Glass Candy Naked City, 2018
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Sweet Seals For You, Always
Noah Kahan
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Today's Document
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Glass Candy Naked City, 2018

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Demian DinĂ©Yazhiâ Untitled (Gold//Silver), 2011 Dimensions: approximately 9â width x 8â height Artist Statement: A bathing ritual between two queers; possible lovers; possible ghosts; possible incarnations; possibly you and me; possibly peter hujar and marlon riggs. Untitled (Gold//Silver) references the work coming out of the HIV/AIDS crisis by pointing in the direction of artists like Felix Gonzalez-Torres and his use of everyday objects as means to project new meaning, aesthetics, and personal narratives. The video projected against the gold and silver mylar curtain shows two serodiscordant people bathing one another; two queers who were born amidst the HIV/AIDS crisis of the 1980s. The two perform an intimate ritual as a means to heal from the stigma of the disease and from the fear instilled into young queers through outdated, conservative safe-sex agendas that plagued middle school and high schools in the 1990s. Description: Untitled (Gold//Silver) is a video installation that consists of gold and silver mylar curtains and a single channel video projection played on loop. The content of the video shows two obscured male figures bathing one another in a tub. The original installation of this piece was accompanied with overhead music by the artist âLaura Ortmanâ.
High resolution 18âł X 24âł poster of an ApsĂĄalooke badĂ©, Osh-Tisch (1854-1929, on the left), and their wife photographed in 1877. âDecolonize Your Luvvvâ honors Indigenous Queer & Trans cultures that were respected and honored prior to European-led Genocide, Heteropatriarchy, Religion, & Colonization. The photograph shows Osh-Tisch (ApsĂĄalooke translation: âFinds Them and Kills Themâ), and their wife in 1877. During the time period the photograph was taken, Osh-Tisch was one of the last remaining ApsĂĄalooke badĂ©s (which would be the Western equivalent on a Trans person), and was respected and accepted within traditional ApsĂĄalooke culture. In spite of being married to a woman, as a means to maintain balance in ApsĂĄalooke society, Osh-Tisch was not prevented from living their life out romantically with other men. In background of the photograph is an inserted tile image of Marsha P. Johnson & Sylvia Rivera taken at the Christopher Street Liberation Day, Gay Pride Parade, NYC. June 24, 1973. Johnson & Rivera were veterans of the Stonewall Rebellion, founders of S.T.A.R. (Street Transvestite Action Revolutionaries), and are honored as role models for contemporary Queer/Trans rights movements. As with all our posters, feel liberated to print out, wheatpaste, repost/regram, and disseminate at will! R.I.S.E.: Radical Indigenous Survivance & Empowerment https://burymyart.tumblr.com https://facebook.com/RISEindigenous Support @riseindigenous : http://etsy.com/shop/demiandineyazhi http://paypal.me/RISEindigenous
#COLLECTIVEFURY
Join Demian DinéYazhiŽ+ Cannupa Hanska Luger at Recess in Brooklyn, NY, as they debut a new performance piece that is a commentary on Indigenous masculine identity, residential boarding schools, enacting agency as radical trust and mutual care, the sacredness of Indigenous bodies, and a million other things that create cosmic savages.
Lou Cornum @spaceface2.0 will also present and read from the #COLLECTIVEFURY Critical Writing Fellowship piece.
Bring yr community out and SUPPORT LIVING INDIGENOUS POETS + ARTISTS!
@recessart | 07 FEB 2019 - 7PM 46 Washington Ave., Brooklyn, NY For more information on #COLLECTIVEFURY : https://www.recessart.org/demian-dineyazhi-r-i-s-e/
TONITE at Recess - 46 Washington Ave., Brooklyn, NY.
Black Belt Eagle Scout Soft Stud, 2018
Directed and edited by Demian DinéYazhiŽ
âEarlier this week, Black Belt Eagle Scout slapped this video on the world wide web. It was such an honor to be asked to film a video for one of my favorite songs. While we were making the video, I kept encouraging BBES to let loose and enjoy herself. In the light of so much colonial violence, I wanted to focus on an Indigenous Queer womxn smiling and celebrating and thriving.
Sometimes we forget the victories weâve made by just surviving through all the lies we have to unpack in this settler colonial dystopia.
What has always stuck with me is the joy and laughter of Indigenous communities. My sister and my mother and my aunties laughing to the point of crying. Warrior strength running down their cheeks. This is the world we were born into and it is our tradition to celebrate laughter.
If you do one thing today, please, share this with an Indigenous, Brown, Black, Trans, GNC, Two Spirit, Queerdo living on a Rez or in a city or in their own future paradise.
Thank you @blackbelteaglescout for your friendship, letâs create another space for Indigenous Peoples to inhabit. Letâs create a movement! âđŸ.â -Demian DinĂ©YazhiÂŽ @heterogeneoushomosexual

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High resolution 12â x 18â poster of HIV/AIDS-related issues that affect Indigenous communities. This poster coincides with #WORLDAIDSDAY & #DAYWITHOUTART. As with all our posters, feel liberated to, share, print out, wheatpaste, and disseminate at will!Â
HIV/AIDS Among American Indians & Alaska Natives (CDC wedsite). Fast Facts:
HIV affects AIs/ANs in ways that are not always obvious because of their small population sizes.
Over the last decade, annual diagnoses increased 63% among AI/AN gay and bisexual men.
AIs/ANs face HIV prevention challenges, including poverty, high rates of STIs, and stigma.
HIV is a public health issue among American Indians and Alaska Natives (AIs/ANs), who represent about 1.2%a of the U.S. population. Overall, diagnosed HIV infections among AIs/ANs are proportional to their population size. Compared with other racial/ethnic groups, AIs/ANs ranked fifth in rates of HIV diagnoses in 2015, with a lower rate than blacks/African Americans, Hispanics/Latinos,b Native Hawaiians/Other Pacific Islanders, and people reporting multiple races, but a higher rate than Asians and whites.
The Numbers: HIV and AIDS DiagnosescOf the 39,513 HIV diagnoses in the United States in 2015, 1% (209) were among AIs/ANs. Of those, 73% (152) were men and 26% (55) were women.Of the 152 HIV diagnoses among AI/AN men in 2015, most (79%; 120) were among gay and bisexual men.dMost of the 55 HIV diagnoses among AI/AN women in 2015 were attributed to heterosexual contact (73%; 40).From 2005 to 2014, the annual number of HIV diagnoses increased 19% (from 172 to 205) among AIs/ANs overall and 63% among AI/AN gay and bisexual men (from 81 to 132).In 2015, 96 AIs/ANs were diagnosed with AIDS. Of them, 59% (57) were men and 41% (39) were women.
Living With HIV and Deaths
Of the 3,600 AIs/ANs estimated to be living with HIV in 2013, 18% (630) were undiagnosed. By comparison, 13% of everyone living with HIV were undiagnosed.
Of AIs/ANs diagnosed with HIV in 2014, 78% were linked to medical care within 1 month.e
At the end of 2013, 53% of AIs/ANs who had been living with diagnosed HIV for at least a year were retained in care (receiving continuous HIV medical care), and 52% had achieved viral suppression.
During 2014, 51 AIs/ANs died from HIV or AIDS.
Prevention Challenges
Sexually transmitted diseases (STDs). From 2011 to 2015, AIs/ANs had the second highest rates of chlamydia and gonorrhea among all racial/ethnic groups. Having another STD increases a personâs risk for getting or transmitting HIV.
Lack of awareness of HIV status. Almost 1 in 5 AIs/ANs who were living with HIV at the end of 2013 were unaware of their status. People who do not know they have HIV cannot take advantage of HIV care and treatment and may unknowingly pass HIV to others.
Stigma. AI/AN gay and bisexual men may face culturally based stigma and confidentiality concerns that could limit opportunities for education and HIV testing, especially among those who live in rural communities or on reservations.
Cultural diversity. There are over 560 federally recognized AI/AN tribes, whose members speak over 170 languages. Because each tribe has its own culture, beliefs, and practices, creating culturally appropriate prevention programs for each group can be challenging.
Socioeconomic issues. Poverty, including limited access to high-quality housing, directly and indirectly increases the risk for HIV infection and affects the health of people living with and at risk for HIV infection. Compared with other racial/ethnic groups, AIs/ANs have higher poverty rates, have completed fewer years of education, are younger, are less likely to be employed, and have lower rates of health insurance coverage.
Alcohol and illicit drug use. Alcohol and substance use can impair judgment and lead to behaviors that increase the risk of HIV. Injection drug use can directly increase the risk of HIV through sharing contaminated needles, syringes, and other equipment. Compared with other racial/ethnic groups, AIs/ANs tend to use alcohol and drugs at a younger age and use them more often and in higher quantities.
Data limitations. Racial misidentification of AIs/ANs may lead to the undercounting of this population in HIV surveillance systems and may contribute to the underfunding of targeted services for AI/AN.
What CDC Is Doing CDC and its partners are pursuing a high-impact prevention approach to advance the goals of the National HIV/AIDS Strategy, maximize the effectiveness of current HIV prevention methods, and improve HIV data collection among AI/AN. Activities include:
Working with the Indian Health Service (IHS) and tribal leaders of the CDC Tribal Consultation Advisory Committee to discuss methods for developing and implementing scalable, effective prevention approaches that reach those at greatest risk for HIV, including young gay and bisexual AI/AN men.
Providing support and technical assistance to health departments and community-based organizations to deliver effective prevention interventions.
Ensuring that capacity-building assistance providers incorporate cultural competency, linguistics, and educational appropriateness into all services delivered.
Providing capacity building assistance directly to the IHS so it can strengthen its support for HIV activities, including HIV testing capacity; We R Native, a comprehensive health resource for Native youth; and the Red Talon Project, which works to achieve a more coordinated national and Northwest tribal response to STDs/HIV.
Collaborating with National Association of State and Territorial AIDS Directors to release an issue brief, Native Gay Men and Two Spirit People: HIV/AIDS and Viral Hepatitis Programs and Services.
Raising awareness through the Act Against AIDS campaigns, including
Doing It, a national HIV testing and prevention campaign that encourages all adults to get tested for HIV and know their status;
Letâs Stop HIV Together, which raises HIV awareness and fights stigma among all Americans and provides many stories about people living with HIV; and
HIV Treatment Works, which highlights how men and women who are living with HIV have overcome barriers. The campaign provides resources and encourages people living with HIV to Get In Care, Stay In Care, and Live Well.
In addition, the Office for State, Tribal, Local, and Territorial Support (OSTLTS) serves as the primary link between CDC, the Agency for Toxic Substance and Disease Registry, and tribal governments. OSTLTSâs tribal support activities are focused on fulfilling CDCâs supportive role in ensuring that AI/AN communities receive public health services that keep them safe and healthy.
a Percentage of AI/AN reporting only one race. b Hispanics/Latinos can be of any race. c HIV and AIDS diagnoses indicate when a person is diagnosed with HIV infection or AIDS, but do not indicate when the person was infected. d The term gay and bisexual men, referred to as men who have sex with men in CDC surveillance systems, indicates how individuals self-identify in terms of their sexuality, not a behavior that transmits HIV infection. eIn 32 states and the District of Columbia (the areas with complete lab reporting by December 2015). http://www.cdc.gov/HIV/risk/racialEthnic/aian/index.html
World AIDS Day Observed on December 1st of every year, is dedicated to raising awareness of the AIDS pandemic caused by the spread of HIV infection, and mourning those who have died of the disease. Government and health officials, non-governmental organizations and individuals around the world observe the day, often with education on AIDS prevention and control. As of 2013, AIDS has killed more than 36 million people worldwide (1981-2012), and an estimated 35.3 million people are living with HIV,[2] making it one of the most important global public health issues in recorded history. Despite recent improved access to antiretroviral treatment in many regions of the world, the AIDS epidemic claims an estimated 2 million lives each year, of which about 270,000 are children. Day With(out) Art Day Without Art (DWA) began on December 1st 1989 as the national day of action and mourning in response to the AIDS crisis. To make the public aware that AIDS can touch everyone, and inspire positive action, some 800 U.S. art and AIDS groups participated in the first Day Without Art, shutting down museums, sending staff to volunteer at AIDS services, or sponsoring special exhibitions of work about AIDS. Since then, Day With(out) Art has grown into a collaborative project in which an estimated 8,000 national and international museums, galleries, art centers, AIDS Service Organizations, libraries, high schools and colleges take part.
In the past, Visual AIDS initiated public actions and programs, published an annual poster and copyright-free broadsides, and acted as press coordinator and clearing house for projects for Day Without Art/World AIDS Day. In 1997 we suggested Day Without Art become a Day WITH Art, to recognize and promote increased programming of cultural events that draw attention to the continuing pandemic. Though âthe name was retained as a metaphor for the chilling possibility of a future day without art or artistsâ, we added parentheses to the program title, Day With(out) Art, to highlight the proactive programming of art projects by artists living with HIV/AIDS, and art about AIDS, that were taking place around the world. It had become clear that active interventions within the annual program were far more effective than actions to negate or reduce the programs of cultural centers.
R.I.S.E.
Radical Indigenous Survivance & Empowerment
Info: https://www.instagram.com/RISEindigenous https://www.facebook.com/RISEIndigenous https://www.burymyart.tumblr.com contact: [email protected]
____________________________.
Demian DinĂ©YazhiÂŽ POZ SINCE 1492, 2016 POZ SINCE 1492 (alternate title âThe First Infectionâ) is a digital print I created in 2016 that digitally manipulates a painting of the first Thanksgiving âthat really situates the AIDS crisis in a larger transnational historical tendency of disease and plague to be the by-product of white colonization [Christopher Columbus reached the New World in 1492].â -Danny Orendorff (curator of One day this kid will get larger at De Paul Art Museum).
This work was shown last year in the exhibition, One day this kid will get larger, and was written about in the October 2017 issue of Art in America by manuel arturo abreu :
âThe artist, who often addresses the HIV crisis, coined the phrase âPOZ SINCE 1492â to reframe the discussion. His efforts shift attention away from racialized victim-blaming and onto settler colonialism, an ongoing âinfectionâ that physically and conceptually afflicts Natives and other people of color.â
https://www.artinamericamagazine.com/news-features/magazines/embodying-survivance/
STIGMA by Diamanda Galas In 1992, when I wrote âwe are all HIV positiveâ on my hand with a tattoo artist from Brooklyn, I said several things: One was that you may not separate the uninfected from the infected as so many so-called liberal doctors wanted to do, by putting the infected on Plum island outside of New York City. You cannot separate the uninfected from the infected by denying them access to your country. You cannot separate the uninfected from the infected by putting the infected on a separate floor that has red danger contagion signs and giving them crap to eat and instructing Catholic nurses not to administer painkillers to the guilty and allowing Catholic priests to visit them and inform them of their future in Hell if they do not confess that their entire life has been a crime. You cannot separate the infected from the uninfected by saying I do not have AIDS, I have syphillis, but most assuredly nothing to do with HIV, and then allow them to die an early death because they would rather die of the disease than the stigma, as so many did, and do, including my best friendâ in 1996âwho would be living today if he had not been petrified of the stigma and intentionally saw a doctor whose research was based on the option and the opinion that HIV did not cause AIDS. A second opinion, or better yet,my friendâs own research with other researchers would have been smarter. He knew better, but he told me when we first met in 1989 that he would kill himself if he were diagnosed with HIV. No matter what I said to him he continued to visit the one practitioner who would condone this denial for six years until it was too late, and the following year protease inhibitors hit the marketâthe year after he died. No, you cannot separate the uninfected from the infected by saying âI do not suffer from this virus: I have been spared.â Because one day, in one city, in one moment, you will learn that you suffer from some virus, some pathogen, something poisonous that will not exit from your body; and you will realize that you do not mourn the dead, you mourn the suffering of the living while they are still alive. No one can escape death, and worse than that, no one can escape the life of anything and everything that smells your blood and lives because of it.
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Felix Gonzalez-Torres Untitled, 1991 Billboard; dimensions vary with installation. âBetween February 20 and March 18, Felix Gonzalez-Torresâs âUntitledâ (1991) peppered the New York skyline, on six billboards throughout Manhattan, Brooklyn, and Queens. With locations ranging from 10th Avenue near the Javits Center to the far corners of Brighton Beach, the work reached diverse populations and altered the associated media landscapes. The provocative yet ambiguous image on eachâan enlarged black-and-white photograph of the artistâs recently shared double bedâstood out amid the text-heavy advertising signage that dominates the city. Devoid of the text, logos, or captions typically associated with billboards, this work summoned a second look or even a momentary pause, the introspective quality of the image bringing a perceptible stillness to the surrounding bustle of the city. âŠThroughout his work, Gonzalez-Torres (American, born Cuba. 1957â1996) questioned the notion of the unique art object, making series of works based on identical pairs (two clocks ticking side-by-side, two mirrors embedded in a wall) or finding inspiration in the possibilities of endless reproducibility (stacks of sheets as give-aways for visitors, piles of candy to be continually replenished). He wanted his work to be disseminated, to exist in multiple places at the same time, and to be realized completely only through the participation of the viewer, which he described as âone enormous collaboration with the public,â in which the âpieces just disperse themselves like a virus that goes to many different placesâhomes, studios, shops, bathrooms, whatever.â Reproducibility, collaboration, and circulationâsound familiar? His particular approach, which has been enormously influential for contemporary artistic practice, also made Gonzalez-Torres an essential presence⊠For Gonzalez-Torres, art was an effective means of addressing social concernsâeven more so when it could be multiplied. Inhabiting the familiar forms of Minimalism and post-Minimalism with his stacks and floor pieces, the artist embedded subtle but insistent references to current issues, from political violence to gay rights. In billboard projects like âUntitledâ, the artist played with the powerful juxtapositions that could be generated between private and public spaces. By choosing this photograph of his bed, the artist exposed this most intimate of spaces, emphasized by the rumpled sheets and the recent impressions of two heads in the pillows. In the early 1990s, with controversies surrounding homosexuality and the AIDS crisis simultaneously wreaking havoc across the gay community, the bed also represented a site of conflict, symbolizing both love and death. That Gonzalez-Torresâs partner, Ross, died of AIDS in 1991 brings an intensely personal note to this work, but does not diminish it of its universal associations with comfort, intimacy, loneliness, or loss. Every time I passed by my âlocalâ billboard, on Queens Boulevard and Van Dam Street, I stopped to take it in again. It is a commanding work, even capable of overshadowing the roar of the elevated 7 train and the honking cars exiting the Long Island Expressway (not an easy task!). The presentation in Print/Out marks the 20th anniversary of the first realization of âUntitledâ, for MoMAâs Projects 34: Felix Gonzalez-Torres, organized by Anne Umland in 1992. Imagining the future reception of this work, Umland presciently wrote in that exhibitionâs accompanying brochure, âA photograph promises the possibility of replication, of reemergence in a different time and under different historical circumstances, a moment when this poignant image of âa dwelling in the evening airâ may come to mean very different things.â I look forward to seeing the next iteration!â -Kim Conaty

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As the President of Genocide and Settler Conquest plans to steal 321 acres of Indigenous land from the Mashpee-Wampanoag, let this be a brutal reminder that THIS IS NOT YOUR LAND. This is the very tribe that helped the colonizing Pilgrims survive. THIS WILL NEVER BE YOUR LAND! . High resolution 18âł x 12âł map of the Historic Territory of the Indigenous Wapanoag from 1620. As with all our posters, please, feel liberated to share, repost, print, disseminate & wheatpaste at will! . Artwork by: @riseindigenous . http://burymyart.tumblr.com https://facebook.com/RISEindigenous https://www.etsy.com/shop/DemianDineyazhi
Demian DinĂ©Yazhiâ Sauvie Island (Mars), 2012
SALE!! Get 25% off when you spend $50 or more. Promo code: PROTO25. đ www.etsy.com/shop/demiandineyazhi
SUPPORT INDIGENOUS ARTISTS
#indigenousart #nativeart #buynative
Trans rights is an Indigenous issue. Innumerable gender identities and systems were thriving in Indigenous communities prior to colonization, genocidal, and erasure of our spiritual connection to this genderless body we call the earth. Fight for trans peoples rights. Make space in your organizations, institutions, communities, and families. Give your money and resources!Â
burymyart.tumblr.com instagram.com/RISEindigenous
In light of Celebrating Indigenous People Everyday, hereâs an excerpt from #ANINFECTEDSUNSET originally featured on @literaryhub in 2016.: https://t.co/G43rbah4vu // pic.twitter.com/3tNpzskNLX â Literary Hub (@lithub) âWATER IS MEDICINE A CONTINUAL CEREMONY IT BRINGS PEOPLE TOGETHER colonizers canât seem to grasp this reality indigenous resistance isnât protest or disruption or civil unrest indigenous resistance is ceremony and maybe thatâs what terrifies them our medicine isnât based around capitalism or death politics our medicine isnât based on social hierarchies of oppression our medicine doesnât enslave the earth or attempt to conquer the land through extraction forced penetration exploitation genocidal decimation to the landscape animals and people basic colonial violenceâ
Order AN INFECTED SUNSET :Â www.etsy.com/listing/632586567/
CELEBRATE INDIGENOUS PEOPLE EVERYDAY

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To celebrate american history is to celebrate mass rape and mass murder is to celebrate the notion that the white body is always innocent. Your freedom is dependent on genocide and settler violence. European colonizers brought generations and generations of torture and psychosis and disease and trauma to Turtle Island. They did not come in peace. They were rejected. They were driven by madness and patriarchy and leaders who used religion as a weapon and had been doing so for centuries and continue to do so to this very day. Do not forget how they constructed a nation and desecrated every inch of sacred Indigenous lands. Do not forget that they would do the same to you and they are doing it now. It is a sickness they have not saught redemption from because it is a sickness they REFUSE to acknowledge. Fuck settler holidays! Fuck the Supreme Court. Fuck ALL GOVERNMENTS. Dismantle the system and honor the original caretakers of Turtle Island. This planet and the cosmos will be grateful and through your actions you will learn to forgive yourselves! - #Repost @ssurfacess : đșđž is a đȘ #anationisamassacre @riseindigenous @heterogeneoushomosexual @seaofficeofarts #NoColonizers #ACAB #ColumbusDay #IndigenousPeoplesDay #FucktheSupremeCourt
NYC + BK! Iâll be reading this weekend at Printed Matter and will be joined by my favorite NY poets Jess X Snow, Lucan de Lima, and El Roy Red. This reading is incredibly special cuz these poets have spent so much time building community outside of NYC, so itâs an incredible honor to be able to honor their voices and celebrate as a community of POC babesđ.
~âą~ SEPT 01, 2018 ~âą~ 5-7PM // Bring $$$ for books! Printed Matter, Inc. // 231 11th Ave., NYC, NY https://www.facebook.com/events/299872254120282/
AN INFECTED SUNSETis an ekphrastic long-form prose poem first conceived in August 2016 in the wake of the Orlando nightclub shooting, police killings of unarmed Black men, and in the midst of the Standing Rock #NoDAPL Resistance. During the writing of the poem the settler colonial nation-state elected the 45th president of this colonized country, which revealed a sudden revival of extreme white supremacist nationalism. As the social and political landscape evolved, the LIBERATED POEM emerged as an offering to Indigenous communities and landscapes striving for a decolonial and sovereign future emancipated from white supremacist capitalist hetero-patriarchal settler colonial trauma drama. This performance poem is a reflection on queer sex, survival/death politics, indigenous identity, settler and heteronormative romanticism, environmental injustice, and the importance of honoring community.
Demian DinĂ©Yazhi Ì (born 1983) is an Indigenous DinĂ© transdisciplinary artist born to the clans Naasht'Ă©zhĂ TĂĄbÄ Ä hĂĄ (Zuni Clan Waterâs Edge) & TĂłdĂch'ĂĂ'nii (Bitter Water). Growing up in the colonized border town of Gallup, New Mexico, the evolution of DinĂ©Yazhi Ìâs work has been influenced by their ancestral ties to traditional DinĂ© culture and ceremony, matrilineal upbringing, the sacredness of land, and the importance of intergenerational knowledge. Through research, mining community archives, and social collaboration and activism, DinĂ©Yazhi Ì highlights the intersections of Radical Indigenous Queer Feminist identity and political ideology while challenging the white noise of the contemporary art movement. They have recently exhibited at Whitney Museum of American Art (2018), Henry Art Gallery (2018), Pioneer Works (2018), CANADA, NY (2017); and UNM-Gallup Ingham Chapman Gallery (2016).
DinĂ©Yazhi Ì is the founder of the Indigenous artist/activist initiative, R.I.S.E.: Radical Indigenous Survivance & Empowerment. DinĂ©Yazhi Ì also serves as co-editor of Locusts: A Post-Queer Nation Zine. They are the recipient of the Henry Art Museumâs Brink Award (2017) and a Hallie Ford Fellow in the Visual Arts (2018). @heterogeneoushomosexual
Jess X. Snow is a queer asian-canadian filmmaker, public artist and pushcart-nominated poet. She holds a BFA from the Rhode Island School of Design and is currently studying directing in the MFA program for film at the NYU Tisch School of The Arts. As a result of the rootlessness and migrations that marked her childhood, she developed a stutter which she overcame through her discovery of visual and written language.She uses magical realism and science fiction as tools to explore the what care for the body and land can look like in the queer migrant future. Her poetry has been published in Nepantla: An Anthology of Queer Poets of Color, Bettering American Poetry, among others. Her first chapbook of poetry is forthcoming from YesYes Books.
Lucas de Lima is the author of Wet Land (Action Books) and the chapbook Terraputa (Birds of Lace). His writing has appeared or is forthcoming in PEN Poetry, Poetry Foundation, boundary2, Apogee, and Aster(ix), and anthologies pertaining to queer, Latinx, avant-garde, and eco-poetics. He is a doctoral candidate at the University of Pennsylvania and the recipient of a fellowship from the Social Sciences and Humanities Research Council of Canada.
El Roy Red works in the space btwn hope & efficacy until they reach actualization. Galvanized in Black/ Brown queer liberation, Red utilizes writing, movement, ritual & performance to facilitate healing, growth, & alternative futures. #postafrofuturism They have shared work in print w apogee journal, handjob zine, & femmescapes zine. IRL She has performed in Amsterdam & BerlinâŠ. locally @ Artist Space, the Bronx Museum, the Poetry Project, & the Segue Reading Series to name a few. & Recently, she has spoken @ the Brooklyn Museum as part of the Trans Oral History Project. https://www.printedmatter.org/programs/events/717