AFTER LIFE
(what remains)
The Alice Gallery
Seattle, WA
June 16 - July 21, 2118
Curator: Thea Quiray-Tagle
Photographs by Dan Paz.
Photograph by Dan Paz.
ARRIVAL/VISITATION: CAPE KIWANDA, 2114
63” X 41.5”, 2118
“I am going to build as paceship. With large rocks and gyroscopes. Curved wood found in Oregon. An arrow for my sister, who visits my mother in dreams. I’m collecting parts in photo booths. Fancy hotels. A MAX HP-88 stapler and cardboard. With each visit, another little piece. I’ve stashed parts across the Pacific Northwest. New York. I’m not looking for a permanent landing. My compass is erect with super futures. Haunting, my fuel.”
63” X 41.5”, 2118
“I am going to build as paceship. With large rocks and gyroscopes. Curved wood found in Oregon. An arrow for my sister, who visits my mother in dreams. I’m collecting parts in photo booths. Fancy hotels. A MAX HP-88 stapler and cardboard. With each visit, another little piece. I’ve stashed parts across the Pacific Northwest. New York. I’m not looking for a permanent landing. My compass is erect with super futures. Haunting, my fuel.”
-- from “Before Dispossession, or Surviving It”
Angie Morrill, Eve Tuck and the Super Futures Haunt Qollective, 2016.
VISITATION: FROM CHILOQUIN TO SEATTLE VIA THE SPECULARITY, 2118
Postcard and audio recording, 2118
In this Visitation, SFHQ imagines a meeting in the Specularity between Chief Seattle’s daughter, Kikisoblu, (popularly known as Princess Angeline) and Fanny Ball, a Modoc woman and daughter of Captain Jack (Kientpaush) and an ancestor of Lady HOW. Both women remained behind when their people were forced to leave their homes. In the Specularity, they meet and exchange gifts.
Postcard and audio recording, 2118
In this Visitation, SFHQ imagines a meeting in the Specularity between Chief Seattle’s daughter, Kikisoblu, (popularly known as Princess Angeline) and Fanny Ball, a Modoc woman and daughter of Captain Jack (Kientpaush) and an ancestor of Lady HOW. Both women remained behind when their people were forced to leave their homes. In the Specularity, they meet and exchange gifts.
Photograph by Dan Paz.
REGENERATION TANK/VISITATION: BELKNAP HOT SPRINGS, 2118 + 2114
Video (0:35) with vintage Bicentennial celebration vintage television
“Resist that which makes me a ghost and you a monster. Resist that which makes us living dead. Come and make an avatar, a host that will be your shelter while you make a new geography. I love that part of us that is always already before our dispossession—there is nothing that is ruined, that can’t be given up or taken back. Let’s wrap ourselves around each other—at least.”
Video (0:35) with vintage Bicentennial celebration vintage television
“Resist that which makes me a ghost and you a monster. Resist that which makes us living dead. Come and make an avatar, a host that will be your shelter while you make a new geography. I love that part of us that is always already before our dispossession—there is nothing that is ruined, that can’t be given up or taken back. Let’s wrap ourselves around each other—at least.”
-- from “Before Dispossession, or Surviving It”
Angie Morrill, Eve Tuck and the Super Futures Haunt Qollective, 2016.
Photograph by Dan Paz.
Photographs by Dan Paz.
VISITING ARTISTS VISITATION: PEGGY’S HOUSE, 2114
26” x 37”, 2118
VISITATIONS: A call and response can make a visitation. When I create a visitation, it is a remembrance of an old futuristic way of relating to place, non-human persons, and each other. I have a sense of the sovereignty of a place before we arrive, a sense that it will continue long after I have left -- so many presence is meant to play a good part. Practicing visitation in a good weay can be overshadowed, overburdened by the habits of touring, of settlement, of occupation. Visitation is the way that we come together to comment on our togetherness, to attend to the changes afforded by time and our own agency. When I practice visitation, I am not visiting you. I am vistiing our children’s future homelands. I am their guest, not yours.”
26” x 37”, 2118
VISITATIONS: A call and response can make a visitation. When I create a visitation, it is a remembrance of an old futuristic way of relating to place, non-human persons, and each other. I have a sense of the sovereignty of a place before we arrive, a sense that it will continue long after I have left -- so many presence is meant to play a good part. Practicing visitation in a good weay can be overshadowed, overburdened by the habits of touring, of settlement, of occupation. Visitation is the way that we come together to comment on our togetherness, to attend to the changes afforded by time and our own agency. When I practice visitation, I am not visiting you. I am vistiing our children’s future homelands. I am their guest, not yours.”
-- from “Visitations (You Are Not Alone)”
Eve Tuck and Karyn Recollett, 2017.
