering questions that people might have about inviting artists of colour to a white institution.
The WIG is a guide. This guide is a non-exhaustive compilation of ways cultural institutions, public or privately funded, where people in places of curatorial responsibility are overwhelmingly white and/or light-skinned, as well as spaces that utilise the white cube(/black box) as the display frame, can and should and will have to redistribute their material and immaterial resources when welcoming Black folks, people of colour and our audiences. It applies to a wide scope of sometimes seemingly politically disparate settings, such as museums, community centres, galleries, parties, workshops, concert halls, URL platforms, universities, foundations, theatres, classrooms, autonomous and/or self-managed spaces, online art shows, etc.
Coding and illustration by Rifke and animation by Amanda McGovern
About the Artists
Fannie Sosa is an afro-sudaka activist, artist, and pleasure scholar, currently doing a France-Brasil co-directed PhD called Twerk/Torque: Anti Colonial Strategies for Thriving and Surviving in Web 2.0 Times. They create mixed media knowledge packages that span performance/video installations / circular talks / extended workshops, using pleasure and its transmission as a radical act of resistance for an embodied afro-diasporic evolutionary praxis. Their written work is set up to question binary epistemicides, scientific and institutional racism, and sex economical inequalities. They have been featured at the Tate Modern (UK), MOAD Miami (US), le Centre Pompidou (FR), the Broad Museum (US), Wiener Festwochen (AU), Nitéroi’s MAC (BR), IMG Gallery (UK), and Museo Reina Sofía(ES), among others. Sosa has collaborated with Tabita Rezaire, Navild Acosta, Bearcat, Miss Boogie, Ana Pi, and Julien Creuzet. Sosa’s current projects involve Pleasure is Power, a multimedia conference around healing bass, sexual autonomy and oshunality, and Black Power Naps, a series of non-mixed restful spaces around the world, in collaboration with Navild Acosta. They use their gender studies degree to pop their pussy even more severely than before. Fannie Sosa currently lives and works between Europe and South-America.
Rifke Sadleir is a creative technologist and one half of art direction and digital design studio, DXR Zone, alongside Daniel Baragwanath. Rifke’s work encompasses design, web development and illustration, often in collaboration with artists and clients across the arts, fashion and music. Rifke is a member of collective Digi-Gxl, an inclusive, 24/7 global community, support network and agency championing womxn, trans folk, intersex and non-binary people. Rifke’s clients include Google, Selfridges, Depop, Converse, Dazed, The Face, The Future Laboratory, Burberry, Climate in Colour, Bog Magazine, Beirut Re—Store, Keep Hush, Warp Records and Universal. https://rif.ke/ https://dxr.zone/
Amanda McGovern is a freelance animator and illustrator based in Scotland. Their love for animation comes from a drive to express emotion and stories in an exaggerated manner that can be portrayed in animation, using a favourite cartoon style that can be read by its silhouette and line of action. Amanda has worked on various projects from freelancing music videos for the artist Cahili Stokes, to producing and animating on a pre-school TV show called Tom and Voy, and developing skills for personal projects such as animations like "Judi Dench on Graham Norton", and many After Effects art pieces.
Image Credit: Fannie Sosa performance, by Fannie Sosa
Information is correct at the point of publishing, however, events are subject to alterations if circumstances change.
ACCESS KEY: CC
CC - Captioned Projects marked CC will have live, or pre-recorded captions in English. These captions will express all text spoken. For some of the events, the captions maybe be optional and instructions on how to turn on the captions will be clearly described on the individual show pages.