Notes on Kendrick Lamar, Moby-Dick, and the Margins

Compared to the heavy-handed, anger-driven lyrics of these singles, DAMN. in its entirety, also features pieces by Lamar in which he reflects, mellow and quiet, on his black experience. As opposed to the “creation of a new site where the violence of internalized racism and fear sublimated into rage can be transformed to target institutionalized racism” in To Pimp A Butterfly, as Siebe Blujis writes in “From Compton to Congress,” DAMN. wants to create a new space for Lamar in which ‘rage’, both against internalized and institutionalized racism, is synthesized into something else, a reflection, a “me versus me” rather than a “me versus the world”.

Notes on Tourism, the Museum, IKEA, and Capitalism

Reproducibility of experience // Outside the Vatican’s St. Peter’s Basilica, approximately 300 people are lined up in 24 degrees of spring heat. This is the line to enter the Renaissance-era Basilica, apparently also the biggest church in the world. The heat is excruciating. Having completed a tiring night of travel and changing-clothes-on-the-road, I am carrying a huge backpack. A train ticket in my pocket has become soggy from my sweat. After almost 2 hours of waiting under the sun, my friends and I are allowed into the Basilica. On our way in, a security guard scans us and our bags.

Five Roses Thorns: A Review of Sheila Hicks’ Lignes de vie

Lignes de vie (Life Lines), an exhibition of Sheila Hicks’ textile-based artworks currently on display at the Centre Pompidou, is truly retrospective of the 83-year-old artist’s work, dating back 60 years. Curated by Michel Gauthier, the exhibition features artwork from as early as 1956, and as recent as 2018. During my visit, the artist herself […]