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The Monkey’s Jaw by Craig Larotonda

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lascitasdelashoras

Henri Cartier Bresson - Hotel Court, Rue La Boétie, distrito 8, París. 1953.

mioritic

Marginal illustration of a heart on a bonfire, being quenched by the rain

From a manuscript of 49 love sonnets, Northern Italy (probably Milan), 2nd or 3rd quarter of the 15th century

King’s 322, British Library Catalogue of Illuminated Manuscripts

polkadotmotmot

Sophie Vallance Cantor - Sacred Studio, 2024 - Oil on canvas

weepingwidar

Sophie Vallance Cantor (British, 1993)

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malangan Mask Papua New Guinea

guerillas-of-history

Women fighters of the Polsario Front, Western Sahara, Morocco, 1975

juno-infernal

Glen Martin Taylor, “but i am safe in here.”

captura-salvaje

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Ohara Shōson (1877-1945) — Dancing Fox [woodblock print, ca. 1910]

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Zapatista National Liberation Army (EZLN)

Ejército Zapatista de Liberación Nacional (EZLN)

philosophybits

“Society was saved by the negation of its own principles, by a revolution in its religion, and by violation of its most sacred rights. In this revolution, the idea of justice spread to an extent that had not before been dreamed of, never to return to its original limits. Heretofore justice had existed only for the masters; it then commenced to exist for the slaves.”

— Pierre-Joseph Proudhon, What is Property?

bellsandforks

“It’s the nation that does not permit you to live.”

Death by Hanging (1968), dir. Nagisa Ōshima

filmantidote

The context of the film is vital as it is relevant more than ever. The film is about an ethnic Korean in Japan who is set to be executed by hanging. Koreans have historically lived as marginalized members in Japan and have been heavily discriminated against despite many of them having all the makings of citizenship by being born and brought up in Japan. Oshima examines how the state legitimizes violence and racism as it permeates in the Japanese conscious of who is deemed worthy of life and who is not. An underlying theme is that guilty or innocent by state-set terms of criminality, marginalized people are guilty at birth.

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Jeroen Toirkens, Holding two reindeers in Taiga, Dukha, Mongolia, 2007

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Jordi Garriga Mora

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Luma Luma by Yirawala

Yirawala painted many images of Lumaluma and the Mardayin ceremony was an important topic in many of his works.

Luma Luma instilled fear in the first peoples, as his absolute authority was coupled with a degree of greed which was to be his downfall. Whatever foods his wives collected and cooked, he would declare to be taboo, thus they were not allowed to eat them. He would do the same with the game caught by the men. While the men were away on their hunting expeditions, he would sleep with their wives. While Lumaluma prospered, the others starved. Some of the husbands sought retribution but were no match for Luma Luma.

The ancestors of the Kunwinjku and Kuninjku decided to take their revenge on the giant. They laid a trap and the giant killed by fire. As he burned, the clansmen peppered his body with spears. While dying he begged to show the men how to draw the sacred rarrk or ancestral clan cross-hatched designs by cutting them into his flesh. Once his task was complete, Luma Luma retreated to the sea from whence he came and transformed himself back into the form of a sea creature.

newguineatribalart

New Guinea Sculpture Skull Rack or Agiba Papuan Gulf Papua new Guinea

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